genre dance
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The Osheaga Festival in Parc Jean-Dreapeau in Montreal (Aug. 1-3) announced its 2025 lineup on Wednesday (Feb. 19), which will feature headlining sets from The Killers, Tyler, the Creator and Olivia Rodrigo.
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The stacked-and-packed roster also includes: Glass Animals, Doechii, Dominic Fike, Lucy Dacus, Finneas, Gracie Abrams, The Chainsmokers, The Struts, Future Island, Smino, Tommy Richman, Shaboozey, Kaleo, TV on the Radio, Cage the Elephant, Jamie XX, Royel Otis, The Beaches, Chet Faker, Gigi Perez, Bossman Dlow and Bigxthaplug, among many others.
Tickets for this year’s event will go on sale on Friday (Feb. 21) here; $1 from every ticket will be donated to the Evenko Foundation, which provides musical instruments to schools in Quebec and encourages young people to pursue a life in the performing arts.
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Among the other acts on this year’s roster are: Barry Can’t Swim, Jorja Smith, Artemas, James Hype, Nico Moreno, Måneskin singer Damiano David, Omah Lay, La Femme, Joey Valence & Brae, Wunderhorse, BBNO$, Sammy Virji, Alex Warren, Claude Vonstroke, Good Neighbours, Naomi Sharon, Adam Ten, Whitney, Matt Champion, Isoxo, Marina, Mark Ambor, Amaarae, Loco Dice, The Dare, Jersey, Oden & Fatzo, Ruby Water, Inji and Kenny Mason.
Last year’s Osheaga hosted nearly 150,000 fans at the city’s largest outdoor concert venue, where they took in sets by Noah Kahan, Green Day, SZA, Melanie Martinez, Lil Tjay, Smashing Pumpkins, Martin Garrix, Reneé Rapp, Hozier, Teddy Swims, Teezo Touchdown, Rancid, Chappell Roan, Raye, Tyla, Kevin Abstract, Justice, Jungle and T-Pain.
Check out the 2025 Osheaga Festival poster below.
Sony Music Entertainment is asking a judge to throw out a lawsuit brought against the company by Patrick Moxey‘s Ultra International Music Publishing late last year, claiming the suit was an act of “retaliation” against the major label after it filed its own lawsuit against the publishing outfit two years prior.
Ultra International Music Publishing and Ultra Music Publishing Europe brought the lawsuit against Sony Music Entertainment and its subsidiaries — including Ultra Records, which Moxey sold his remaining 50% share of to Sony in 2021 — last November over allegations of copyright infringement, claiming Sony and its affiliates had been using Ultra Publishing’s compositions without a license. Filed in New York federal court, the complaint alleged that Ultra Publishing had conducted an audit finding that Sony had been underpaying royalties to the publisher and its songwriters “for years” — but that after bringing the results of the audit to Sony’s attention, the major label “failed” and “refuse[d]” to pay Ultra Publishing the royalties it was due.
Ultra Publishing claimed that after Sony’s alleged refusal, it ceased granting the music giant licenses to the company’s compositions, but that Sony nonetheless continued uploading tracks featuring Ultra Publishing-owned compositions to streaming services and selling them as digital downloads and physical releases, among other exploitations. The lawsuit concerned more than 50,000 compositions by artists including Ed Sheeran, Madonna, Rihanna and others.
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In its response, filed on Monday (Feb. 17) by attorney Tal Dickstein, Sony Music called the lawsuit “an ill-conceived effort by Plaintiffs — two music publishing companies owned by Patrick Moxey — to retaliate against” Sony Music for an earlier lawsuit it filed against Ultra Publishing for the continued use of the Ultra name. In that complaint, filed in November 2022, Sony attested that Moxey had signed away his rights to the Ultra trademark after selling the company his remaining stake in Ultra Records, which he founded in 1995.
Sony claims Ultra Publishing attempted to justify the “nefarious timing” of its own lawsuit — which allegedly dropped the day before the trial for the trademark lawsuit began — “by claiming this lawsuit stems from an audit of the music publishing royalties that Sony Music Entertainment paid to Plaintiffs.” However, Sony alleges that the audit in question, “which involved payments made by Sony Music Entertainment to Plaintiffs through 2016,” was in fact “settled in principle years ago for a small fraction of the amount claimed, and Plaintiffs never pursued those audit claims any further.”
Sony’s filing goes on to say that it and Ultra Publishing “continued working together after the audit was settled, with Sony Music Entertainment paying publishing royalties on the musical compositions that were the subject of the audit without objection from Plaintiffs, and working to license and pay the corresponding publishing royalties for well over a thousand other compositions owned in whole or in part by Plaintiffs.”
“Sony Music Entertainment’s licensing practices are both appropriate and entirely consistent with the licensing practices of every other leading record label that releases new sound recordings, including record labels that Moxey himself controlled in the past and currently owns,” the filing continues. “Moreover, Plaintiffs’ own songwriters and producers continue to write songs and collaborate with SME artists with the intention and expectation that the resulting sound recordings incorporating the underlying musical compositions will be commercially released — underscoring the obvious question of whether Plaintiffs’ attempted boycott of SME is in their songwriters’ best interest.”
An attorney for Ultra International Music Publishing did not immediately respond to Billboard‘s request for comment.
Justin Timberlake, BTS’ J-Hope, Gracie Abrams, Raye and Benson Boone are among the headliners for 2025’s Lollapalooza Berlin. Among the other acts slated to perform on July 12 and 13 at Olympic Park and the Olympic Stadium in Berlin are: Armin Van Burren, Brutalismus 3000, Ive, The Last Dinner Party, Dom Dolla, John Summit, Artemas, Shaboozey, Royel Otis, Ashnikko, Magdalena Bay, Sofi Tukker, Bigxthaplug and Mark Ambor, among many others.
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Tickets for the festival are on sale now.
Lollapalooza Berlin was the first European extension of the beloved Lolla brand, first touching down in 2015, shifting between a series of different venues before finding its permanent home in the Olympic Park in the heart of Berlin.
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Last year’s fest featured a similarly eclectic lineup topped by Sam Smith, Martin Garrix, Burna Boy, OneRepublic, Seventeen, The Chainsmokers and solo sets from former One Direction band mates Niall Horan and Louis Tomlinson.
The 2025 Berlin edition will also host Mother Mother, Mahmut Orhan, Argy, Mark Ambor, Bunt., Nora En Pure, Miss Monique, Anna, Flo, Joey Valence & Brae, Neil Frances Present Club NF, Benjamin Ingrosso and Wasia Project, among others. The set from J-Hope will come following the conclusion of the K-pop superstar’s Hope on the Stage 2025 solo world tour, which will kick off on Feb. 28 with the first of two shows at KSPO Dome in Seoul, South Korea before jumping to the Barclays Center in New York and winding down on June 1 with the second of two shows at the Kyocera Dome Osaka in Osaka, Japan.
Check out the poster for the 2025 Lollapalooza Berlin festival below.
A lawsuit accusing Bassnectar (born Lorin Ashton) of sexually abusing three underage girls has been settled ahead of trial. According to court documents filed in U.S. District Court in Tennessee on Tuesday (Feb. 18), the case against the electronic music producer was dismissed with prejudice, meaning it cannot be refiled, after the two sides reached […]
Charli XCX loves to keep her fans on their toes and in a new Instagram post over the weekend the singer hinted that she might have another hard pivot just around the corner. After headlining the second weekend of Australia’s Laneway Festival — where she shared the bill with Remi Wolf, Beabadoobee and Clairo, among others — the Grammy-winning “Von Dutch” singer said she’s considering swerving into yet another new musical lane.
“I really had fun doing it and it got me thinking, what if we made a record with guitars or strings… or both? Lou Reed era maybe, I dunno just saying,” Charli said in a video re-posted by a fan in which she said the Clairo track “Sofia” is one of her favorite songs. “I heard it before it came out, like, a few years ago, and I always loved it,” she said of the tune the pair collaborated on at Laneway on Friday (Feb. 14) in Melbourne.
Charli adding that she texted Clairo before the show and asked if she wanted to team-up on a live version of the tune that was released as the third single from Clairo’s 2019 debut studio album, Immunity.
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It wouldn’t be out of the question for the singers to team-up, as Clairo was featured on “February 2017” from Charli’s 2019 album, Charli.
One of the co-producers of Charli’s career-defining 2024 Brat album, Finn Keane, recently told Grammy.com that the 32-year-old singer is itching to “do the complete opposite thing again” on her next LP. “Some of the conversations we’re having and music we’ve been playing around with the last couple of months have been completely the opposite [of Brat]. I love that spirit. It’s the iconoclastic impulse to rebuild something completely different, to show that you actually could do this other thing,” said Keane, who noted that a big turn from the club aesthetic of Brat is “very in keeping with her ethos.”
Keane doubled-down, saying that all the musical discussions they’ve had since XCX released her Brat and it’s completely different but also still brat remix album last year have been kind of “anti-Brat. I doubt that’ll stick, but that’s been a really interesting thing to observe and makes me very optimistic and excited about [what’s next],” he said.
Charli ‘s Brat world tour will ramp up again in April with a show in Mexico City at Axe Ceremonia on April 5, followed by headlining sets at the Coachella festival in mid-April and the kick off of her U.S. arena tour on April 22.
Ezra Collective have teamed up with British-Colombian singer-songwriter Sasha Keable on new single “Body Language,” marking their first release of 2025.
The track, which contains elements of cumbia music and celebrates movement and Latin American culture, arrives off the back of a stellar year for the contemporary jazz group. In October, they broke the top 10 of the Official U.K. Albums Chart for the first time with their third LP, Dance, No One’s Watching. The following month, they performed their biggest headline show to date at London’s 12,500-capacity OVO Wembley Arena.
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“‘Body Language’ is a tribute to the Latin American communities of London that deeply inspire us,” the band said in a press release. “A collaboration with a friend who has been part of the EZ family for years. The language of the body is dancing and this song is a celebration of this.”
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Keable added, “I’m so happy to be coming full circle with the boys on this collab after touring years ago together. It feels like the timing couldn’t be better as we get ready to road test ‘Body Language’ in Latin America, my motherland. This record holds a special place in my heart on so many levels.”
Ezra Collective have also gone on to receive four nominations for this year’s BRIT Awards, including a nod for album of the year. They also crop up in the group of the year, best new artist and alternative/rock act categories.
“Our BRITs nominations for 2025 are a celebration of a 12-year journey — starting out playing at pubs to our friends and family, to loads of special firsts along the way,” the band posted to social media upon announcement of the news. “We’re beyond grateful for the support and encouragement at every step of the journey.”
The five-piece first rose to mainstream prominence through winning the Mercury Prize 2023 with their album Where I’m Meant To Be, becoming the first jazz act in history to do so. They have since released three albums and collaborated with Loyle Carner, Jorja Smith, Kojey Radical and rising British pop star Olivia Dean.
The band — comprising drummer and bandleader Femi Koleoso, bassist TJ Koleoso, keyboardist Joe Armon-Jones, trumpeter Ife Ogunjobi, and saxophonist James Mollison — met at the London jazz youth programme Tomorrow’s Warriors as teenagers. They have since spoken about the importance of ensuring that musical education remains accessible for those from working-class backgrounds across the country.
“You’re investing into the community and people around you,” said Femi of the band’s mission statement when speaking to Billboard last October. “That’s what the Ezra Collective is all about, and that’s why I’m so proud to be considered a part of the U.K. jazz scene because it’s such a beautiful community.”
Listen to “Body Language” below.
The Avicii estate is again opening the vault Friday (Feb. 14), releasing of a new version of the late producer’s 2016 track “Forever Yours.” Titled “Forever Yours – Tim’s 2016 Ibiza Version,” the song comes on the heels of a pair of Avicii documentaries — I’m Tim and My Last Show — released on Netflix […]
This week in dance music: Blond:ish releases her debut album Never Walk Alone today, a week after being announced as Pacha Ibiza’s first female headline resident DJ. Charlotte de Witte, Sara Landry, Horsegiirl and many others were added to the Movement 2025 lineup; EDC Las Vegas announced the lineup for its May event; Winter Music Conference announced the first wave of speakers for its event next month in Miami; Empire of the Sun’s Luke Steele signed a global deal with Warner Chappell Music; Seven Lions signed with management company MLennial and Justice hit the Hot 100 for the first time in the duo’s decades-long career with its appearance on The Weeknd’s Hurry Up Tomorrow opener “Wake Me Up.”
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And on this day of love, we celebrate our enduring passion for the music with the best new dance tracks of the week.
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Haai, “Can’t Stand to Lose”
Australia-born, London-based producer Haai returns with her first new music since 2023 via “Can’t Stand to Lose.” A reflection on the fast-paced DJ life and the desire to sometimes slow down, the song takes its time unfurling, creating a nuanced depth and mood evoking both solitude and a crowded club. The artist born Teneil Throssell calls the song “a reflection on longing, loss, and the deeply human emotions that accompany them – the nostalgia, the yearning, and the vulnerability. It’s inspired by our rapidly changing world and how it reshapes our lives: opening possibilities that are initially exciting, but are soon met with the realization of what’s lost. It’s a meditation on what we gain and what we leave behind.” Her upcoming U.S. shows include the music cruise Friendship, which sets sail from Miami next week, and back to back weekends at Coachella in April.
Anyma, Argy & Son of Son, “Voices In My Head”
Having played a whole lot of unreleased music during his Sphere residency, Anyma is now in the process of releasing some of it. A standout moment of the show came during the segment when the venue’s screens were filled with thousands of blinking and seemingly sleep-deprived eyes, a segment soundtracked by a song we now know is called “Voices In My Head.” Out today on Interscope Records, the song is a collaboration with Greek artist Argy and Swedish producer Son of Son and further establishes the dark but still widely accessible melodic techno that is Anyma’s signature. Anyma will play his final four dates at Sphere in late February and early March.
Sammy Virji, “I Guess We’re Not the Same”
After blasting through our earholes with 2024’s totally undeniable Interplanetary Criminal collab “Damager,” white-hot U.K. producer Sammy Virji returns with the mellower but equally compelling “I Guess We’re Not the Same.” Out on Astralwerks, the song’s bouncy, singsong vibe juxtaposes with kind of bittersweet lyrics, with the theme also reflected in the track’s undertow of a bassline. Virji’s upcoming U.S. tour includes appearances at Coachella, Lightning in a Bottle, Movement and Bonnaroo.
DJ Minx, “Blocked”
Let us not forget that Valentine’s Day is also about self-love and that self-love is a lot about boundaries, sentiments Detroit legend DJ Minx celebrates today with her latest release. “Delete,” she commands on the track, “unfollow, removed, blocked,” reminding us all that sometimes taking care of ourselves is as simple as pressing a button and eliminating anything and anyone, that is, as she puts it, “f–king with my flow.” The wind up house track gives the whole exercise a commanding and celebratory feel.
Alok & Kylie Minogue, “Last Night I Dreamt I Fell in Love”
Generational dance royalty Kylie Minogue makes another run for the booth with “Last Night I Dreamt I Fell In Love,” her first collab with Brazilian producer Alok. Much like the lovey dreamscape it references, the two-minute track has an ephemeral quality, but like a good dream, is also sweet while it lasts.
Mark Pritchard and Thom Yorke are “Back in the Game”, with the pair joining forces once again for a new single.
Pritchard, who has spent more than 30 years as an electronic musician and producer, first teamed up with the Radiohead and The Smile frontman back in 2016, with Yorke providing guest vocals on “Beautiful People” for Pritchard’s Under the Sun record. Five years earlier, Pritchard had also shared a pair of remixes of Radiohead’s “Bloom”, with both versions (one of which was released under his Harmonic 313 alias) appearing on the TKOL RMX 1234567 album.
Much like their previous collaboration, “Back in the Game” sees Yorke’s vocals digitally distorted by Pritchard, this time by way of the H910 Harmonizer, the world’s first commercially-available digital audio effects device.
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The track has also been a staple of Yorke’s recent live sets, with the musician having debuted the song in Christchurch, New Zealand in October as part of his Everything solo tour and playing it at every show since.
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“Back in the Game” comes accompanied by a surreal, kaleidoscopic Jonathan Zawada-directed visual which combines both analog and digital techniques. In a statement, Zawada explained that an early demo of the track saw him envision a cocky, strutting John Travolta in the final scene of Staying Alive, albeit with a more sinister approach.
“Slowly a version of that visual arose around a character wearing a kind of giant parade head with a fixed expression of mania stuck on their face, such that you couldn’t tell if their endless march was one of aggression or celebration,” Zawada explained. “The more I paid attention to the lyrics the more details began to fill themselves out and the overall concept began to form [a] parade of many characters marching past a building from within which everything was being thrown out of a window and into a giant bonfire.
“Ultimately the film for ‘Back in the Game’ ended up depicting a sort of blind celebration taking place as civilization slowly deteriorates around it, a kind of progression through regression. Overlaid onto this is an exploration of how and where we choose to place value in our collective cultural expression and how we collectively confront major cultural shifts in the 21st century.”
EDC Las Vegas will host more than 250 dance acts at the festival this May.
On Thursday (Feb. 13), EDC Las Vegas producer Insomniac Events announced the festival lineup, which is once again stacked with the who’s who of the dance world. The bill features big names including Dom Dolla, Alesso, Afrojack, Alison Wonderland playing b2b with Kaskade, Illenium playing b2b with Slander, Sara Landry, Horsegiirl, Gesaffelstein, RL Grime, Martin Garrix, DJ Snake, Interplanetary Criminal, Rezz, Fisher, Eric Prydz and many, many more.
Happening at the Las Vegas Motor Speedway on May 16-18, this year’s EDC Las Vegas will feature 16 stages, the most in the festival’s history. Two of the festival’s key stages, CircuitGrounds and NeonGarden, will feature new designs, with the festival also set to debut a new stage called Ubuntu.
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Created in collaboration with South Africa’s Bridges For Music Academy, which provides young people from underserved communities with access to programs focused on creative entrepreneurship, well-being and music, Ubuntu will feature Afro house, a genre that’s skyrocketed in popularity in the U.S. over the last few years. The stage will host performances from rising students artists and established South African acts.
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In a statement, Insomniac Events says that EDC Las Vegas 2025 is currently sold out. EDC moved to Las Vegas from its original home in Los Angeles in 2011, and in the 14 years since, has established itself as the country’s biggest dance music festival, drawing 125,000 attendees a day.
Get out your magnifying glass and check out the complete 2025 lineup below.
EDC Las Vegas 2025
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