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Tag: David Guetta

  • Your Weekend Playlist: New Music To Listen To This Friday

    Your Weekend Playlist: New Music To Listen To This Friday

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    How is it already August? As we enter the final month of the summer, we’re gearing up for even more new music to come our way. It’s the month of new albums from stars like Sabrina Carpenter, Post Malone, A$AP Rocky, and more…which means singles will be left and right.

    But that’s not all, we’re shifting into the fall releases for new music…and fans are speculating that a certain Taylor Swift will re-release Reputation (Taylor’s Version) very soon. So, there’s a lot to look forward to with the quickest summer ever coming to an end.

    And while we’re still in the middle of a heat wave, I’m looking forward to heading to the beach and getting some much-needed vitamin D…but that means I’m going to need a good playlist filled with new music released this week. Luckily for everyone involved, I create a weekly playlist filled with just that!

    I find the best of the best when it comes to new songs. I listen to new albums, read through every press release, and search every Spotify playlist for what’s actually worth listening to. Plus, the playlists aren’t terribly lengthy…so it’s a really manageable listen too!

    We’ve already wasted enough time here, so I want to get to the point. To enjoy a nice weekend, you need a weekend playlist. Let’s get listening!

    Charli XCX, Billie Eilish- “Guess (Remix)”

    If there’s one thing for certain, it’s that Charli XCX’s BRAT album inspired our summer. You may have heard about having a BRAT Summer, which includes partying as much as humanly possible and living your life…but Charli isn’t finished teaching us how to be a BRAT. Now, she’s partnered up with an unexpected collab: Billie Eilish.

    The remix is sure to be a hit. “Guess” on its own was enough to send Charli into the mainstream, but adding Billie’s flirtatious lyricism to the mix makes it a surefire radio play. It’s both pop and house, which is super timely considering a few popstars are heading to house music. BRAT summer continues, Billie style.

    Jessie Murph ft. Teddy Swims- “Dirty” 

    Two powerhouse vocalists join to create a soulful, cutting breakup anthem about a partner who has cheated on you. It’s every bit as vengeful and catchy as you’d imagine. It fully sums up when you’re done with a partner who’s treated you wrong while showcasing the vocal prowess of Jessie Murph and Teddy Swims.

    With two big names in the music industry whose star power continues to grow exponentially, “Dirty” is an exciting development from the pair. Ahead of Jessie Murph’s debut album, this is just the beginning for two rising stars in the industry.

    Gryffin- PULSE

    With new album, PULSE, Gryffin goes back to his house roots. He gears up with heavy hitter collaborations like John Newman, Rita Ora, Whethan, and more, all while creating catchy dance tracks that fit perfectly with the summer. An album made to be played on the dancefloor while surrounded by friends and music lovers alike, there’s not one song that’s a skip.

    PULSE is a great listen for those who need to start a pregame off the right way. With lots of synths, great beat drops, and strong lyricism, Gryffin continues to blaze his own path in creating pure EDM with his own, fun twist.

    Maren Morris- “Intermission” 

    Maren Morris has a cathartic, lilting voice that carries through her EP, Intermission. Surprisingly honest, a delight to listen to throughout its entirety…Intermission is a loving, honest submission into Morris’ catalogue. She’s impressive, but we already knew that. And that’s what makes her music so easy to listen to. About the EP, Morris states,

    “Here’s my heart journey and gamut of emotions packaged into 5 songs. Covering loss, catharsis, sexuality and gratitude, I hope you hear the light coming back to me in them and somewhere perhaps see it mirrored in you.

    RUFUS DU SOL- “Lately” 

    “Lately” is the first track from legendary EDM group, RUFUS DU SOL, since 2021 when they released “Music is Better.” Now, three years later, they’re here to remind us what makes them an essential group in music. Their sounds are light, sending you straight to a rooftop in the city somewhere.

    A borderline transcendental experience, “Lately” is both calming and upbeat at the same time. Soft in all the right places and explosive in others. If you needed a lesson on how the band can create magic in a song, listen to “Lately.”

    Carlita, SG Lewis- “The Moment” 

    Carlita is on the verge of her big moment. With her debut album coming in November, Sentimental, and a subsequent leading single with SG Lewis to showcase it, there’s no stopping her. “The Moment” is a thrill from the very start, combining every little skill Carlita has learned along the way of her already illustrious career with SG Lewis’ ability to make any song a hit.

    If this gives us a taste of the new album, then we’re in good hands. “The Moment” is everything we’ve been wanting in a song so far.

    David Guetta, AFROJACK- “Raving”

    Two titans in the industry: David Guetta and AFROJACK have united to release their highly anticipated new single, “Raving.” The song title is a little self-explanatory, but it makes you want to go rave. It’s fun, and specifically in time for BRAT Summer. We’re loving the hard house music lately, and this track is made by some of the best in the EDM industry.

    “Raving” is what we needed to close out the summer: an electric single that gets you moving. It’s a fun track that just keeps getting better as time goes on.

    Sonny Fodera, Jazzy, D.O.D- “Somedays” 

    Sonny Fodera has already made many hits, but this song proves he can do it time and time again. It’s no shock that his production is borderline seamless and his collaborative efforts are always a success. “Somedays” is no different. It’s fun-filled and captivating, replay worthy even.

    Alongside Jazzy and D.O.D, Sonny Fodera pairs vocal talent with bass-heavy beats. A summer anthem without a doubt, “Somedays” will be a great addition to any playlist.

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    Jai Phillips

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  • Introducing The Real Becky Hill

    Introducing The Real Becky Hill

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    TW: This article contains mentions of sexual assault.

    A few months ago, I sat with Becky Hill backstage before her sold-out Brooklyn Steele performance. As we chatted about her collaborations and the struggle of being taken seriously as a solo artist, I could feel Hill’s passion. She’s an artist who takes her craft very seriously, someone who’s both humble and fiery all at once, with a voice that can bring an entire room together.

    Now, as I sit listening to Becky’s album a month before it’s released into the world for the critics and fans to pick apart and devour, I remember her desire to create real drum and bass music. I remember her promises of a record in the works, but I had no idea that it would be so powerful. The new album in question, Believe Me Now?, is a perfect summation of Becky Hill’s already illustrious career.

    Sure, she was discovered on season one of The Voice UK, but she’s also the only Voice contestant to score a #1 UK single. Despite mega-hit features on essential chart-topping house tracks like “Crazy What Love Can Do” with David Guetta, “Lose Control” with MEDUZA and Goodboys, “Gecko (Overdrive)” with Oliver Heldens, and “HISTORY” with Joel Corry…Becky Hill’s voice has been the main event- deserving of shining on its own, and not just because a male DJ is attached to the track.

    Which brings us to now: the release of her third and resoundingly best album, Believe Me Now? The album pushes boundaries: intertwining her classic, beloved drum-and-bass style with powerful ballads, sprinkling in her classic dance club roots with honest, vulnerable lyricism. It’s a sign of maturity and growth as a vocalist that Hill digs so deep within her songs, reflecting on heartache, love, and all the struggles she’s endured throughout her life.

    Songs like “Swim” will be instant favorites for those who love Becky’s classic upbeat dance moments…but songs like “True Colours” give us a glimpse into a darker time where Hill details her experience with being sexually assaulted and her healing process.

    Believe Me Now? proves that Becky Hill indeed is a voice of our generation. She’s left it all on the table, showing her real self with no holding back, no bull…just Becky. The album rips her away from “The Voice contestant” or “feature artist” and into a realm of her own: one where we know who the real Becky Hill is and her music alone is what matters.

    And 2024 just may be her year: with the new album coming out May 31 and a US tour looming in November…we’re ready to see what else Becky Hill has in store. It feels like she has it all figured out in terms of who she wants to be as an artist and who she is as a woman…which is why Believe Me Now? is an instantaneous classic. You can listen to the album here:

    Ahead of Becky Hill’s album release, I spoke to her about the real Becky Hill, dealing with her trauma, and more. Check it out below!

    PD: The title of the album, Believe Me Now?, seems to serve the message that you’re not messing around, you’re the real deal. Do you think your voice has finally been heard? Is this album the real Becky Hill?

    BH: Ah thank you so much! so lovely to speak to you guys again & I’m so glad you like the album!! This album has definitely felt like the coming of age of a lost girl that’s grown into a woman! I feel the most collected & comfortable in my own skin, like the hard work I’ve put into my career is finally starting to pay off & this album really reflects where I am in my life!

    PD: From starting on The Voice to now, what have you learned about yourself as an artist and a songwriter?

    BH: I guess before The Voice I was used to writing songs on my own in my bedroom & when I joined the music industry I started writing with other people. When lockdown happened I wasn’t sure if I could even write songs on my own anymore but I absolutely could. I wrote a couple of drum & bass songs on my own (“Hold On” – Netsky & “Here For You” – Wilkinson) & when starting this next album I wasn’t sure if I still had things to say, but I definitely did, they just grew with me. This album showed me how lonely I’ve been feeling & actually, on the business side of things, how determined I am to continue & build on the success I’ve had so far.

    PD: The track “True Colours” written with Lauren Aquilina is about your experiences with sexual assault. I know it can be difficult to open up about traumatic experiences in your music, but what made you do it with Believe Me Now?

    BH: I had taken all the steps of healing that I needed. I confronted the rapist, told my old friends, reported it to the police, had my old friends validate & apologize to me & now release a song about it. It’s felt like the final piece to the puzzle, being able to talk about something I used to feel so much pain & shame around & now to have released all that & show the world there was never anything for me to feel ashamed of in the first place has been so powerful. I spoke to my therapist about it last week, I guess I didn’t realize how much it had affected me speaking about it, she called it ‘the shame hangover’ & promised me that this was going to help others. “Self Esteem” is on the record too who has been dealing & talking about her experiences of sexual assault for a while now, so it’s been incredibly useful to have another artist to guide me through publicly speaking about such a sensitive subject.

    PD: These feel like some of your most emotionally vulnerable records…and yet you balance them perfectly with dance and house elements. Growing up in the dance community, what about it inspired your career?

    BH: Thanks!! That’s exactly the angle I was trying to create when making this album! It was the stories that my brother would tell of going to raves & having the best nights. The emotions I would feel that I didn’t know I had at such a young age that dance music would give me. The community of friends I had that were all so passionate about new releases on labels & artists & festivals. I loved all of it. It felt at its most prolific at the time I was discovering myself & my own taste in music. Dance has really changed my life, soundtracked it & taught me so much

    PD: This album showcases Becky Hill alone, not just who you can be on a collaboration. What was important to you while making this album and creating more solo work?

    BH: I guess I’ve always had different battles. Being a contestant on The Voice, or being a feature artist or not being able to release a song without having a feature on my record. I wanted to create a fully deep rooted dance pop album that showed I didn’t need anyone else featuring, that I could be a dance artist in my own right & that us girls can do it just as well, if not better than the boys!

    PD: Your headline tour starts in June. What are you most looking forward to?

    BH: Playing the new stuff!! I’m so glad I get to go out with new singles that people may not have heard already & show them the new stuff! The best part is seeing streams go up after gigs which shows that people want to listen back at home too, such a great feeling & I can’t wait to see everybody having a great time, that’s what my summers all about!

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    Jai Phillips

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  • Ultra Music Festival Drops Star Studded Phase 1 Lineup | Your EDM

    Ultra Music Festival Drops Star Studded Phase 1 Lineup | Your EDM

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    Ultra Miami has unveiled Phase 1 of its 2024 lineup, and it is absolutely stacked. Ultra mainstays like Hardwell, David Guetta, AFROJACK, Martin Garrix and Tiësto will be returning to Bayfront Park as per usual.

    Additionally, there will be huge sets from Eric Prydz and Calvin Harris, who is making his first Ultra appearance since 2013, as well as new sets from FISHER x Chris Lake’s “Under Construction” and a special live set from Svdden Death, Space Laces and Eptic as Masterhand.

    SLANDER, Sasha & John Digweed, Excision, Gryffin, Zeds Dead and more round out the Phase 1 lineup release. Get your tickets here, whether it’s your first Ultra or your twentieth, this year’s lineup is not to be slept on. Ultra continues to provide some of the best bang for your buck, and the setting in the heart of Downtown Miami cannot be emulated.

    Stay tuned for more Ultra lineup reveals! Check out the official trailer and lineup below

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    Mark Fabrick

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  • Becky Hill Is The Main Event

    Becky Hill Is The Main Event

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    Becky Hill is digging through her purse as I walk into her dressing room. It’s about a half hour or so until she’s headlining at The Brooklyn Steel in New York, and the opening duo act GAWD is getting the already-hyped crowd, who has chanted her name at any lull, ready for her. Arriving at the venue, there was no doubt in my mind people were ready for Becky Hill, but right now Becky is ready for me.

    She’s wearing a denim set that glistens in the light thanks to a thousand crystals, it’s reminiscent of Y2K pop queens like Britney Spears. Her face stretches into a warm smile as she hugs me and my photographer hello, ushering us to the couches and introducing herself as if I haven’t been listening to her music for a good chunk of my life. Sitting with Becky Hill already feels comfortable, and it’s all thanks to her.

    What Becky was looking for in her purse was her set of press-on nails, which she begins to put on as we speak…like we’re two besties gossiping before she has to perform. We start talking about the year she’s had already, with releasing two new singles: “Disconnect” with Chase & Status and “Side Effects” with Lewis Thompson.

    The two singles indicate a new album currently slated to release in May, which she’s so excited about. She knows how to write an album now, it’s a real dance album. She’s shed the fear of not being accepted for her album not being pop enough, and is showcasing her confidence as a woman, songwriter, and singer.


    “I found that the music I was putting out wasn’t matching the music I wanted to listen to…and I decided last year that I was going to make a f—ing album that I would rave to, that I would be seen listening to in the clubs.”

    She takes me on a journey: moving to London alone at age 18 with no friends or family to help her, she meets Karen Poole (or as Becky lovingly calls her, Auntie Karen) who has since helped her write and create songs like “Remember” with David Guetta. Poole is the melody queen, and Becky Hill has the voice that can take your breath away: powerful, gritty, moving, and real. It’s a match made in music heaven.

    “If you would say a lyric to your friend, then that’s what makes the song,”

    Becky got her start on
    The Voice UK as a member of Jessie J’s team, quickly separating herself as a star in her own right when she became the first and only member of the show to score a #1 UK single with Oliver Heldens’ “Gecko (Overdrive).” For the past two years, she’s received the BRIT Award for Best Dance Act. She’s collaborated with David Guetta, Joel Corry, Matoma, Jonas Blue, and more.

    Since I’ve spoken with both Joel Corry and David Guetta, I ask her about those collaborations: songs like “Remember” and “Crazy What Love Can Do” with Guetta, and “HISTORY” with Corry. Joel Corry is a friendly face, a hard worker and “an utter sweetheart.” She goes on to tell an amazing story about her relationship with David Guetta, one of the most iconic DJ’s to date.

    “David made a turning point in my career that he didn’t have to make. It just shows what a beautiful f****** person he is. “

    When Becky Hill proposed her song to David Guetta she left out a few facts: (1) that is was her song and (2) that Guetta wouldn’t own it

    for himself. Once she got his approval of the track, she let him in on the secret and he still wanted to work with her. Becky delves into how she hasn’t always been well-received as a woman in the dance sphere.

    “I absolutely love and respect David Guetta not for his empire of what he’s built and who he is…but how he has treated me as a woman in dance music, which is quite rare. The respect he has given me has been second to none and I’ll always have him to thank.”

    “Remember” is the catalyst track for Becky Hill- the one that changed it all for her and allowed her to unlock new, well-deserved success. It’s the last song she plays on her sets for a reason, the one he allows for her to perform at the BRITS, to celebrate all she’s accomplished summed up in one song.

    She shares her dreams of working with Calvin Harris, but being a feature artist is not where Becky deserves to shine. As a woman in a predominately male dance music field, it hasn’t come easy. Someone with Becky Hill’s voice and already impressive track record should be a well-respected titan in her industry…but not everyone is so easy to trust a woman. Becky gets serious as I ask about being a woman in the industry,

    “It’s more-so just deflating. I have had to work twice as hard in the industry- I’ve been working for 12 years, I came off The Voice when I was 18 and I just broke the UK two-three years ago. Still to this day I have been having to do features for people to even give a f– about my music. My label is amazing, but there’s still this conversation when I make a song about which DJ to put on. I think people are less responsive to women than they are faceless male DJs.”

    She lists faceless DJ’s like Marshmello and Daft Punk, who have found major success while women have to dress and look a certain way to be well-received. She’s not wrong, but she admits since she’s broken through she’s seen more women have the confidence to pursue their dreams.

    “It’s the same for all women: you have to be sexy…but not too sexy. You can’t dress too masculine, but you can’t dress too feminine.”

    And while Becky Hill has navigated all of this, she’s still a blazing star constantly growing her outreach. It’s a sold-out show, her first for New York, with 8,000 people there
    only for Becky Hill, and you know it won’t be her last.

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    Jai Phillips

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  • Your Weekend Playlist: New Music To Listen To Out Friday

    Your Weekend Playlist: New Music To Listen To Out Friday

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    I feel like this week has just been arduous. I’m counting down the hours until I can clock out and focus on my hot date with my couch and a glass of wine. And there’s no better way to enjoy your weekend than with a whole host of new music released today!

    Honestly, it feels like we’re at a weird point in the summer where I can’t really see a new song being The Song of the Summer. In fact, I’m going out on a limb to dub Taylor Swift’s “Cruel Summer” as the de-facto 2023 Summer Song because of the way it’s charting years after the release of Lover. No other artist has been as busy as Taylor, who has been on The Eras Tour, re-recording and releasing her old albums, and just overall killing the game.

    But that doesn’t mean it’s too late. Although it’s the beginning of August, summer is not over just yet. We’ve got about a month left of shenanigans, and you know that I’ll be here every week with a fresh batch of music. Here is your weekend playlist filled with new songs out Friday, August 4!

    David Guetta, Bebe Rexha – “One in a Million” 

    The GRAMMY-nominated duo who brought clubs and bars alike their repeat song “I’m Good (Blue)” is back with “One in a Million.” Another certified banger, you have to wonder if the two should release an entire album of club hits that make you want to dance. Mix Bebe Rexha’s powerful vocals with David Guetta’s iconic production skill that makes any track an instant hit, and you know you have the best playlist song ever.

    James Arthur, “Blindside”


    James Arthur is here with “Blindside”, an 80’s-inspired beat leads us into his crooning sound. With opening lyrics “Summer ends, and Autumn starts all fading into one”, Arthur creates poetry in the form of a song. You’ll want to dance, you’ll want to re-think your entire life, and you’ll want to hit replay once it’s over.

    Ethan Bortnick – doppelganger

    One to watch, Ethan Bortnick creates a symphony of sounds with “Doppelgänger”, a song that feels like a psychedelic trip in the best way. It’s a complex pop sound that feels like a tornado of piano and guitar and perfectly sums up mental health in the 21st century. Bortnick says,

    “I’ve been very vulnerable in my songwriting for the past year, and “doppelgänger” sees me playing a character for the first time. It’s a projection of something I’m afraid to become, but I know I already am. The song is an homage to the wild-wild west in an attempt to draw parallels to the chaotic nature of my chronically online generation, and how it has subtly made us all mentally ill.”

    DJ_Dave – “React”

    DJ_Dave is an exciting name in the electronic dance community who is able to create ethereal, unique, and refreshing beats. She self-produces, writes, and sings all by using code, which is just about the most impressive thing I’ve ever heard. A true talent and a generational mind create DJ_Dave, and “React” is no exception. DJ_Dave says,

    “This song and the process of making it really felt like I was collaborating with my computer because of how many elements I wasn’t expecting to create. Almost every main element of it was randomly created by different functions that work with probability. I started off wanting to challenge myself to make a slower song that still made me want to dance, and somehow every element from production to vocals came together so easily. “

    BoyWithUke – “Trauma”

    BoyWithUke, if you couldn’t tell, can shred a ukulele in every song. With this honest, raw approach, “Trauma” gives us an inside look into BoyWithUke’s childhood, the trauma he endured, and how he came to be as a person. It’s one of my favorite songs on this playlist, a mix of Arden Jones and the singer-songwriter-instrumentalist ability of Ed Sheeran.

    “It’s my most personal song. I didn’t have the worst childhood, but we had money problems and family issues. School wasn’t the greatest. There was some bullying. The song is about how it affects me now. I’m working on it, so I hope this song helps other people acknowledge and work on themselves.”

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    Jai Phillips

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  • Stadiumx Takes Us To “Heaven” With Sam Martin and Azariah

    Stadiumx Takes Us To “Heaven” With Sam Martin and Azariah

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    If you look at Stadiumx’s discography, you’ll realize their career is prolific…to say the very least. For over a decade now, they have an impressive career both collaborating with artists and releasing their own music. Beginning in 2014, platinum-certified record, “Howl At The Moon”, was Ultra Music Festival’s most played song that year. But for them, it was just the start.

    They have collaborated with some of the biggest names in the electronic dance community like Cash Cash and David Guetta. And now, they’ve teamed up with the legendary vocalist, songwriter, and composer Sam Martin. Martin’s known for helping out on hits with Jason Derulo, “Want To Want Me”, and Ziggy Marley, “Fly Rasta.” Together, Stadiumx, Azariah, and Sam Martin are releasing the masterpiece that is “Heaven!”

    “Heaven” is about looking back on your past relationships…and it’s masked by a summery, upbeat track that reminds you of sunshine and pool parties. It’s a classic Stadiumx mix, true to their beats and production, and to mix in Azariah and Sam Martin makes for a nearly perfect track. You can listen to the song here:

    Stadiumx talked to Popdust about what it was like making “Heaven” and working with all of these amazing artists through the years!

    PD: Congratulations on “Heaven!” It’s a perfect blend of genre-bending sounds that make for a great summer anthem. What was it like to work with Azahriah and Sam Martin for the track?

    Thank You! We are very happy to working with Sam again! He’s a great guy and an awesome singer/songwriter! Azi is also a very talented artist and deserves to be known by people outside of Hungary and internationally.

    PD: What was your favorite memory creating the song?

    I think that was the moment when we got the final masters. It was a huge challenge to combine two such different vocals in one song! We got huge help from Cass (Wired Masters) from London, he did an amazing job on the final masters.

    PD: When collaborating with different artists across multiple genres, do you have a different production process?

    Yes. When we make a completely own song, what we do is much more dancefloor oriented. When we work with other songwriters, the goal is that the song works together with the vocalists and that the sound design does not dominate the entire song. You have to find the perfect balance.

    PD: What was it like collaborating with some of the biggest names in the EDM community right now like David Guetta and Cash Cash?

    It’s a honour to work with such great artists. Getting the best of a song is always our priority!

    PD: How do you create such a unique sound when making your music?

    For those singles that we make to play in DJ sets for the clubs, dynamics and energy are the main aspects. For the songs that we make together with singers and songwriters, the most important thing is that the song is whole and everything works all together.

    PD: Your first hit was “Howl At The Moon”, which was a smash and the number one song played at 2014 Ultra…how did that song help shape your music careers?

    HATM gave us the opportunity to get to know by the audience. It was a very important step in our career. However, we are producers who have been making music for more than 20 years, so it is important to renew, to search for new inputs. We want to make songs that are not necessarily based on repetition or the past success, but bring new experiences to us and the fans.

    PD: What’s next for you this year? Any more new music or touring?

    I have to say that this year promises to be very strong with releases! There will be many collaborations this year! I can’t reveal some of them yet, but what I can tell you is that we have two new songs coming out in August. One with Bingo Players and the other one with the American producer Morgan Page.

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    Jai Phillips

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  • John Newman Talks New Single “Hold On To My Love”

    John Newman Talks New Single “Hold On To My Love”

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    John Newman can do it all: he’s a singer, songwriter, DJ, and producer whose helped create club hits like “Blame” with Calvin Harris and “If You Really Love Me (How Will I Know)” with David Guetta…plus a plethora of his own repeat-worthy tracks like “Love Me Again” and, most recently, “Hold On To My Love.”

    Newman found instant success with his Calvin Harris collaboration, which broke the world record for the most-streamed song in one day and the first track ever to hit 10 million streams on Spotify in less than a week. From that point on, we knew that John Newman could provide hit after hit song that would make us want to get up and dance.

    And while he’s worked on collabs with big names in the dance industry like Guetta, Harris, Kygo, Sigala, and Galantis…his debut album, Tribute, was proof that he could do this all on his own. His live performances are equally enrapturing, where he takes everyone in the audience on a borderline spiritual journey through sound and lights.

    After performing at huge festivals over the world like Coachella and Glastonbury, and a looming Tomorrowland MainStage performance this summer, John Newman is proving why he’s one of the most promising DJ’s in the game.Now, with his new single “Hold On To My Love,” fans can dance and sing along to the talented producer’s track. You can listen here:

    John Newman sat down with Popdust to catch up on everything- from his successful collabs that won him BRIT awards and major accolades. Check it out below!

    PD: You’ve entered a new era for you as a DJ, producer and singer/songwriter…what are you most excited about?

    JN: I’m really excited about my live show, I feel like I’m breaking boundaries within myself. Also being signed to Tomorrowland Music and working with the guys there. I feel like it’s totally different to anything they’ve done before so it’s a good collaboration between the two of us trying to create something that’s completely new and energetic and makes people feel euphoric. It’s taking time butI finally feel like it’s starting to get there now and it’s really exciting.

    PD: How would you describe your sound today? Are there any musical genres you’ve not yet explored that interest you?

    JN: From the age of about six I’ve studied and listened to almost every genre, and I think that was so important to me. I’m not bothered exactly what genre, for me it’s got to have that emotional connection, that thing that moves me. I’ve explored almost every genre, whether I’ve put them into all productivity probably not, but I try not to think in genre brackets. To be honest that’s how I made ‘Love Me Again’ and I think the soul reference came from what other people’s brains accepted but really, I had multiple genres influences whilst creating that song.

    PD: Your single “Hold On To My Love” started as a voice note recording backstage in Ibiza…can you talk a little more about how this turned into your song we hear today? And this inspiration behind it.

    JN: I’m probably the worst person to write in the studio with. I find writing in the studio so difficult. I have to be out and doing things and then I get so many ideas whilst driving in my car, shopping, or out walking, or all the time in the shower. I think they’re always the best ideas and in that situationthat was just one of those ideas that happened there and then. It’s so easy once you have a melodyand a lyrical idea to then start making music to it. I continued the writing of ‘Hold On To My Love’ and worked with some amazing guys along the way, I worked with one of the guys from Major Lazer on it. It was a long one but when I listen to it now and play it live, I think it was definitely worth it. In the end it really moves me and that’s why I do this job.

    PD: You’ve had big collaborations with artists like Calvin Harris for “Blame” and David Guetta for “If You Really Love Me (How Will I Know)”…what’s the ‘behind the scenes’ process of working with these huge artists on such collaborations?

    JN: I think we’re all here for one reason, to feel something emotive and to succeed. Music is easy when you all have that mindset but mainly when you have something that makes you feel that emotive way. With the David Guetta collab, I was playing with a Whitney Houston backing vocal recordingtrying to get something cool out of it. Again, in the shower I came up with the idea of the topliner and melody and put it down as a ballad. Then, I sat in the studio with MistaJam and Ollie Green and we sent it to David Guetta and he was all over it, jumped on it, and produced it up.

    With Calvin it was a lot different, we met, I was standing outside his studio and had bird sh*t all overhis car and he was laughing about that, and he caught me laughing. After my session I then reached out to him after via Twitter DM and said we should work together and that’s kind of how it started. I then wrote the rough idea for ‘Blame’ in the house at Christmas on my laptop, recorded the vocal into my laptop microphone which at that time was really wasn’t very good but it actually stayed on the record for like six months as the vocal recording because it gave it an edge.

    These collaborations can all happen in different ways. It normally starts with me having an idea andsending it through to whoever. It’s easier to start with the organic idea that then becomes the dance song, but the most important thing is creating something that people want to sing-along to in a crowd.

    PD: What are your three tracks on repeat for summer?

    JN: I’ve got some good ones…First up, ‘Hypnagogic’ by Love Regenerator, Calvin Harris. The next one is‘So Much In Love’ by D.O.D and finally, ‘Drifting’ by Tiësto.

    PD: You’ve performed at major festivals like Coachella and Glastonbury. What’s your next bucket-list festival and/or event? And what makes it so special?

    JN: To set the scene, we’d be completely renovating our house and, in all honesty, I pretty much had a mental breakdown during lockdown. I stopped music completely, I don’t think I opened my laptopfor a year. Then, I felt inspired again and felt better mentally, so I opened my laptop and started thisdance project which I felt super excited about and throughout that whole period of time I was like I’m going to play the Tomorrowland Mainstage with this and now I’m about to do that in a few weeks so that’s number one and that’s crazy exciting. The other ones that I have on there are Ultra Miami and Ultra Europe. Creamfields is another big one I have in my head. Ushuaïa, Ibiza was another one that I’ve ticked off. I think it really does work picturing in your head what you want andfinding a way to achieve that

    PD: What’s your favourite song to perform live right now? and why?

    JN: I’d actually say my current single ‘Hold On To My Love.’ I took part of a song called ‘Origin’ by Arminvan Buuren and made my own version of the drop and then used that together with my new singleall as one and I can’t explain what it’s like. It’s like big explosive progressive house with interstellarand at the same time a ballad song. The emotions are quite overwhelming every time I play it and Ithink it’s such an amazing and special way to end my show. Talking of manifestation, I said that I was going to close my Tomorrowland Mainstage show with this track and that was before the show was even booked and that’s what I intend to do.

    PD: What’s next for you in 2023? Any new music coming out?

    JN: I’ve got a really exciting big collab coming up. I’m constantly working on new music and it’s something I’m working hard to get right. It is a struggle at the moment working out who I am in this climate and what I’m doing. I want to try experimental things; I was actually playing around with theidea of releasing just an instrumental track the other day. So that’s where I’m at, I’m constantlyworking at it because I want a really big year.

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    Jai Phillips

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  • The Iconic Hardwell Returns To Music

    The Iconic Hardwell Returns To Music

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    What can you say about a 2x World No. 1 DJ, who has been leading the electronic dance world for over a decade since he was only 14, who has officially remixed tracks for huge names in the music industry like Rihanna and Calvin Harris, that hasn’t already been said? That’s the case with the legendary Hardwell, who at 25, is just getting started.

    As both a producer and DJ, Hardwell made his mark early on as a highly sought-after Dutch phenomenon who quickly won World’s No. 1 DJ in 2013, early on in his career. After remixing hit singles and sharing his own smash collabs with artists like Austin Mahone, Jay Sean, and Jason Derulo…you’d be surprised to learn what Hardwell has accomplished, accolades that take most artists multiple decades to be handed. But Hardwell is different.

    He’s collaborated with fellow DJ’s like Dimitri Vegas & Like Mike, Steve Aoki, Tiesto, and AfroJack. He’s performed at the biggest EDM festivals in the world like Ultra, Tomorrowland, Coachella, and EDC Las Vegas. And while he took a 3 and a half year hiatus from releasing music and hitting the stage, 2022 Ultra proved to be his comeback.

    Since then, fans have anxiously awaited Hardwell’s next move. Which has included his REBELS NEVER DIE era, remixing tracks by David Guetta and Benny Benassi, plus releasing original tracks of his own. You can check out REBELS NEVER DIE here:

    It’s been a crazy year for Hardwell, but it’s safe to say he’s back. Hardwell sat down with Popdust to talk about what we can expect next, and what we’ve missed since we last saw him!

    PD: You took a 3.5-year hiatus from music before returning to the stage for a surprise performance at Ultra last year…has your process of making music changed since then?

    H: Yes, but not so much in a technical approach but more, what’s the right word, holistic. So, the big change has been about time and ensuring I give myself enoughof it focus on being creative. Without the pressure to be at the next airport, meeting,or wherever needed. I know, it sounds so simple but when you’re flying between multiple cities each week it can be difficult to properly get your head into a space that inspires creativity. So, for me, since the time away from touring, my priority now is to maintain the right balance between being on the road and at home in my studio.

    PD: What have been your favorite songs to remix so far?

    H: I’ve always loved remixes. It’s a part of the dance scene which since the verybeginning I’ve been hooked on so when it comes to being a remixer on some else’smusic, it always excites me to see what new direction I can take the song in. I’vehad the honour to be invited to remix some incredible acts, who I respect, likeColdplay, Moby, The Chainsmokers, Calvin Harris and US. But honestly, the one that really stands out is my remix of ‘Ocarina of Time’s Gerudo Valley’ for The Legend of Zelda. I can still feel the young gamer inside me grinning so hard at that one, like “Yes, we did it!”

    PD: Are there any artists that inspire you or one’s you’d like to collaborate with in the future?

    H: Of course, acts like Dr Dre, The Prodigy, Pharrell Williams, Red Hot Chili Peppers, Eminem, and many others would be some others, are on my producer bucket list, but away from established acts, I’m actually really inspired by the artists coming through on my label Revealed Recordings. Seeing new artists like VINNE, Tim Hox developing in the studio, making music, and having that crazy hunger to succeed.Reminds me a lot of when I first got into it and it’s inspiring.

    PD: You’ve teased you have a new single collaboration coming up. Can you share any more details, whose it with and what’s the name of the song?

    H: Yeah, so the track is called ‘ANYBODY OUT THERE’ and it’s a vocal-driven anthem with Azteck and Alex Hepburn. I wanted to create a kind of hybrid song thatconnected with my current harder-edged style, but also leans into the vocal stuff Ilove in music. I needed something big that fits a Hardwell set and needed to find atrack that would have all the right emotions, the right chords, and the perfectbalance in arrangement to fit what I was after. So, this collaboration was focused on doing that and I’m so, so happy with the final outcome. I think the three of us crushed it.

    PD: You recently completed an exciting North American tour with a stop at The Brooklyn Mirage, and have performed at some of the world’s biggest events like Ultra Music Festival, Coachella, EDC, and sold-out Madison Square Garden…what’s your favorite part about performing your music live?

    H: It’s almost an indescribable feeling to be on stage. The connection with the crowd, playing music you love and sharing new/old tracks you’ve poured lots of time into creating to then have the crowd dance or sing them back to you. It’s such a surreal experience and such an amazing buzz to share it with the fans.

    PD: You closed your 2022 REBELS NEVER DIE era with a deluxe edition followed by several new singles in 2023 like remixing David Guetta’s version of Benny Benassi’s “Satisfaction”, and a run of original singles like‘Take Me Away’, ‘Balança’, ‘Twisted’, and ‘Sloopkogel’. What is it like dropping all these projects over varying genres? Do you have a favorite right now?

    H: It’s exciting because its exactly what I wanted, which is to be completely free ofany pressure to make a certain type of sound. I want to just explore whatever stylefits me at the time, whether it’s techno, electro, trance, big room, or whatever. Ican’t say I have an out-and-out favourite, because every song is special in its ownway. But I’m super proud of my recent song ‘ACID’ with Maddix and Luciana, simplybecause I had the idea of making an acid song for so long, but I wanted to make itan acid crossover song. There’s a lot of acid underground songs but I needed an acid song that had the right balance of a techno song and an EDM song to work in a Hardwell show, and I wanted it to have a vocal, so it had more of a crossover appeal

    PD: What’s next for you this year? Any upcoming music or perhaps an album?

    H: There’s no new album planned. I said to myself right after REBELS NEVER DIE was completed, that I wanted to go and have some fun collaborating with otherartists I’d admire. The album was a big solo project, so it felt like a nice change todo a bunch of collaborations and originals. I’ve got a ton of new music coming up,like the next track ‘ANYBODY OUT THERE’ which I mentioned. So it’s definitely goingto be a busy year both in the studio and on the road with a summer full of festivalsplanned..

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    Jai Phillips

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  • A Night At The Brooklyn Mirage: The David Guetta Experience

    A Night At The Brooklyn Mirage: The David Guetta Experience

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    I moved to the New York City area last August, and one of the first venues I heard of was the elusive Brooklyn Mirage. It’s a live music venue located in the heart of Brooklyn, New York where any DJ whose anybody plays night after night in the summer. It draws huge crowds, fans of EDM and people who just like dance music come together in this courtyard-esque venue.

    So when I finally got the chance to go see the legendary David Guetta, who has won two Grammy awards and been gracing us with our favorite radio hits for decades now, I couldn’t pass it up. Whether I knew it or not, I had been listening to David Guetta’s music for years. Hits like “Who’s That Chick (feat. Rihanna)”, “Titanium (feat. Sia)”, and “I’m Good (Blue) (feat. Bebe Rexha)” are chart-dominating tracks that Guetta has released.

    There’s nothing like watching someone who has made such an impact on the music industry and world of EDM. I’ve frequented a few EDM shows in my time, so I knew the energy would be high. But I was curious to experience a show by such a legend and witness how the crowd would respond to songs they grew up listening to versus new remixes and original beats.

    What I find unique about EDM shows is the range in which the show can possess. You can switch up vibes from upbeat to slow in less than one minute, you can control the crowd’s energy through beats alone. You can do cover after cover, remix after remix, and it can be different each time.

    Which is exactly how David Guetta’s show was. He opened strong, with his classic, “Titanium” and most recent hit “I’m Good (Blue)”, which has topped charts and was nominated for a Grammy this year. It’s probably the most-played song at clubs and bars near you. And it’s a great way to get the crowd moving early on. Especially when it’s
    your song.

    It can be hard to capture the audience’s attention when you’re not out there fully able to talk to the crowd and stop the sound whenever you want. However, David Guetta had no problem. With a laser light show spanning across the Mirage and enough graphics to sync up with every beat, there wasn’t a shortage of things to look at and enrapture you.

    From my view over the crowd, I was able to see that the place was filled to the brim. Sure, that made getting drinks a bit of a hassle. (It’s a cashless and cardless event, anyway. You sync your card to your wristband before entering the event itself — and I wouldn’t expect anything less from one of NYC’s hottest venues.) But no one seemed to mind once the music started.

    @jairopena24 David Guetta at Brooklyn Mirage #davidguetta#brooklynmirage#guetta#music#superstar#nyc#brooklyn#amazing#housemusic#concert♬ original sound – Jairo Pena

    He played a crazy range of his catalog. He had old hits like “Where Them Girls At (feat. Flo Rida)” and “Hey Mama (feat. Nicki Minaj, Bebe Rexha, and Afrojack)” that everyone could sing along to. But that wasn’t all, original mixes, remixes of classic songs and trending club hits, and mixes of older hits like Fleetwood Mac’s “Dreams.”

    It’s a show that you don’t want to miss if you have the opportunity. David Guetta has made a plethora of our favorite tracks, and his impact on the music industry isn’t underrated. He’s an icon for a reason, and his live shows prove just that.

    Despite the large number of people dancing along in the GA section, it didn’t matter if there were 100,000 people. They just cared about the music.

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    Jai Phillips

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  • David Guetta, Anne-Marie and Coi Leray’s “Baby Don’t Hurt Me” Pays More Homage to A Night at the Roxbury Than Haddaway

    David Guetta, Anne-Marie and Coi Leray’s “Baby Don’t Hurt Me” Pays More Homage to A Night at the Roxbury Than Haddaway

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    As the latest in an increasingly long line (no nightclub pun intended) of songs that have seen fit to extract 90s dance hits for a twenty-first century “update” (though not necessarily improvement), “Baby Don’t Hurt Me” alludes to its origin source in the title. That is to say, Haddaway’s chorus in “What Is Love” that finishes such a weighty question with, “Baby don’t hurt me, don’t hurt me/No more.” But, clearly, Haddaway was hurting enough financially to allow David Guetta, Anne-Marie and Coi Leray to sample his song. Just as Alice Deejay likely was in order to allow Kim Petras and Nicki Minaj to decimate “Better Off Alone.” Unlike the latter duo, however, the trio of “Baby Don’t Hurt Me” saw fit to pay more direct and correlative homage to a song that soundtracked most of the 90s (apart from the Mentos jingle).

    Originally released in 1993, the single became an archetype of the Eurodance genre that soon managed to warm the hearts of even the most tasteless and/or grunge-happy (an oxymoron, to be sure) Americans. Three years later, Will Ferrell and Chris Kattan would revive the track with their Saturday Night Live sketch, “The Roxbury Guys.” Playing Doug (Kattan) and Steve Butabi (Ferrell), the brothers’ signature was club-hopping from one L.A. hotspot to another as they struck out with women at every venue (via methods that would be decidedly non-#MeToo kosher today). Often joined by the host of the show, including Jim Carrey, Martin Short and Tom Hanks, the sketch proved popular enough to become fodder for the eighth movie based on an SNL sketch, A Night at the Roxbury (released in 1998). Regardless, the premise wasn’t really “meaty” enough to extend past the one-hour, twenty-two-minute mark. Even so, it left an indelible enough impression on the collaborators of “Baby Don’t Hurt Me,” who open their video, directed by Hannah Lux Davis, in much the same way as A Night at the Roxbury: with splashy club scenes shot in a manner that comes across in a way Cher Horowitz would dub “Noxema commercial”-esque. And, on a side note, Clueless’ director, Amy Heckerling, did co-produce the movie (maybe that’s why both Dan Hedaya, Elisa Donovan and even Twink Kaplan are in it).

    As for Doug and Steve, they don’t ever limit their evening to just one club (as Guetta, Anne-Marie and Leray do). This being something we see established when they commence at Billboard Live (before it became The Key Club) at 11:32 p.m., then head to the Mudd Club by 12:16 a.m. Striking out with the women there as well after a botched attempt to impress them with their story of encountering “Breakfast Clubber” Emilio Estevez, they head to the Roxbury, arriving by 1:24 a.m. (but first, they’re pulled over [by Jennifer Coolidge] for speeding while doing their head bobs to “What Is Love,” of course). As Ace of Base’s “Beautiful Life” plays during this scene, A Night at the Roxbury continues to immortalize what club culture in 90s L.A. consisted of. Mainly, waiting in line outside if you weren’t on the guest list. Hence, Doug’s insistence that once he and Steve open their own club, not only will they finally get in, but, “We’re also gonna treat all the outside wannabes just as well as any legendary television star.” Of course, such an egalitarian approach to clubbing wouldn’t take hold until now (when “elitism” in such a milieu has become all but impossible thanks to smartphones)—which is perhaps why Guetta, Anne-Marie and Leray have decided to use this moment to bring Haddaway and its place in A Night at the Roxbury back to the forefront.

    Thus, the presence of Doug and Steve-emulative dance moves amid a boxing ring inexplicably appearing on the center of the dance floor as two women stand in their corners waiting to fight…or have a dance-off. But no, turns out, it’s to fight (after all, it speaks to the title of “Baby Don’t Hurt Me”). Meanwhile, Anne-Marie sings, “I want you for the dirty and clean/When you’re wakin’ in your dreams.” A lyric that harkens back to Doug saying, “You can take away our phones, you can take away our keys, but you cannot take away our dreams.” To which Steve adds, “That’s right, ‘cause we’re, like, sleeping when we have them.”  Their dream, as mentioned, is to open a nightclub. Something as ostensibly “inclusive” as what appears in the “Baby Don’t Hurt Me” video. And probably something as pain/pleasure-oriented, to boot. After all, the original “What Is Love” is drenched in the tone of a masochist who can’t quit a love that’s obviously emotionally damaging. So when Anne-Marie says, “When you bite my tongue and make me scream…/We are burnin’ at a high degree/And you make me feel like it burns/And it hurts/Maybe that’s part of the rush/This is us.”

    The “This is us” of that hurt in A Night at the Roxbury is the growing pains that occur between Doug and Steve, as the latter starts to be more and more seduced by the normie life his overbearing father, Kamehl (Hedaya), wants for him. Complete with marrying Emily Sanderson (Molly Shannon), the daughter of the lighting store owner next door to Kamehl’s fake plant store. Because obviously their marriage would mean a lucrative business merger. But what does that matter to Steve, who really just wants to club all night like Doug?

    With “Baby Don’t Hurt Me,” the glory days that furnished being able to have such dreams are briefly glimpsed as, by the end of the video, everyone in the club is doing the signature Butabi brothers head bob to the beat that punctuated dance floors everywhere (without irony) in the mid-90s. In this sense, it’s hard to say if Haddaway owes a greater debt to A Night at the Roxbury or vice versa. Either way, the trio reviving the song here still sees the movie as being inextricably linked to it. One can’t exist without the other, apparently. That might be bad news for Haddaway, but it certainly helps revitalize the ever-dwindling collective memory of the John Fortenberry-directed film so often considered to be the perfect “hokey” pairing with Romy and Michele’s High School Reunion (after all, it’s about two “daffy” dames whose lives are also built around clubbing in L.A.).

    In the final scenes of “Baby Don’t Hurt Me,” the fighters in the boxing ring have seemingly made peace while Guetta, Anne-Marie and Leray continue their head bobbing elsewhere: in the car. A vehicle that we’re made certain to clock as being a Lyft (thanks to strategic brand name placement). And if, somehow, they all happen to be Lyft drivers (or it’s just Leray, which somehow feels racist), it would be in keeping with the Butabi brothers’ way of life: “projecting” style only right before entering the club…while actually living at home with their parents and barely able to function in the daylight hours that solely condone “rational” behavior.

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    Genna Rivieccio

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  • EDM.com Playlist Picks: DJ Snake, Hardwell, IMANU & More [12/23/22] – EDM.com

    EDM.com Playlist Picks: DJ Snake, Hardwell, IMANU & More [12/23/22] – EDM.com

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    The electronic music community is constantly evolving with new sounds every week, as artists become more innovative with their compositions. EDM.com’s weekly “Playlist Picks” series highlights the top releases in the genre, helping uncover the latest tracks that will soon dominate the dance music scene.

    EDM.com Top Hits

    DJ Snake, Wade & Nooran Sisters – Guddi Riddim

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    Koji Aiken

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  • Step Into the World of Future Rave with David Guetta’s Remix of “Unholy” – EDM.com

    Step Into the World of Future Rave with David Guetta’s Remix of “Unholy” – EDM.com

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    David Guetta and MORTEN‘s patented future rave sound breaks the mold of traditional mainstage dance music. And after years of pushing it, Guetta has channeled the genre for a new remix of “Unholy,” Sam Smith and Kim Petras’ global hit.

    Explosive, bouncy beats accompany Petras’ sensual vocals and grounding lyricism of Smith. Innovative and enticing, the remix is rooted in acid house but embodies the future rave genre with its euphoric yet dark direction.

    Take a listen to Guetta’s remix of “Unholy” below.

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    Rachel Freeman

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  • Taylor Swift wins big in Germany at the MTV EMAs

    Taylor Swift wins big in Germany at the MTV EMAs

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    DUSSELDORF, Germany — Taylor Swift won big at Sunday’s MTV EMAs. Swift who led the nominations along with Harry Styles with seven a piece, walked away with four wins for ‘Best Artist,’ ‘Best Video,’ ‘Best Pop’ and ‘Best Longform Video.’

    Currently topping the charts with ‘Anti-Hero’ from her record breaking new album ‘Midnights,’ Swift made a surprise appearance at the awards in Dusseldorf to collect her haul, the latest in a long line of accolades for the singer-songwriter. Accepting her first award of the night she said “the fans are the only reason any of this happens for me.”

    David Guetta and Bebe Rexha opened the show with their hit collaboration ‘I’m Good (Blue),’ a track that nearly didn’t get released.

    Rexha explained on the carpet “we had no idea that it was gonna blow up and be so viral on TikTok. And here we are performing it and nominated for ‘Best Collab.’”

    Hot on their toes were Muse who returned to the EMAs for a fiery performance of ‘Will of the People,’ later winning ‘Best Rock’ act. They dedicated their award to the people of Ukraine and the women of Iran.

    This year’s show was hosted by newlyweds Rita Ora and Taika Waititi. Ora didn’t disappoint with a host of outfit changes and Waititi joked he was channeling his inner popstar.

    An absent Nicki Minaj also came out on top with a trio of prizes for ‘Best Song,’ ‘Super Freaky Girl’ and ‘Best Hip Hop’. Styles, who is currently touring in the US, won ‘Best Live’.

    Following their Eurovision win in May, Ukrainian band Kalush Orchestra gave one of the most powerful and moving performances of the night, turning the auditorium blue and yellow in support of Ukraine. Talking on the red carpet frontman Oleg Psyuk explained that with their new found fame they could support and spread awareness of the plight of the Ukrainian people

    “It’s important for us to be a voice of Ukraine, to have opportunity to be all over the world, to perform and to say about Ukraine, to say about war, to say about our culture, culture that fights against war.”

    British rapper Stormzy performed ballad ‘Fire Babe,’ released this week from his highly anticipated third album ‘This is What I Mean.’

    OneRepublic performed their ‘Top Gun: Maverick’ tune ‘I Ain’t Worried,’ with a special video intro from the man himself, Tom Cruise, which they said wasn’t easy to get.

    Other performers on the night included Ava Max who sparkled in a giant diamond singing ‘Million Dollar Baby’ and Tate McRae who performed a medley of her hits, ‘she’s all i wanna be’ and ‘uh oh.’

    Voted for by the fans 17 gender-neutral categories were announced during the evening. The show, broadcast from the PSD Bank Dome will be shown in more than 170 countries.

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  • Taylor Swift wins big in Germany at the MTV EMAs

    Taylor Swift wins big in Germany at the MTV EMAs

    [ad_1]

    DUSSELDORF, Germany — Taylor Swift won big at Sunday’s MTV EMAs. Swift who led the nominations along with Harry Styles with seven a piece, walked away with four wins for ‘Best Artist,’ ‘Best Video,’ ‘Best Pop’ and ‘Best Longform Video.’

    Currently topping the charts with ‘Anti-Hero’ from her record breaking new album ‘Midnights,’ Swift made a surprise appearance at the awards in Dusseldorf to collect her haul, the latest in a long line of accolades for the singer-songwriter. Accepting her first award of the night she said “the fans are the only reason any of this happens for me.”

    David Guetta and Bebe Rexha opened the show with their hit collaboration ‘I’m Good (Blue),’ a track that nearly didn’t get released.

    Rexha explained on the carpet “we had no idea that it was gonna blow up and be so viral on TikTok. And here we are performing it and nominated for ‘Best Collab.’”

    Hot on their toes were Muse who returned to the EMAs for a fiery performance of ‘Will of the People,’ later winning ‘Best Rock’ act. They dedicated their award to the people of Ukraine and the women of Iran.

    This year’s show was hosted by newlyweds Rita Ora and Taika Waititi. Ora didn’t disappoint with a host of outfit changes and Waititi joked he was channeling his inner popstar.

    An absent Nicki Minaj also came out on top with a trio of prizes for ‘Best Song,’ ‘Super Freaky Girl’ and ‘Best Hip Hop’. Styles, who is currently touring in the US, won ‘Best Live’.

    Following their Eurovision win in May, Ukrainian band Kalush Orchestra gave one of the most powerful and moving performances of the night, turning the auditorium blue and yellow in support of Ukraine. Talking on the red carpet frontman Oleg Psyuk explained that with their new found fame they could support and spread awareness of the plight of the Ukrainian people

    “It’s important for us to be a voice of Ukraine, to have opportunity to be all over the world, to perform and to say about Ukraine, to say about war, to say about our culture, culture that fights against war.”

    British rapper Stormzy performed ballad ‘Fire Babe,’ released this week from his highly anticipated third album ‘This is What I Mean.’

    OneRepublic performed their ‘Top Gun: Maverick’ tune ‘I Ain’t Worried,’ with a special video intro from the man himself, Tom Cruise, which they said wasn’t easy to get.

    Other performers on the night included Ava Max who sparkled in a giant diamond singing ‘Million Dollar Baby’ and Tate McRae who performed a medley of her hits, ‘she’s all i wanna be’ and ‘uh oh.’

    Voted for by the fans 17 gender-neutral categories were announced during the evening. The show, broadcast from the PSD Bank Dome will be shown in more than 170 countries.

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  • Universal Music Group calls AI music a ‘fraud,’ wants it banned from streaming platforms. Experts say it’s not that easy | CNN Business

    Universal Music Group calls AI music a ‘fraud,’ wants it banned from streaming platforms. Experts say it’s not that easy | CNN Business

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    New York
    CNN
     — 

    Universal Music Group — the music company representing superstars including Sting, The Weeknd, Nicki Minaj and Ariana Grande — has a new Goliath to contend with: artificial intelligence.

    The music group sent urgent letters in April to streaming platforms, including Spotify

    (SPOT)     and Apple Music, asking them to block artificial intelligence platforms from training on the melodies and lyrics of their copywritten songs.

    The company has “a moral and commercial responsibility to our artists to work to prevent the unauthorized use of their music and to stop platforms from ingesting content that violates the rights of artists and other creators,” a spokesperson from Universal Music Group, or UMG, told CNN. “We expect our platform partners will want to prevent their services from being used in ways that harm artists.”

    The move by UMG, first reported by the Financial Times, aims to stop artificial intelligence from creating an existential threat to the industry.

    Artificial intelligence, and specifically AI music, learns by either training on existing works on the internet or through a library of music given to the AI by humans.

    UMG says it is not against the technology itself, but rather AI that is so advanced it can recreate melodies and even musicians’ voices in seconds. That could possibly threaten UMG’s deep library of music and artists that generate billions of dollars in revenue.

    “UMG’s success has been, in part, due to embracing new technology and putting it to work for our artists — as we have been doing with our own innovation around AI for some time already,” UMG said in a statement Monday. “However, the training of generative AI using our artists’ music … begs the question as to which side of history all stakeholders in the music ecosystem want to be on.”

    The company said AI that uses artists’ music violates UMG’s agreements and copyright law. UMG has been sending requests to streamers asking them to take down AI-generated songs.

    “I understand the intent behind the move, but I’m not sure how effective this will be as AI services will likely still be able to access the copyrighted material one way or another,” said Karl Fowlkes, an entertainment and business attorney at The Fowlkes Firm.

    No regulations exist that dictate on what AI can and cannot train. But last month, in response to individuals looking to seek copyright for AI-generated works, the US Copyright Office released new guidance around how to register literary, musical, and artistic works made with AI.

    “In the case of works containing AI-generated material, the Office will consider whether the AI contributions are the result of ‘mechanical reproduction’ or instead of an author’s ‘own original mental conception, to which [the author] gave visible form,’” the new guidance says.

    The copyright will be determined on a case-by-case basis, the guidance continued, based on how the AI tool operates and how it was used to create the final piece or work.

    The US Copyright Office announced it will also be seeking public input on how the law should apply to copywritten works the AI trains on, and how the office should treat those works.

    “AI companies using copyrighted works to train their models to create similar works is exactly the type of behavior the copyright office and courts should explicitly ban. Original art is meant to be protected by law, not works created by machines that used the original art to create new work,” said Fowlkes.

    But according to AI experts, it’s not that simple.

    “You can flag your site not to be searched. But that’s a request — you can’t prevent it. You can just request that someone not do it,” said Shelly Palmer, Professor of Advanced Media at Syracuse University.

    For example, a website can apply a robots.txt file that works like a guardrail to control which URL’s “search engine crawlers” can access a given site, according to Google. But it is not a full stop, keep-out option.

    Grammy-winning DJ and producer David Guetta proved in February just how easy it is to create new music using AI. Using ChatGPT for lyrics and Uberduck for vocals, Guetta was able to create a new song in an hour.

    The result was a rap with a voice that sounded exactly like Eminem. He played the song at one of his shows in February, but said he would never release it commercially.

    “What I think is very interesting about AI is that it’s raising a question of what is it to be an artist,” Guetta told CNN last month.

    Guetta believes AI is going to have a significant impact on the music industry, so he’s embracing it instead of fighting it. But he admits there are still questions about copyright.

    “That is an ethical problem that needs to be addressed because it sounds crazy to me that today I can type lyrics and it’s going to sound like Drake is rapping it, or Eminem,” he said.

    And that is exactly what UMG wants to avoid. The music group likens AI music to “deep fakes, fraud, and denying artists their due compensation.”

    “These instances demonstrate why platforms have a fundamental legal and ethical responsibility to prevent the use of their services in ways that harm artists,” the UMG statement said.

    Music streamers Spotify, Apple Music and Pandora did not return request for comment.

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