MusiCares, the Recording Academy’s philanthropic arm, has raised over $3 million in wildfire relief funds for the Los Angeles music community, Variety reports.

$2.2 million has reportedly been distributed to those affected thus far. However, Recording Academy CEO Harvey Mason Jr. said the organization is “going to need a lot more” as the catastrophic fires continue to prompt evacuations.

28 people have died, according to the California Department of Forestry and Fire Protection, and officials have warned the death toll is likely to rise.

“I was lucky, but when I see people and friends of mine who have lost their studio, lost their house, lost their instruments, lost their ability to make a living, after all the strife and struggle that has happened to people in this community over the last five years, I say we have to do everything we can to be helpful,” Mason Jr. lamented. “That involves raising money, that involves raising awareness and hopefully allowing MusiCares to have the financial resources that it’s going to take to support the thousands and thousands of people that are going to need help—not just this week or next week, but for the next few years.”

The Recording Academy has encouraged anyone working in the music industry to contact MusiCares for financial assistance. That includes “musicians, songwriters, engineers, producers, live crew, tour bus drivers, managers, agents, A&R, makeup artists, costume designers, music video creatives and technicians.”

Those workers just need to provide proof of employment in the music industry for at least three years or documentation demonstrating six commercially released recordings. Initial disaster relief benefits include $1,500 in financial assistance and a $500 grocery card.

The fundraising effort is expected to grow substantially by virtue of upcoming events, including the annual MusiCares Person of the Year gala and FireAid benefit concert at Intuit Dome and Kia Forum on January 30th. This year’s Grammy Awards ceremony, scheduled for Sunday, February 2nd, will also incorporate wildfire relief initiatives.

You can find out more about how to apply for MusiCares assistance here.

In the heart-pounding world of electronic dance music, there’s an unsung hero navigating the skies: the drone pilot.

This high-stakes art form is not just about flying—it’s storytelling from above. They are tasked with the difficult job of not only blocking out the sensory overload below, but also enhancing it to transform each show into a multi-dimensional experience for fans.

At the controls, drone pilots like David Carreno navigate a world where every second counts. As the founder of Destination Reset Productions, he maneuvers his FPV (first-person view) drone through the chaos of flailing limbs, intricate lighting rigs and expensive stage equipment at EDM shows.

Every moment for Carreno requires split-second decisions and demands extremely sharp focus, as any hesitation could lead to a crash or a missed moment. It’s akin to conducting an orchestra, where the drone is both instrument and maestro.

Patience is key—one wrong move and the night’s magic could be grounded. Confidence, too, is non-negotiable. A scintilla of doubt could send the drone hurtling into a crowd of thousands.

Next up for Carreno is a March 21st gig at San Francisco’s famed Bill Graham Civic Auditorium, where he’ll capture FPV drone footage of Gareth Emery’s “LSR/CITY: Cyberpunk” production, which the trance music icon called his “biggest tour yet.” The eye-popping show blitzes audiences with 110 different polychromatic lasers, an immense challenge for Carreno since lasers tend to burn camera sensors, he tells EDM.com.

He’ll then head to Colorado April 12th for an unforgettable flying experience at the iconic Red Rocks Amphitheatre, where he’ll be manning the controls for dubstep star Wooli’s first-ever headlining show at the open-air venue.

We caught up with Carreno to peer through the looking glass of his drone transmitter and share his expertise for aspiring pilots. Read on to discover his tips and insights in his own words.

Be disciplined in your craft

A lot of things can go wrong and it can result in someone getting seriously injured. So be consistent on your equipment inspections, adhere to laws and regulations, and practice and prepare for all scenarios. Artists and festivals hire you not only for your creative work, but the assurance that everything will go right, every time.

Confidence and patience equals portfolio

From learning to fly to mastering aerial cinematography and photography, it takes time! You want to deliver fire content, and being confident in flying over 1,000 to 500,000 people plays a huge role, especially at night.

So appreciate the time on the simulator, know your equipment inside and out, and practice flying in all environments.

Invest in quality gear

You definitely don’t want your drone falling from the sky due to cheap equipment. You also want to have a smooth and exciting flying experience.

What fun is there if you’re always uncomfortable with a cheap neck strap or your drone doesn’t respond? Invest in basic necessities, and premium gear can come later.

Be prepared to be an engineer

At some point you might be building your own drones and programming them with specialized softwares. In FPV context, you would fly sub-250g drones at festivals and concerts. And sometimes that means tweaking with soldering and wiring parts in order to comply with regulations.

Involve artists and management

Believe me when I say this: artists and their management actually like it when you involve them in your setup process and during flights. Being the drone person is cool, but having them see you decked out with gear is cooler to them.

I would have external monitors so they can see what I’m seeing, and so I can explain to them what each piece of equipment does. It leaves a great impression and makes you stand out.

Practice communication

Flying drones at festivals is your first job. Your second is communicating your every move to operations by headset.

Initially it’s challenging to achieve total focus on drone operations while having to communicate with the crew, so it’s worth practicing with a person. It will come in handy when you’re out in the festival grounds.

Stay on top of drone innovations and creators

Both safety and camera/drone technology are always being updated with new products and software. You should always be improving the safety of your flight operations and learning techniques from other creators. Most of my equipment and flight style has just been watching other drone pilots.

Mikey Shulman, co-founder and CEO of the generative AI music platform Suno, is facing backlash after claiming in an interview that most people find the music creation process “not really enjoyable.”

Shulman painted a rather bleak picture of music production speaking on the venture capital industry podcast The Twenty Minute VC (20VC), suggesting that learning an instrument or mastering software is too much of a hassle for the average person.

“It’s not really enjoyable to make music now,” he told host Harry Stebbings. “It takes a lot of time, it takes a lot of practice, you need to get really good at an instrument or really good at a piece of production software.”

“I think the majority of people don’t enjoy the majority of the time they spend making music,” Shulman added.

Suno’s AI-powered platform allows users to produce songs simply by entering text prompts. Shulman’s vision of democratizing music creation through artificial intelligence represents a growing tension in the music industry: the struggle between traditional, skill-based artistry and AI-powered instant gratification.

“If you want to impact the way a billion people experience music, you have to build something for a billion people,” he declared, apparently dismissing centuries of human musical tradition as too cumbersome for the masses.

“It’s not really enjoyable to make music now… it takes a lot of time, it takes a lot of practice, you have to get really good at an instrument or really good at a piece of production software. I think the majority of people don’t enjoy the majority of time they spend making… pic.twitter.com/zkv73Bhmi9

— Mike Patti (@mpatti) January 11, 2025

The tech exec’s claims seem perfectly timed to justify the AI-powered framework of Suno amid mounting legal troubles. Suno is currently battling a pair of landmark lawsuits containing explosive copyright infringement allegations from the Recording Industry Association of America (RIAA), which claims the company used copyrighted recordings without permission to train its AI models. The trade body is reportedly seeking damages of up to $150,000 for each copyrighted work.

While he defended Suno’s technology as “transformative” on 20VC, many in the music industry are bemoaning his comments for bastardizing the value of musical craftsmanship.

“It’s very revealing,” one X user wrote in response. “The solutionist language just doesn’t make sense for art, or for other things where the work is the enjoyment, but the tech companies seem stuck in their story.”

You can watch the full interview below.

European live music powerhouse Superstruct Entertainment has reportedly acquired Boiler Room, the iconic electronic music livestream platform, from UK-based ticketing company DICE.

The move signals a shift in DICE’s strategic priorities and a new chapter for Boiler Room under Superstruct’s expansive festival and live music umbrella.

DICE originally acquired Boiler Room in 2021 after a $122 million funding round and has since secured over $200 million. News of the ticketing company’s divestment from the brand comes in the wake of a Bloomberg newsletter that claimed its valuation could reach “hundreds of millions of dollars.”

Boiler Room, which has streamed events across 120 markets and amassed over a billion views online, will reportedly maintain its leadership team and distinct identity under Superstruct.

“As we turn 15 and enter our next stage of growth, we’re excited to be partnering with Superstruct for this chapter,” Boiler Room founder Blaise Bellville said. “We feel in good company with their roster of brands, they offer us new opportunities to grow, whilst understanding the importance of staying true to the authenticity that, at its core, is what makes Boiler Room special.”

For Superstruct, the acquisition follows its own buyout by private-equity giant KKR in a €1.3 billion deal last year. The deal underscores the company’s ambitions to expand its influence in electronic music culture by leveraging Boiler Room’s community-driven ethos.

“We are proud to welcome the talented team at Boiler Room, who have managed to consistently grow the platform over the last 15 years whilst maintaining a distinct cultural approach,” added Superstruct CEO Roderik Schlösser. “This partnership perfectly aligns with Superstruct’s mission to celebrate and amplify cultures through creativity, collaboration, and live entertainment. Boiler Room is in the best position it has ever been and we are excited to support them in their promising future ahead.”

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David Guetta has secured a record-breaking 17th #1 record on the Dance/Mix Show Airplay chart, eclipsing Calvin Harris for the most since its inception, Billboard reports.

He achieved the title after “Forever Young,” his October 2024 track with Ava Max, topped the chart last week. The song, additionally created in collaboration with Alphaville, is a rework of the German synthpop band’s 1984 hit of the same name.

Behind the two dance music juggernauts is Rihanna with 12 and The Chainsmokers with 10. The chart “measures radio airplay on a select group of full-time dance stations, along with plays during mix shows on around 60 top 40-formatted reporters” and has been monitored since 2003, per Billboard.

Watch Guetta perform “Forever Young” below live from the DJ’s iconic “F*** ME I’M FAMOUS!” residency at Ushuaïa Ibiza. You can stream the track here.

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Apashe is putting the finishing touches on his latest masterpiece.

On the “Antagonist 2.0 Tour,” he will be flanked by a philharmonic orchestra for two ambitious concerts. The performances make a bold statement but, more importantly, bring fans closer than ever to his vision.

Apashe’s unique electronic blend introduces under-appreciated classical music to new listeners. Furthering that mission is the driving force for his upcoming shows. He’s set to perform with the philharmonic orchestra at Seattle’s Wamu Theatre on January 24th and Paris’ Zenith on February 8th.

The scale is impressive, certainly, but it’s about more than pageantry. Working with a philharmonic orchestra allows Apashe to communicate the beauty of classical music still lost in translation.

“It’s definitely another step, another level… The goal is to bring live on stage something closer to the recordings of how the music is made,” Apashe tells EDM.com. “Both of my previous albums were symphonic recordings that were then mixed with electronic music.”

“I wanted to bring that part of the making of that music to the stage. Now that we’re playing with a full philharmonic, it’s definitely closer to the source of those recordings. You get all these musicians. You get the real sound and the mix that is destroyed with the electronics.”

The scale of Apashe’s philharmonic orchestral show is unlike anything the musician has attempted before. He admits it’s a difficult mountain to conquer.

“Proportionally, it’s becoming such a complicated thing to logistically put together,” Apashe admits. “It started as a dream. Now that it’s a reality, no one in my team or I expected this to be so complicated or so expensive. It’s very intense but I’m glad it’s working out really well. Everyone is happy. But let’s just say it’s different than coming on stage with a USB and doing a DJ set.”

DJing is not a flawless act. For every time you’ve caught a DJ blundering, there are countless times they’ve pivoted without raising suspicion. Apashe is more than capable of adjusting on the fly, but the nature of his orchestral shows leaves little room for error. Surgical precision is required for this unique undertaking.

“Since I’m launching all the clips and structure, I can’t skip measures,” Apashe explains. “If I trigger the wrong part, the musicians will be lost from the music sheets. Everything is fairly well-timed.”

“We’re playing with very professional musicians. They’re able to play anything in front of them if the music sheets are well-written. It’s really important once the set is decided that we make those sheets and it’s very clear for everyone.”

Apashe’s special blend of electronic and classical music resonates with millions. His growing success—highlighted by the scale of his upcoming philharmonic orchestra shows—is remarkable when you learn that he didn’t envision this life.

Before Apashe’s full-time music career, John De Buck was a sound designer producing music as a hobby. He worked in sound design for AAA video game franchises like Assassin’s Creed, Far Cry and Watch Dogs.

“I’d work nine to five sound design, then stay after five—sometimes way to late—to work on my music,” De Buck says. But I did it for fun… The fact that it was fun for me, and not stressful, really helped me not get sick of it, and a pleasure.”

“It’s important to mention that it was a hobby for me. I never saw it as a real career path necessarily. I was always putting myself in a situation where I wasn’t closing any doors. It’s different for everyone. For me, I needed to feel secure so I wouldn’t be stressed. Feeling good made it easy for me to spend time doing my hobby because I knew I had a stable job that was close to music.’

Every artist’s motivation is different. Many pursue a music career as an all-or-nothing venture. For Apashe, music needed to always remain a labor of love.

“The day I switched from one to the other was because I had no choice,” he recalls. “I was starting to tour during the weekend. I started asking for extra days off so I could leave on Thursday instead of Saturday. At some point, I had a full tour where I had to take three months off. That’s when I jumped in the water.”

“But it’s different for everyone. I needed that stability and I probably should’ve quit way before to only do music. But I knew my mindset would be stressed and the outcome of the music wouldn’t have been as good. But other people are different.”

Apashe acknowledges that different artists require different motivators to push their creativity. One concept the “Majesty” producer struggles with, however, is why any musician would sacrifice art’s joy.

“Listen to yourself but keep it fun,” he recommends. “I don’t see why you would do that if it’s not fun. If it’s not a hobby. I never quite understood people who stopped making music or playing an instrument once it’s not for the job anymore. That means you were just doing it for the money or dreaming of having a famous career or whatever? They have to do what they want but I never related to that personally.”

“The day that I quit music, if that happens, I’m never going to fully quit. I’m still going to make music. My dad built a studio in his basement. He’s 60-something. He’s never had a job in music. He just loves music and that’s something I relate to, that he probably shared with me.”

Fortunately for Apashe’s fans, there’s no end in sight. You can purchase tickets to his philharmonic orchestra shows in Seattle and Paris, plus other dates on the “Antagonist 2.0 Tour” here.

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Editor’s Note: If your music organization is leading a wildfire relief initiative or knows of others making a difference, we’d love to include your efforts in this story. Please reach out with details to: editorial@edm.com.

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Underscoring its core values in a genre built on unity and shared experiences, the music community is rallying to support those impacted by the catastrophic Los Angeles wildfires.

25 people have died, according to the California Department of Forestry and Fire Protection, and officials are warning the death toll is likely to rise. Over 40,600 acres have been scorched and more than 12,300 structures destroyed.

The coastal Palisades Fire, the largest and most devastating blaze of at least six, is now “one of the most destructive natural disasters in the history of Los Angeles,” according to Los Angeles Fire Chief Kristin Crowley.

Many prominent DJs, record labels and event organizers have launched fundraising campaigns and limited-edition merchandise to galvanize fans into action, with 100% of proceeds going to wildfire relief funds. Read on to discover and donate.

MusiCares

MusiCares and The Recording Academy pledged $1 million to aid music professionals impacted by the wildfires. The organizations also launched the Los Angeles Fire Relief Effort, which will “provide both immediate relief and long-term support to individuals and families in the music industry facing displacement and loss due to the disaster.”

The organizations are offering $1,500 in financial assistance and a $500 grocery credit. They are urging those impacted to contact them by email (musicaresrelief@musicares.org) or phone (1-800-687-4227).

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Merch

deadmau5

deadmau5 teamed up with BlackCraft for a limited-edition t-shirt, all proceeds of which will go directly to the LAFD Foundation, the official nonprofit partner of the Los Angeles Fire Department.

You can purchase the t-shirt here.

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TOKiMONSTA

TOKiMONSTA is donating 100% of proceeds collected from merch sales to vetted organizations helping local fire departments and wildfire victims. She also says she will “personally match every dollar raised through merch sales with an equal donation.”

You can purchase TOKiMONSTA’s apparel here.

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Dim Mak Records

Steve Aoki’s storied Dim Mak Records, located in the heart of Downtown LA, released a limited-edition t-shirt to help raise funds for urgent relief efforts throughout the city. 100% of profits will be donated to Neighbors & Friends, who also launched a lengthy community support spreadsheet.

You can purchase Dim Mak’s “LA Wildfire Relief Tee” here.

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Chris Lake

House music superstar Chris Lake is donating 100% of the proceeds collected from merchandise of his record label, Black Book, to relief efforts until January 16th.

You can purchase Black Book Records merchandise here.

Cloonee

Tech house producer Cloonee and his imprint, Hellbent Records, launched a merchandise fundraiser in which 100% of profits will benefit one fire department (California Fire Foundation), one humane charity (LAFD Foundation) and one animal shelter (Pasadena Humane).

You can purchase Hellbent merch here.

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Subtronics and LEVEL UP

Dubstep stars Subtronics and LEVEL UP launched a limited-edition t-shirt featuring an image of their dog, Ellie, and will donate 100% of the proceeds to Greater Good Charities: Disaster Relief for People and Pets Impacted by the Wildfires in Southern California.

You can purchase the “Ellie Tee” here.

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ALLEYCVT

Raising funds for pets and wildlife displaced by the wildfires, bass music producer and singer-songwriter ALLEYCVT launched a new merch line, “Tree Huggers.” 100% of the proceeds from her new t-shirt will be donated to Pasadena Humane.

You can purchase ALLEYCVT’s merch here.

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JVNA

Dance music producer and singer-songwriter JVNA released a new hat and will donate 100% of proceeds to the American Red Cross Los Angeles Region, a non-profit humanitarian organization serving Los Angeles, lnyo, Mono and part of Kern County.

A pre-sale for her “Heal The Earth” dad hat will be live on her website through January 31st.

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Toolroom Records

Toolroom Records, the imprint founded by house music icon Mark Knight, developed a limited-edition t-shirt to support wildlife relief efforts. 100% of proceeds will be directed to the American Red Cross.

“Every purchase helps fund essential services,” the label said, including “emergency shelter, food, medical care, and long-term recovery programs for those affected by the fires.”

You can purchase Toolroom’s “Love Los Angeles” shirt here.

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Ranger Trucco

DJ and house music producer Ranger Trucco is donating 100% of his merch proceeds to LAFD Foundation, the official nonprofit partner of the Los Angeles Fire Department.

You can purchase Trucco’s hat and hoodie here.

Events

Insomniac Events LA Fire Benefits

Insomniac is set to host a staggering 16 benefit concerts across two weekends at Academy LA, Avalon Hollywood, Exchange LA, NOVA SD and BLOOM SD. The company will donate 100% of net proceeds to charities aiding victims, first responders and rehabilitation efforts.

Many prominent DJs have volunteered their time, including Deorro, SLANDER, NGHTMRE, Oliver Heldens, Flosstradamus and SVDDEN DEATH.

You can purchase tickets to Insomniac’s charity shows here.

IHEARTCOMIX and Brownies & Lemonade LA Gives Back: Fire Relief

On Wednesday, January 29th, IHEARTCOMIX, Brownies & Lemonade, Another Planet Entertainment and Teragram will present the 7th edition of the “LA Gives Back” fundraiser at The Bellwether. The show will rally the Los Angeles community and donate 100% of funds to charities supporting first responders, animals and victims of the wildfires.

Tickets are on sale now. Performers include Alice Glass, Chrome Sparks, Emo Nite DJs, Falcons, Walker & Royce and more. A livestream from 4pm to 2am will feature Marc Rebillet, Sylvan Esso, Fat Tony and Nicole Miglis of Hundred Waters, among others.

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Duke Dumont

Framework is partnering up with house music superstar Duke Dumont to host a special LA wildfire relief fundraiser at Sound Nightclub. 100% of ticketing proceeds will benefit local fire relief efforts.

The show is scheduled for January 19th. You can purchase tickets here.

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HALIENE

Grammy-nominated singer-songwriter and dance music artist HALIENE is headlining The Midway in San Francisco January 18th as part of her “Into The Water” tour. She will be donating a portion of the show’s ticket sales to wildfire relief efforts.

“LA was my home for 17 years, and I’ve lived all over the city—from Santa Monica to Studio City to West Hollywood,” HALIENE said in a statement. “I have so many friends and family there, and I’m torn apart seeing what’s been lost. I encourage those who can to donate in any way possible. Even though I’ll be performing in San Francisco, I’m dedicating a portion of The Midway ticket sales to Los Angeles fire relief.”

You can purchase tickets to the concert here.

Dim Mak Records and Space Yacht

Space Yacht and Steve Aoki’s Dim Mak Records, two longtime stalwarts of LA’s electronic music community, announced a benefit show January 21st at Sound Nightclub. 100% of ticket proceeds will be donated to Habitat for Humanity of Greater Los Angeles.

The seven-hour event will feature surprise guests and b2b DJ sets featuring artists across various electronic music genres. You can purchase tickets here.

Breakaway Festival

The organizers of Breakaway, the nation’s largest traveling music festival, will donate a portion of ticket sales of their upcoming Dallas edition to support wildfire relief efforts. Afrojack, Zedd, SLANDER, Louis The Child and Gryffin are set to headline the fest April 4-5.

You can purchase tickets to Breakaway Festival Dallas here.

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Space Yacht

Space Yacht, a beloved local organizer of electronic music events, postponed their show on January 11th to Saturday, January 25th. They’re now planning on launching a donation booth at the rescheduled event to benefit the California Fire Foundation.

You can purchase tickets to Space Yacht’s upcoming “Rooftop Rave” in DTLA here.

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Emo Nite

Emo Nite Gives a F*ck, the philanthropic arm of the venerated event brand Emo Nite, announced it will support local fundraising efforts by donating a portion of ticket sales to organizations providing essential aid and resources to those impacted by the wildfires.

You can purchase tickets to Emo Nite’s events here.

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Goshfather

Goshfather teamed up with a handful of Bay Area promoters and event organizers to host “House Heals,” a benefit concert at The Midway SF. They donated 100% of proceeds to Pasadena Humane and the California Fire Foundation.

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Sound Nightclub

Sound Nightclub, a cornerstone of Los Angeles’ electronic music scene, announced a flexible refund policy for all January events in response to the ongoing wildfire crisis affecting the city.

Located in the heart of Hollywood, the venue will remain operational but offered ticket-holders the option to receive full refunds without requiring justification, implementing a straightforward refund process by requiring only basic ticketing information via email.

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Fundraisers

Discogs

The sales revenue generated by the Discogs marketplace on Friday, January 17th will be donated directly to MusiCares.

“That means every record you purchase on Friday will generate funds that will be shared with LA’s music community,” the company said.

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Chloe Fisher

Chloe Fisher, the wife of house music superstar FISHER, launched a GoFundMe campaign “to personally ensure that donations are directed toward helping those affected by these devastating fires and supporting LA’s recovery.”

She will be donating to GoFundMe.org as well as various organizations dedicated to rescuing pets and wildlife.

You can donate to Fisher’s fundraiser here.

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The LA Raver and Rave Haven

The LA Raver and Rave Haven launched a GoFundMe campaign to raise funds for the Widows, Orphans & Disabled Firefighter’s Fund, a charity founded in 1906 to help the families of firefighters injured or killed in the line of duty or facing other crisis.

You can donate to their fundraiser here.

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Ghastly

Ghastly is auctioning off a special mask he uses when performing as Ghengar, his dubstep alias. 100% of the proceeds will benefit the Los Angeles Fire Department. 

Fans can place bids by commenting their desired amount on the Instagram post below. The highest bid placed by the end of January 18th will secure the mask, Ghastly said, and the winner will be contacted via DM to claim the prize.

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Ganja White Night

Ganja White Night teamed up with Stick Figure to release a new single, “Who Set the World on Fire,” and will be donating 100% of the streaming proceeds to various charities as well as the Los Angeles Fire Department.

“When we first connected on this song, it had a different meaning in our minds, and when we began planning the release of it last month, we could have never imagined the horrors that Los Angeles would be experiencing over the last week,” Ganja White Night said.

You can stream “Who Set the World on Fire” on Spotify below.

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Walker & Royce

House music duo Walker & Royce uploaded their edit of The Dare’s “Girls,” which they’d been planning on releasing for free, to Bandcamp, with all proceeds benefitting the LA Fire Department Fund. They are also donating 100% of all track purchases from their catalogue to the LAFD throughout the rest of this week.

You can purchase the track here.

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Snakehips

Dance music duo Snakehips released one of their earliest tracks, “On & On,” which had been previously unavailable online, exclusively on Bandcamp for one week. They are donating 100% of the proceeds to Red Cross Los Angeles, Pasadena Humane and the Los Angeles Fire Department Foundation.

You can purchase the track here.

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Boiler Room has released its 2025 audience report, outlining five “New Rules of Youth Culture” in thematic categories.

The report, which Boiler Room called their biggest audience study to date, aims to “better understand the Boiler Room community as a subset of a wider global youth population.”

Reaching into the heart of global club culture, Boiler Room surveyed 8,300 members of its community from nearly 50 markets, including Australia, France, Spain, Germany, Mexico, Japan, India and the UK and US. The acclaimed event brand polled members aged 18-34 to establish “a robust benchmark to understand how our audience sits within broader youth culture today.”

The first of the five themes, “Rooted in the collective,” addresses the need to celebrate diversity and inclusion in the community. “The new mindfulness” then highlights the essential proprietary blend of “health, social life, and fun.” Third comes “Technological skepticism,” which examines the recognition of technology’s integral role in club culture while avoiding over-reliance.

“Spending where it matters” is fourth, self-explanatory in nature. The final “rule” is “Finding resilience in purpose,” which describes the triumphant optimism, adaptability and creativity that will ultimately shape the future of youth culture.

Elsewhere in the study, another compelling data point illuminates the rising popularity of wellness initiatives. Boiler Room claims its community “is more health and wellbeing-focussed than ever,” with 74% reporting that mental health challenges are common among their friendship circles. Three quarters of of their audience try to spend time in nature to support their health and wellbeing, and 25% cited experts in those areas as a top influence.

You can read Boiler Room’s full 2025 audience report, “The New Rules of Youth Culture,” here.

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When two leading forces in harm reduction unite, the impact of their work has the power to create waves of change that ripple far and wide. That’s certainly the case for End Overdose and Fentanyl Frontline, who have joined forces to offer crucial harm reduction resources to festival-goers in LA County. 

The End Overdose booth will offer a variety of life-saving resources, from providing free naloxone to hosting informative trainings that arm visitors with the knowledge to recognize and respond to an overdose. Exclusive giveaways and festival swag will also be available.

These harm reduction efforts are essential in LA County, where in 2021 fentanyl accounted for 55% of drug overdose deaths, according to data from the Los Angeles County Department of Public Health. Accidental fentanyl overdose deaths increased by approximately 17 times between 2016 and 2022, per LA County Substance Abuse Prevention & Control.

Both End Overdose and Fentanyl Frontline continue to offer critical overdose prevention and harm reduction education in Los Angeles and beyond, providing resources to hundreds of thousands of individuals.

In other End Overdose news, the nonprofit recently launched a groundbreaking educational tool to support training in overdose response. The organization was named one of EDM.com‘s best industry leaders in both 2022 and 2024.

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Website: endoverdose.net

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In a city renowned for its obsession with outdoing itself, it’s only fitting that the first electronic act to headline the futuristic Vegas Sphere would debut in truly jaw-dropping fashion.

Over the 2024 holiday season, Anyma delivered against even the loftiest of expectations, unveiling “Afterlife Presents Anyma ‘The End of Genesys'” in a breathtaking fusion of music and transhumanist art. Engulfed by the world’s largest wraparound LED screen, he orchestrated a performance that felt less like a traditional dance music concert and more like a sci-fi opera set to the cinematic pulse of techno.

From the moment his colossal robot visuals smashed through the digital “fourth wall,” it was clear that Anyma didn’t just just aim to dazzle spectators in the immediate moment—he sought to present an entirely new vision for what the future of electronic music performance could become.

We were in the Sphere for both the opener of Anyma’s groundbreaking residency as well as its climax: the New Year’s Eve show. Read on to discover some of the most extraordinary revelations and moments from his historic run, which is set to wrap up with shows January 10-11, 2025.

Sphere’s inner skyline: A fitting NYE countdown

As the final seconds of 2024 ticked away, the Sphere transformed into a canvas for one of the most unforgettable moments in its short but storied history. Anyma’s iconic Afterlife humanoid burst through a wall of shimmering, digital glass—not into its usual abstract dimension, but instead revealing the real-life Las Vegas skyline in stunning hyper-reality.

For a brief moment, it felt as though the Sphere’s dome had simply vanished, leaving the crowd exposed to the city’s glowing horizon. Fireworks ignited in perfect synchronization, flooding dazzling reflections across the venue’s sprawling screen and the faces of the awestruck audience. It was a celebration of innovation, a moment where Anyma’s vision, the Sphere’s bleeding-edge technology and the feel-good energy of the holiday season all contributed to a spectacle that could only be described as transcendent.

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A symphony of robots and strings

There’s a reason Anyma refers to his Sphere show as “a cybernetic opera.” From the floor of the venue, a dual set of robot cellists flanked the artist, bringing the show’s epic melodies to life. Each stroke of the bow became a meditation on transhumanism, a central theme in the Afterlife storyline.

As the spectral tones intertwined with the steady pulse of techno kickdrums, the stage transformed into a shrine for the coexistence of humanity and technology. In the moment, Anyma and his mechanical counterparts seemingly merged into a single entity, reflecting the expanded potential unlocked when human creativity fuses with the technological tools of the future.

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Virtual avatars redefine stage presence

In “The End of Genesys,” Anyma challenges the perception of what it means to be “present” onstage. Ellie Goulding’s likeness appears in a larger-than-life digital form, her face fragmenting and reassembling in time, synced to a haunting unreleased collaboration the two powerhouse artists have in the works called “Hypnotized.” Though she was only physically present on opening night, her virtual presence at the venue is so vivid and immersive that it feels as though she’s commanding the stage in real-time.

Anyma himself also became part of the digital evolution, briefly morphing into a virtual avatar of his own within the Afterlife storyline. During a stunning performance of “Human Now,” an unreleased collaboration with Empire of the Sun, an android transforms into the Italian superstar—tattoos and all—with stunning clarity.

This pioneering integration of virtual and physical likenesses points to an emerging new frontier in live performance, one where avatars enhance, expand and redefine the boundaries of performative art.

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The continuity of crowd energy

While the Sphere’s groundbreaking visuals and Anyma’s meticulously crafted performance were undeniable highlights, the energy of the crowd added its own irreplaceable dimension to the experience. That was partly due to the venue’s haptic feedback elements, including seats that vibrate in alignment with the onscreen action.

Such design elements collectively created a unique sense of physical connection between the audience and the performance that’s not often felt at large-scale venues. It was as though the audience members were plugged directly into Anyma’s cybernetic universe, but even so, many still felt inclined to get on their feet and dance. 

Regardless of how one chooses to enjoy the show, the crowd’s energy is palpable, with people audibly erupting in collective awe as the high-stakes production unfolded around them.

The full-circle finale: Man and machine become one

As the show draws to a suspenseful close, the spoken-word lyrics of “Eternity” ring into the void, tying the present pinnacle moment in the saga of Afterlife back to the brand’s earliest origins. It’s poetic, almost cyclical: “Eternity” and its associated humanoid robot visuals were the sparks that turned Afterlife into a bona fide global phenomenon, and now they served as the emotional anchor for the show’s climactic conclusion.

By returning to the very concept that first connected audiences with his vision, Anyma reminded us that even in the vastness of his cosmic carnival, there’s a distinctly human vision and intuition that continues to bring it all to life.

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