As more and more DJs speak out against smartphone use at shows, Chris Stussy has defended it.

Appearing on The Will Clarke Podcast for a recent interview, the Dutch house music virtuoso addressed prevalent concerns in the global electronic music community about excessive smartphone usage in nightlife.

“That’s just the new generation, they just want to capture a moment,” Stussy said. “But not just a moment—they want to capture every moment that they feel like, ‘I was a part of this.'”

Stussy drew comparisons to expensive sporting events, saying that if people are paying high prices for the occasion, they’ll likely want to film it.

The DJ’s comments lock horns with anti-device sentiments made by many artists in 2024, like the influential Bob Sinclar, who recently took to social media to reprimand smartphone usage in clubs after a particularly vexing event he called the “worst gig” of his career. Other prominent artists to lament the trend include Damian Lazarus, James Hype and MEDUZA, Barry Can’t Swim and WAVEDASH.

The ongoing debate illuminates the fine line we walk between capturing lasting memories and robbing ourselves of authentic experiences from behind a screen. A recent study found that 55% of live music fans prioritize recording footage of a performance over being present in the moment.

Watch Stussy’s comments below.

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DJ Chris Stussy recently shared his views on filming on phones at events. What are your thoughts? credit: @The Will Clarke Podcast

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Luck is when preparation meets opportunity. For HAYLA, the window to strike revealed itself at a peculiar moment.

The building blocks of HAYLA’s breakout came at a time of great difficulty for most. The UK was ebbing in and out of lockdowns during the COVID-19 pandemic. During one government-sanctioned ease-up in June 2020, HAYLA reunited with writing partners Will Clarke, Eddie Jenkins and EDM.com Class of 2024 star Camden Cox.

The situation wasn’t fortuitous but it emboldened HAYLA to pen something everyone could resonate with: a song about escapism.

“It was quite an emotional time for everybody,” HAYLA tells EDM.com while discussing the release of her debut studio album, DUSK. “The message we conveyed, I hope loads of people felt they could connect with. We also felt very strongly about how we were all held up. We didn’t have anywhere else we could go.”

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HAYLA etched her name in history by lending her powerful vocals and songwriting skills to Kx5’s debut single, “Escape.” It’s not often someone is on the ground floor of something new. Something big. HAYLA and her co-writers presented the song to deadmau5 and Kaskade as the two pioneering producers prepared for a mysterious joint venture.

“Kx5—the actual project—was not in the world yet. It was a brand-new collaboration between Kaskade and deadmau5,” HAYLA says. “It was absolutely amazing to be part of that project. Considering the time we were going through, it’s incredible how many people it’s resonated with. We all needed to escape a bit during lockdown.”

“The version you hear now, the music they added turned it into a masterpiece,” she adds. “I absolutely love what they did with the vocals. To send the vocal over and receive a track back like that was absolutely incredible.”

“Escape” put HAYLA on a collision course with a song of even broader impact. John Summit had recently put his artistic touch on an official “Escape” remix. The through-line from Kx5 to Summit spurred HAYLA and her co-writers to approach him with a song called “Where You Are.”

“When ‘Escape’ happened, John did the remix,” HAYLA explains. “The same team pretty much got together again and wrote the top line for ‘Where You Are.’ We said, ‘It’s quite interesting. John is doing really well with the remix and people seemed to really like what we did there, so maybe he would like it.’ We sent it across.”

“Where You Are” exploded as arguably the biggest song of 2023, even eclipsing the broad reach of “Escape” the year prior.

“It’s genuinely been one of the quickest turnarounds of a track I’ve ever had,” HAYLA says.

HAYLA’s climb was a joint effort, an axiom that rings true for anyone who’s succeeded. No matter how prominent someone seems, there’s always a foundation of support behind them. HAYLA and her co-writers, Kx5 and Summit, each contributed crucial pieces to their acclaimed songs.

But now that HAYLA is here, she’s firmly planting her feet and paying it forward.

“I’ve found so much comfort over the years with writing as a form of therapy, as a diary and a license to experiment and go for it,” HAYLA says. “I feel like writing this, I hope it inspires people to feel like if I can do it, why not maybe the person listening to it as well?”

Her career is in full bloom after releasing DUSK and new collaborations with MEDUZA and Kygo. But if all ended after the one-two punch of “Escape” and “Where You Are,” HAYLA could hang her hat on leaving a permanent imprint on music fans.

One of music’s great gifts is how it tethers to experiences. Music and memories weave together so profoundly they meld at the seams. Try as you might, sometimes it’s impossible to separate song from thought. “Escape” and “Where You Are” were electronic anthems for 2022 and 2023, songs with enduring popularity. Their overwhelming impacts mean that HAYLA’s voice is immortalized for as long as millions of memories endure.

“From being a music lover myself, I have tracks that are integral to my life and pinnacle times in my life. To hear that people my vocals from other tracks and it’s become part of their moments that they’ll remember forever and cherish, it’s really nice to hear,” HAYLA says. “Honestly, I don’t know if I’ve really sat back and thought of that, but it’s been amazing. It means a lot.”

Fortunately, there is no need to ponder what-ifs or cling only to old memories. There are countless new ones to make. HAYLA and her intoxicating vocals take center stage for her debut headlining show at Los Angeles’ Roxy Theatre on Dec. 4th. In the meantime, watch the full video interview below and find her new album on streaming platforms here.

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Universal Music Group, ABKCO and Concord Music Group are seeking “at least” $500 million in damages after filing a copyright infringement lawsuit against TuneCore and the music distributor’s parent company, Believe, Billboard reports.

TuneCore allows independent artists to easily distribute their music across major streaming services like Spotify, Apple Music and Amazon. The company, which in 2015 was acquired by Believe for an undisclosed sum, says it’s paid out over $4 billion in revenue to artists since its 2006 launch.

UMG, ABKCO and Concord have collectively accused TuneCore of enabling “massive” fraud and piracy in the bombshell lawsuit, filed November 4th in Manhattan federal court. The coalition’s complaint alleges that Believe’s platform is “overrun with fraudulent ‘artists’ and pirate record labels” that are distributing illegal derivatives of hit songs to streaming services and social media.

Those so-called artists, lawyers for the plaintiffs claim, uploaded “minor variants” of hit tracks by the likes of Kendrick Lamar, Ariana Grande, Justin Bieber, Lady Gaga and many more. They reportedly attempted to avoid detection by attributing the music to intentionally misspelled names like “Kendrik Laamar,’ “Arriana Gramde,” “Jutin Biber” and “Llady Gaga.”

Believe, which operates in over 50 countries, has positioned itself as an independent, artist-friendly alternative to major label distribution. The explosive lawsuit, a major escalation in the ongoing battle against music piracy, accuses the company of failing to adequately police its platform.

“Believe is a company built on industrial-scale copyright infringement,” a UMG spokesperson said in a statement. “Their illegal practices are not limited to cheating artists on major labels but artists on independent labels as well—including artists on the independent labels within the trade bodies of which Believe is itself a member.”

“It’s no wonder that Believe has been outspoken against the streaming reform principles for which so many major and independent labels have been advocating. Why? Because such reforms would undermine and expose their system of building scale and market presence by distributing music for which they have no rights and illegally collecting royalties to enrich themselves and their co-conspirators.”

A spokesperson for Believe vehemently denied UMG’s claims and said the company is preparing to fight them in court.

“As companies that work with artists and labels around the world, we take the respect of copyright very seriously,” the Believe rep told Billboard. “We strongly refute these claims, and the statements made by Universal Music Group and will fight them. We have developed robust tools and processes to tackle this industrywide challenge, working collaboratively with partners and peers and will continue to do so. We have been at the forefront of the digital music ecosystem for nearly 20 years, supporting the development of independent artists and labels, and have been awarded Tier 1 status and included in the Preferred Partner Program across all music stores.”

You can read the full complaint, obtained by MBW, here.

The Ninth Circuit U.S. Court of Appeals has upheld a lower court’s decision allowing a class action lawsuit to proceed against Live Nation and its subsidiary, Ticketmaster, over accusations of excessive ticket pricing.

The plaintiffs in the class action suit claim that Live Nation has monopolized the ticketing market, thereby inflating prices and limiting consumers’ choices in the process. The court condemned the company’s attempt to enforce restrictive arbitration policies, agreements that force customers to settle disputes privately rather than in court.

The ruling declared those policies “unconscionable and unenforceable.” The development marks a significant shift after previous lawsuits were effectively blocked by these terms, which the court found made it nearly impossible for consumers to hold the ticketing giant accountable.

Live Nation initially argued that purchasing a ticket implicitly meant consumers waived their right to sue and instead required arbitration. However, the appeals panel has found the terms to be overly biased, stating in the decision that they were “so dense, convoluted, and internally contradictory as to be nearly unintelligible.”

The ruling comes amid other ongoing legal troubles for Live Nation, including a separate multimillion-dollar lawsuit following a Ticketmaster data breach that exposed the private information of up to 560 million users, per TheTicketingBusiness.

Universal Music Group has made it clear that any advancement in AI music technology must put artist rights at the forefront. 

With a series of high-profile lawsuits targeting AI developers who trained models on copyrighted works without authorization, UMG’s legal actions have demonstrated the label giant’s commitment to protecting artists. Now, the company is taking proactive steps to reshape the landscape by joining forces with Klay Vision to develop an ethical framework for AI-generated music.

Klay has committed to creating “responsibly trained” models that uphold copyright laws, an approach UMG deems essential in preserving the integrity of human creativity. The firm aims to ensure that its models support rather than compete with traditional music catalogs, focusing on innovation that benefits instead of replacing human artistry.

“Building generative AI music models ethically and fully respectful of copyright, as well as name and likeness rights, will dramatically lessen the threat to human creators,” the companies said in a joint statement.

UMG has been carefully curating partnerships with companies that share its vision for ethical AI. Deals with companies like SoundLabs, and now Klay, illustrate the company’s resolve to protect their intellectual property.

According to UMG’s Chief Digital Officer, Michael Nash, “advancing generative AI technology in ways that are both respectful of copyright and have the potential to profoundly impact human creativity” remains a top priority.

Prodigy Artists, the powerhouse music management company behind some of electronic music’s biggest stars, has named Eric Bindman its new Director of Operations. 

Bindman’s promotion signals Prodigy’s continued focus on scaling up operations and expanding its reach. Founded by Steven Haddad and Will Runzel, the firm represents a who’s who of elite DJs and electronic dance music producers, including NGHTMRE, Audien, SLANDER, Grammy-winning producer Bēkon and rising stars like Pauline Herr. Prodigy’s accomplishments this past year alone speak volumes: SLANDER’s national tour drew over 165,000 fans while Bēkon topped the Billboard Hot 100 as a producer of Hozier’s “Too Sweet,” all while Prodigy’s collective ticket sales surpassed 380,000.

Bringing over 15 years of multifaceted music industry experience to his new role, Bindman is no stranger to the demands of the business. His career spans artist management, publishing, talent booking and touring logistics for Deorro, Two Friends, 3LAU and more.

As he steps into his new role as Director of Operations, he’ll now be ensuring the firm’s infrastructure can meet the needs of its rapidly expanding client roster.

“I think what I’m most proud of is being able to stand behind the artists that I manage successes,” Bindman tells EDM.com. “They’ve all had record-breaking years and genuinely exciting release schedules. Whether they’re mid-album cycle or doing weekend warrior touring, I’m most proud of each artists’ success in finding their own path and planting their flags in the sand and deciding what they want to stand for; and I’m honored and proud to play a part in that.”

Haddad and Runzel also expressed confidence in Bindman’s vision, calling him a “meticulous and skilled artist manager” who is well-equipped to steer Prodigy through an exciting era ahead.

When asked about any critical developments identified by Bindman in the dance music space, he points to a paradigm shift for DJs in the live sector.

“I think as the nightclub landscape is evolving and moving away from built-in club nights and protected rooms, artists have to evolve,” Bindman explains. “As soft tickets become less soft by the quarter, it’s that much more important to double down and develop your core fan base. If fans know where to sonically find you—and programming via festival stage—you’ll be able to foster a devoted fan base that can grow with you.”

“As the clubbing circuit drastically changes, it’s important to build your hard ticket history,” he continues. “Even if it means going from a 1,000-cap nightclub to a 200-cap hard ticket venue, it helps with the artists’ career longevity and helps to foster a true fan base. And here at Prodigy, we have been championing building hard ticket tours and helping acts build themselves in this new landscape.”

Find out more about Prodigy Artists via the company’s website.

Once an underground movement known for its deep, soulful grooves, it’s no secret that Afro House is surging into dance music’s mainstream. And the 2024 Amsterdam Dance Event left no doubt about its broadening global reach. 

This year’s edition of the world’s leading electronic music summit drew in roughly 500,000 fans to the Dutch capital, where Afro House took center stage. Across a myriad of high-energy showcases and informative panels, the genre’s foremost innovators made a collective stylistic mark on the conference, proving their movement is capable of uniting diverse voices and sounds.

Afro House’s presence at ADE 2024 was a journey across soundscapes, storytelling and cultural fusion that seemed to resonate with audiences hailing from every corner of the world. The week kicked off with the debut of Ópalo Records on October 16th at the iconic Panorama Studio in A’DAM Tower. As the sun set over Amsterdam, the launch event began with a packed panel discussion titled “Afro House: From Roots to Global Impact,” led by MANU and featuring 16 influential voices in the genre.

The intimate discussion journeyed through the genre’s cultural evolution into a powerful force within the global electronic music community. Artists, producers and fans alike came together to explore the its past, celebrate its present and envision its promising future.

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Under the twinkling city lights, the rooftop venue turned into a dance sanctuary as Afro House icons AWEN, DJEFF and Floyd Lavine took over the decks in celebration of the official Ópalo Records launch party. Blending Afro rhythms with an Ibiza-like atmosphere, the evening showcased the genre’s power to transport audiences, fusing the genre’s signature groove with euphoric soundscapes. The experience reflected precisely the unique blend of community and artistry that the genre champions, while champagne toasts and heartfelt exchanges filled the night with camaraderie.

Two days later, the momentum continued with the Ópalo x Nambaka event at Soulkitchen on October 18th. FNX Omar, Karyendasoul and Lazarusman took the stage with powerful live performances that collided live drumming, dance and electronic music, bringing the genre’s rich textures to life.

At Club Prime the next day, the TRIANGLE event “Dive into the Unknown” offered a different, but no less intimate, flavor of Afro House. Rising stars Joezi and Tayllor led the night, infusing the room with deep, tribal elements rooted in the underground. With a focus on emerging Afro House artists, TRIANGLE set a stage for the genre’s future innovators in an intimate, transformative space.

For fans looking for a communal celebration of transformative unifying power, the One Tribe event at Shelter was among the standout events of ADE. Staged in the underground Shelter venue beneath A’DAM Tower, the night brought together renowned artists like LP Giobbi and EDM.com Class of 2023 inductee AMÉMÉ. Funky, deep sonics poured from the Funktion-One sound system as LED visuals pulsed in harmony with the crowd’s movements. Travelers from across the globe came together under One Tribe’s message of unity, celebrating the characteristically connective energy that Afro House brings to the dance floor.

ADE’s Afro House offerings culminated with the MoBlack Records Showcase at Chicago Social Club, curated by a luminary of the genre, MoBlack. Each set by Arymé, Francis Mercier, Benja and EDM.com Class of 2024 star Nirefreak brought a unique approach to the genre’s fusion of soulful rhythms with future-forward electronic beats. The night felt like an evolving tribute to the genre’s ancestral roots, drawing in those seeking a deeper experience of its sound and spirit.

Afro House’s presence at ADE 2024 substantiated the genre’s role as a transformative and unifying force within electronic music more clearly than ever before.

Across performances, panels and celebrations, it connected its cultural past with an inclusive, innovative future—and showed the global dance music fandom that its pulse is only growing stronger.

When Rebecca Black first entered the spotlight as a teenager, her explosive rise to viral fame came with an overwhelming wave of attention—both positive and negative. Over a decade later, she has transformed that early experience into a platform for reinvention, proving she’s much more than a fleeting online sensation.

Now, she stands as an artist who has taken control of her own narrative. With the release of her latest single “TRUST!” and a performance at San Francisco’s Portola Festival, she’s stepping boldly into a new chapter.

We caught up with Black backstage to discuss her creative evolution, her love of DJing and how she’s turning past challenges into fuel for her future.

From pop star to DJ: a multifaceted talent

While Black is well-known as a singer and performer, she’s also been exploring DJing. Her recent Boiler Room debut showed that she can command attention on multiple platforms, despite its incendiary effect on social media.

When asked how she differentiates between these two personas, Black says, “As a performer, everything is planned, rehearsed. There’s a story, a character, and I know exactly what I’m doing from start to finish.”

DJing, however, offers a refreshing change of pace.

“With DJing, I get to be flexible,” she explains. “I started six years ago at a friend’s house because I loved reading a room, figuring out what works, and making it the best night for everyone there.”

For Black, DJing is about creating an environment where spontaneity reigns.

“I might walk in with an idea of what I want to do, but the set always changes depending on the crowd,” she explains. “It’s less about the performance and more about riding the energy of the room.”

Embracing vulnerability in “TRUST!”

The release of “TRUST!” marks a significant turning point in her career, showcasing not only her growth as a vocalist, but also her fearlessness in addressing vulnerability. For Black, releasing the track has been about more than just adding another hit to her repertoire—it’s a form of personal release.

“I wrote [“TRUST!”] over a year ago,” she says, her excitement palpable. “From the moment we wrote it, everyone felt it was something special.”

“It feels like I’ve been carrying this huge weight,” she adds. “The further you get from your last project, the more you feel like you’re in this identity limbo.”

Black has found a way to channel that uncertainty into confidence, using her music as a vehicle for self-expression and exploration. Her artistic evolution since the infamous “Friday” is clear, with her recent work drawing heavily from growth, resilience and a profound appreciation of dance music.

The camp and glam of “TRUST!”

Part of what makes “TRUST!” such a standout is its official music video, which takes place in a courtroom—a symbolic setting that mirrors Black’s own journey in the public eye.

“When I met with Olivia, the director, she brought up the idea of me being put on trial for going viral with ‘Friday,'” Black reveals with a smile. “It was funny and so in line with the character I created for ‘TRUST!’.”

Filmed on a set that resembles an authentic California courthouse, the video is steeped in campy glamour and satire, a signature Black approach that blends humor with depth.

“I always loved the idea of glamorous girls in ugly, unglamorous settings,” she explains, citing her references for the visuals—constantly on trial by the court of public opinion.

The idea of being on trial is deeply resonant for Black. She candidly discusses how her life has felt under constant scrutiny since “Friday” went viral.

“I don’t know if I’ve ever known what it’s like to not be on trial,” she admits. “But taking that and turning it into something fun, into something that gives me power, was really cathartic.”

Looking ahead to a new chapter

At 27, Black has already lived many lifetimes in the public eye. Born and raised in Irvine, California, she was thrust into the limelight at the age of 13 when her debut single “Friday” exploded on the internet.

Though it was met with mixed reactions—ranging from viral fame to brutal criticism—Black has emerged on the other side stronger, more self-assured and artistically liberated.

Her latest album, Let Her Burn, released in February 2023, is a testament to that perseverance. The project represents Black’s full embrace of her identity as both a queer artist and a pop icon.

“This album is the most ‘me’ thing I’ve ever made,” she gushes.

As Black continues to push boundaries both musical and personal, one thing is clear: she’s far from the one-hit wonder many initially pegged her to be. Instead, she’s diligently crafting a legacy built on resilience and authenticity, proving that the trials of public opinion can be transformed into something powerful, glamorous and, above all, fun.

“I’ve learned that taking myself the least seriously is sometimes the key to being taken seriously,” Black says with a giggle. “And I’m okay with that.”

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Avant Gardner, the owner of Electric Zoo who hosted the festival’s disastrous 2023 edition, has hired a new CEO, Billboard reports.

Josh Wyatt, the former CEO of collaborative workspace giant NeueHouse, has been tapped to lead the company and get back into the good graces of Electric Zoo’s fans.

“If I were to make a constructive criticism of the company in the past, it’s that they have not always done a good job of communicating with the various [Electric Zoo] stakeholders,” Wyatt said of last year’s failed event.

“Over the last eight weeks, I have reached out to every key stakeholder in Electric Zoo and I’ve made them whole,” he added with regard to refunding ticket-holders and managing legal issues. ‘I’m proud of that.”

Avant Gardner, an indoor-outdoor venue that includes the famed Brooklyn Mirage, purchased Electric Zoo just a year before its ill-fated 2023 event on Randall’s Island, which led to a number of class action lawsuits.

Now, Wyatt says he’s planning an “experiential evolution” of the complex after an unnamed investor “injected the company with growth capital.” In partnership with Avant Gardner co-founder Billy Bildstein, he’s revealed a new mocktail bar initiative and community spaces, like a hi-fi listening room and visual and art studios.

At the time of this writing, Avant Gardner’s proprietors have not yet formally announced when the new experiences will be implemented.

Remember when dancing meant moving your feet instead of your thumbs?

In today’s war between FOMO and flow state, excessive smartphone usage is entrenched as one of the most contentious flashpoints in the global electronic dance music scene. As debates around digital intrusion on dancefloors intensify, Heineken has launched a new app, “The Boring Mode,” escalating the industry’s broader push to balance technological integration with preserved authenticity.

According to research from Heineken, 60% of Gen Z and Millennial smartphone users across the UK, US and the Netherlands reported they believe they’d enjoy concerts more if they could disconnect from their devices. A more grim figure is the 55% of respondents who admitted that they prioritize capturing footage of a performance over being present in the moment, even though 13% said they rarely watch back the videos they record anyway.

“The Boring Mode” aims to restore the authentic dancefloor experience by temporarily disabling a phone’s most distracting features, including apps, notifications and camera functions. While some argue that recording and sharing are now integral to modern music culture, Heineken’s approach offers a middle ground—voluntary disconnection without completely banning devices.

A proof-of-concept took place during last week’s Amsterdam Dance Event, where fans attempting to film Barry Can’t Swim‘s DJ set were instead met with a message—sent using infrared lighting—encouraging them to turn their smartphones “boring.” The renowned Scottish DJ and producer, whose real name is Joshua Mainnie, has enthusiastically backed the tool.

“When I heard about the new ‘anti-smart’ phone concept, it was something that struck a chord with me,” Mainnie said. “With live music, of course you are more present and immersed if you are giving it your full attention, rather than taking a video on your phone. And without phones, the energy is definitely different—people are more connected on the dancefloor.”

Barry Can’t Swim joins a slew of prominent electronic music artists and venues in the crusade against smartphone usage in nightlife. MEDUZA and James Hype launched a campaign to “preserve the authenticity” of club culture by denouncing excessive recording and Wavedash discouraged smartphone use by asking fans to cover their cameras with stickers blazoning the phrase, “Social media? No thanks.”

Renowned DJ and festival organizer Damian Lazarus instated a groundbreaking no-phone policy for his summer residency at the famed Hï Ibiza venue, establishing a new precedent on the fabled Spanish party island. Ibiza legend Bob Sinclar also recently lamented the scourge of content culture in nightclubs after a show he called “the worst gig of [his] entire career.”

The Boring Mode is available to download for free on iOS and Android.