ZEDS DEAD TO REMIX THE NHL ON ESPN THEME SONG FOR 2022 STANLEY CUP PLAYOFFS Alongside the iconic Deadbeats duo, Joywave and Murda Beatz have also been commissioned to reimagine the iconic theme.

The 2022 Stanley Cup playoffs will sound a bit different this year with help from Zeds Dead.

For the first time since the 2004 season, the NHL playoffs will be hosted on ESPN. In honor of hockey's return to the network, the cable sports behemoth recruited the help of three musical acts to remix the long-running NHL on ESPN theme song.

Each will represent a different genre and will debut during the first three rounds of the playoffs. Holding the hip-hop torch is chart-topping producer Murda Beatz and Foster, while alternative rock goes to Joywave. The electronic music genre will be represented by none other than Toronto's Zeds Dead.

Zeds Dead perform at Electric Zoo in New York.


Madeon is currently in the midst of giving the music festival circuit a masterclass in performance art.

The Good Faith producer's innovative new live production has drawn rave reviews at major pitstops including Ultra Music Festival late last month, and now both weekends of Coachella.

Hot off back-to-back sets at the iconic Indio-based festival, Madeon's performance of the unreleased "Gonna Be Good" has been uploaded to the official Coachella YouTube account. A bit of forewarning: if you're not feeling the fear of missing out yet, you soon will be.

In the clip, Madeon is perched atop a narrow cylindrical pedestal, a core characteristic of the performance, which effectively allows him to become immersed by vibrant visuals on all sides. During the captivating performance, he is seen delivering vocals from a mountain peak, beaming from the center of a polychromatic burst of color and standing in the palm of a gigantic open hand, all in rapid, mind-blowing succession. Central to the idea behind the show is making Madeon's silhouette seemingly one with the visuals in his immediate orbit, creating an illusory effect that is uniquely his own.


Putting together the "Good Faith Forever" show was no small feat, and took the helping hands of his team—which includes four visual artists—to make it a reality.

"What I love about this show—and the reason why I’m more proud of if than anything else I’ve ever worked on—is I feel like it's so distinctly the result of my taste and my interests, and my life," Madeon told EDM.com in a recent interview. "All of my hobbies found my way into this show."


Facebook: facebook.com/itsmadeon
Twitter: twitter.com/madeon
Instagram: instagram.com/madeon
Spotify: spoti.fi/3khQTsZ

Swedish House Mafia dive into decision to make ‘Paradise Again,’ pressures in early 2010’s, and more during hour-plus talk with Zane Lowe

Swedish House Mafia have given us just about everything since July, but a proper sitdown in video form felt like the only thing left for them to check off the list. We’re not even a week removed from Paradise Again—with the feelings of it eventually being crowned Dancing Astronaut‘s Album of the Year only growing with each and every playback—and even less time than that has passed since the trio grandly shut down Weekend 1 of Coachella with The Weeknd. But as everyone continues to digest Swedish House Mafia’s first proper LP and before they run it back in Indio on April 24, AxwellSebastian Ingrosso, and Steve Angello took to what looks like The Dark Knight batcave for an hour-long chat through Apple Music with their longtime friend, Zane Lowe.

Swedish House Mafia dive into decision to make ‘Paradise Again,’ pressures in early 2010’s, and more during hour-plus talk with Zane Lowe220413 Radio Special Zane Artist Swedish House Mafia Los Angeles Pyne 000867

Right off the bat, the conversation feels much more like a group of friends freely talking than it is a formal interview. And Swedish House Mafia had already held a few brief conversations with Lowe in months prior surrounding their string of Paradise Again singles, so the four seemed to pick up right where they left off. There’s a million different topics to dissect throughout the hour-plus video, but the trio starts off by explaining that the reunion felt organic from minute one—with calls for them to reunite gradually moving from tiring to inspiring—and it genuinely might’ve not continued had Ultra not gone as smoothly as it did. They explained that Swedish House Mafia’s breakup was largely grounded on the fact that they felt like they weren’t equipped to handle how quickly the project exploded and that they weren’t ready to shelve what they had going on individually.

Ingrosso goes on to talk about how big of a factor the pandemic played into Paradise Again being conceived considering it was the first time they could solely focus on music, adding that Steve Angello “dropped the bomb and said we have to do an album” and that he immediately panicked because he knew how much of an uphill battle it was just to do the handful of Swedish House Mafia releases from the early 2010’s. And the first thing they did once they decided an album was in order was come to an agreement on its direction, ignoring the “rave versus radio” debate and just going into the studio without any expectations or restrictions. Ingrosso also reiterates the general consensus around dance music right now in that we’ve entered a new golden age, saying that he feels like there’s been a “reset.”

In terms of background on some of the Paradise Again tracks, the three explain that “Home” was how they envisioned Swedish House Mafia would sound on a Sunday morning, “Mafia” was the quickest of the album tracks and was a representation of the drama they’d been through—originally being named “Drama”—”Frankenstein” came together almost immediately, with A$AP Rocky being the first person they had on their collaborative wish list for the album, “Don’t Go Mad” was named that because they literally got mad while trying to perfect it using so many different elements, “19.30” was made from Steve Angello’s new analog drum machine and was the only Paradise Again cut that went unmixed, and finally “For You” had “checked off everything” they wanted in a track and was meant to be a thank you back to fans, using 20 different vocalists in total. Of their work alongside The Weeknd—with whom they share Sal Slaiby as manager—the three explained how their chemistry was palpable from the get-go and that he recorded the “Moth To A Flame” vocals in a single take.

Swedish House Mafia also dive into the theme of maturity that has come with the reunion, explaining that they’ve learned to say “no” more this time around and that they’re only here to do the things that they truly enjoy. And as far as the sound on Paradise Again and to address those irrationally calling for more progressive house, they explain that they simply did not want to rehash what they’d already done a decade ago, adding that if fans couldn’t appreciate what they were trying to do, then they were never really fans in the first place. Axwell explains that it’s their “choice” to be Swedish House Mafia now, instead of feeling obligated like they were at the very beginning.

As far as music that didn’t actually end up on Paradise Again, the three say that they’re just hitting their production stride again and that there’s always going to be “surprises” in store. The conversation with Zane Lowe comes to an end with the topic of Dancing Astronaut Artist to Watch in 2022 Fred again.., who co-produced “Calling On” and the three teasing that they made six tracks in two days, with one landing on Paradise Again and another one set to be a formal collaboration on Fred again..’s album.

If the past week wasn’t already an overload of Swedish House Mafia to take in, they just announced a handful of new Paradise Again tour dates, with two nights at Madison Square Garden replacing their MetLife Stadium appearance, new dates in Los Angeles, San Francisco, and Ibiza, and a stacked support roster of AlessoZHUVintage CultureSalvatore GanacciKAYTRANADA, and more. Tickets for the Paradise Again album tour—which kicks off on July 29 in Miami—are available here.

Coachella is back. But have festivals escaped the problematic legacy of 'boho chic'?

Music fans take selfies during day 2 of the Coachella Valley Music & Arts Festival at the Empire Polo Club in Indio, California, on April 12, 2014.

Coachella is back. But have festivals escaped the problematic legacy of 'boho chic'?
Written by Leah Dolan, CNN
This weekend sees the return of Coachella after a three-year pandemic-induced hiatus. And, as ever, there will be as much written about the festival's fashion as its performances.
But while the event was once classed among the most stylish outings on the cultural calendar -- thanks to its celebrity attendees and exclusive adjacent parties hosted by a growing list of fashion brands, from Lacoste to H&M -- recent editions have hardly set the tone for the rest of the summer.
In truth, the annual festival has never recovered from the fashion faux pas of the past decade. In particular, there are some images that have proven especially difficult to shake: that of festival-goers sauntering across the desert in faux-Native American feathered headdresses or with their foreheads adorned with South Asian bindis (or sometimes both).
A festival-goer attends Coachella in 2015.

A festival-goer attends Coachella in 2015. Credit: Rachel Murray/Getty Images North America
The festival's reputation for cultural appropriation and insensitive clothing choices was also amplified by the tone-deaf fashion of celebrities in attendance.
Vanessa Hudgens, such a regular at the festival that she's often dubbed the "Queen of Coachella," has been called out numerous times for pairing ponchos and maxi dresses with bindis. Similarly, Kendall Jenner has previously turned up wearing an Indian "nath" -- a piece of Indian bridal jewelry that connects a nose ring to an ear piercing.
In 2014, former Victoria's Secret model Alessandra Ambrosio faced online backlash for posting a picture of herself wearing a feathered headdress to Instagram with the caption: "Becoming more inspired for @coachella with this amazing Native American headpiece." Yet, three years later, variations on the sacred item -- which some chiefs and warriors wore during ceremonies or in battle, and was often made from sacred eagle feathers -- were still on display, albeit to an increasing chorus of disapproval (one 2017 festival-goer issued an apology on Instagram after being called out online).
Coachella's attendees were, by no means, the only offenders. In 2012, model Karlie Kloss apologized for wearing a floor-length headdress on a Victoria's Secret runway and, throughout the decade, the evolution of "boho chic" into something more problematic was taking place at festivals across the globe. But while organizers of Britain's Glastonbury Festival moved to ban on-site sales of Native-style headdresses in 2014 -- as did several Canadian music festivals and, later, San Francisco's Outside Lands festival -- they persisted in the Coachella Valley.
Guests attend Coachella in 2014.

Guests attend Coachella in 2014. Credit: Frazer Harrison/Getty Images for Coachella
Whether it was the blank-slate desert setting or the fact the festival takes place in southern California, where the spirit of counter-culture dates back as far as the 1940s, the festival found it harder to kick the boho aesthetic -- and its influencer culture meant that offending images circulated at considerable volume and speed.
"Fashion is such a strong medium for expression. It's used for performativity, we put on a suit to be more professional and an office space, for example," Sage Paul, executive and artistic director of Indigenous Fashion Arts in Toronto, told CNN over video call. "And festivals are places to really experiment and explore, but I think there needs to be creativity and inspiration in that exploration. Stealing from other people's nations and calling it creativity is just lazy."

The evolution of 'boho'

"Boho chic" may now carry uncomfortable connotations, but it began in seemingly innocent fashion in the early 2000s. Short for "bohemian," in honor of the '60s and '70s hippy ensembles that inspired it, the term became a sartorial catch-all for suede fringing, crochet halter-necks and paisley print.
A festival-goer in April 2014 wearing a flower crown.

A festival-goer in April 2014 wearing a flower crown. Credit: Diana Fields/Getty Images for Coachella
The look's popularity is often traced back to an outfit worn by actor Sienna Miller to Glastonbury in 2004. With her head of perfectly imperfect beachy waves, and dressed in a tiered mini-dress, Uggs and embellished belt, Miller seemed to encapsulate the carefree sensibility of festival life. Her standout accessory saw her quickly anointed by the British press as the patron saint of hip-grazing coin belts. (She later distanced herself from the style, telling US Vogue, "I just don't want to wear anything floaty or coin-belty ever again.")
Sienna Miller at Glastonbury Festival in 2004.

Sienna Miller at Glastonbury Festival in 2004. Credit: Andy Butterton/PA Images/Getty Images
In reality, boho chic ensembles had already begun appearing on the runway. In 2003, Chloe's fall-winter collection featured floaty feminine silhouettes and tiered dresses. The next year, a hypnotic Spring-Summer collection by Roberto Cavalli saw crocheted ponchos, long, billowing skirts paired with string-tie bikini tops, fur vests and even embellished fedoras storm the runway. By 2005, Bottega Veneta and DSquared were layering chunky silver and beaded necklaces with bolo ties.
It was only then, presumably when chunky belts, bare feet and tousled hair failed to shock the fashion world, that boho became more experimental -- and more offensive.
In 2007, British Vogue produced a spread titled "Indian Summer" that saw Indian locals clumsily enlisted alongside models as glorified props. "Eclectic, colorful, crazy," the subhead read, adding: "the modern gipsy's style is every bit as exotic as her travels." Later, in 2009, Kate Moss starred in a bizarre Romani-inspired photo shoot complete with a Gypsy caravan, Shetland ponies and roaring campfire -- encouraging a flippant use of "gypsy" as a vague aesthetic rather than an ethnic group.

A new identity

But online criticism of such campaigns eventually trickled down to the festival world. Paul sees recent attempts to call out culturally insensitive Coachella fashion as a triumph in the battle for representation and education. "The internet has provided a platform for that response to be given to those acts of racism and appropriation, which is great," she said. "I think why we're seeing this pushback now is because the internet allows us to have a bigger, louder voice."
An attendee wears a fringed bikini to the 2015 edition.

An attendee wears a fringed bikini to the 2015 edition. Credit: Rachel Murray/Getty Images for Coachella
By the most recent Coachella, in 2019, there were still plenty of flowy skirts and fringed crop-tops on display -- but the worst examples of cultural appropriation had effectively been banished from view. Whether attendees can restore the fashion-forward reputation of the festival's heyday is, however, another question entirely.
For Paul, whose work spotlights Native American designers, creatives and artists, festivalgoers could look to demonstrate appreciation over appropriation by investing in communities directly.
"It just seems so obvious to me," she said. "Just treat people equally. But obviously, there's always going to be a power imbalance, there's a lot of work to be done."
Top image caption: Guests attend Coachella in Indio, California in 2014.


It's bracket season, baby, and with the 64th annual Grammy Awards falling on April 3rd—just one day before the men's March Madness championship game—it's time to get your picks in order.

Luckily (for the culture) and unluckily (for the odds), the field runs deep. The Best Dance/Electronic Album category is home to a host of legends all on its own: Black Coffee (Subconsciously), ILLENIUM (Fallen Embers), Major Lazer (Music Is The Weapon (Reloaded)), Marshmello (Shockwave), Sylvan Esso (Free Love) and Ten City (Judgement).

From their most inspired moments to their favorite lyrics, to even the walk-up song they'd play if they win the award, we've got the inside scoop on all things albums from ILLENIUMSylvan Esso and Ten City. Read their responses to nine speed-round questions below, and check out the full list of nominees here.

EDM.com: Where were you when you first heard the news of your nomination? 

ILLENIUM: My girlfriend Lara woke me up all excited at like noon and told me. I was totally blown away. Woke up really excited that day.

Sylvan Esso: I (Amelia Meath) was in a meeting and I started getting a whole bunch of texts. Then Martin, our manager, called me and we yelled back and forth on the phone to each other. Sandy (Nick Sanborn) was with his parents when he found out—they were visiting—so I think that was a pretty lovely moment for him.

Ten City: Byron Stingily—I was in a meeting and I kept hearing my alerts going off on my phone. I glanced and saw many texts saying congratulations. I was wondering what I was being congratulated for and realized it was the day nominations were being announced. I thought, "Could it be?," just as Alex Harrow and Arma Andon texted to say, "Congratulations on your Grammy nomination!"

Ten City: 
Marshall Jefferson—I was in my studio and Vince Lawrence, who started my career, called me up and told me.

EDM.com: Who was the first person you told? How did it feel? 

Sylvan Esso: I was running around Betty's, the studio house, and yelling when our head engineer, Alli, came in to get some lunch. She was pleasantly surprised.

Ten City: BS—I sent a mass text to my wife and children. I felt overjoyed to be able to share good news. Our family recently had several deaths. I hoped this news would make everyone feel a little better. My kids had recently lost their mom!

Ten City: MJ—I told CeCe Rogers because he called me up right after i found out. It felt great to share it with CeCe because he worked on the album.'

EDM.com: If you could pick a “walk-up” song to collect the award, what would it be?

ILLENIUM: "Sideways" (with Valerie Broussard and Nurko) off Fallen Embers. One of my favorite vocals ever and just an anthem.

Sylvan Esso: “The Boys Are Back In Town” by Thin Lizzy or “Believe” by Cher.

Ten City: BS—"Feel It Too" off Judgement, because it is upbeat and I wish all the people who contributed to this album could feel it too as we walk up on the stage.

Ten City: MJ—"Love Is Just A Game: off Judgement.

EDM.com: What are some of your favorite lyrics on your nominated album?

ILLENIUM: “Feet on the ground, feet on the ground, even when we’re upside down.” Reminds me to try and stay grounded and hopeful. No matter the craziness, I’ll get through it. ("Sideways")

Sylvan Esso: “Know it easy, know it plain, know it’s simple, this loving thing, and in the darkness you hear it ring, and when it freezes it thaws again, just like a record spinning round, oh can’t you hear it? That loving sound, it’s playing now.” ("Make It Easy")

Ten City: BS—"Don’t Judge, just love." ("Judgement")

Ten City: MJ—"Lust, romance. It depends on the circumstance. In the end you ask yourself: is there really a difference?" ("Love Is Just A Game")

EDM.com: Who are some people you couldn't have completed the project without?

ILLENIUM: The list is huge. All of my amazing collaborators and writers and family and girlfriend. Trevor aka Said The Sky is an amazing creative help to me. Same with my managers, Sean and Ha.

Sylvan Esso: Martin Anderson, BJ Burton, Dave Ayers, Molly Sarlé, and of course Nicholas Sanborn.

Ten City: So many, including El Boogie, Emmaculate, Patrick Moxey, Alex Harrow, CeCe Rogers, David Waxman, Paul Arnold, Annie Birkeland and all the producers, musicians and background singers.

Ten City

EDM.com: When did you feel most inspired while writing the album?

ILLENIUM: With everything shut down last year I had more time than ever, so I buried myself in my studio and let creating be my escape. It was both amazing and a struggle since I really love touring and felt like it was halted with no say.

Sylvan Esso: January 2020.

Ten City: BS—Watching the news. This album is a subtle reaction to oppression. That’s why there are songs such as "Be Free," "Come Together," and "Judgement."

Ten City: MJ—I don't think there was any single "inspired moment" but rather a continuous inspired wave for the whole album.


Alexandra Gavillet

EDM.com: If you could add another nominee to your category, what artist/album would you select?

ILLENIUM: Porter Robinson's Nurture. Everyone who listens to electronic music knows how groundbreaking and Grammy-worthy that album is.

Sylvan Esso: Koreless, Barker or Overmono even though I don’t think they all have albums in the right time frame to be nominated.

Ten City: BS—Inner City's We All Move Together. We started together and it makes me feel good to see us both still hanging in there.

Ten City: MJ—Jana Rush's Painful Enlightenment. They're also from Chicago!

EDM.com: Who’s a rising artist you’ve got your eye on right now, that you think has the potential to one day be nominated in this category? 

ILLENIUM: I would love to see more bass music in this category. Moore Kismet is crushing it. Everything they put out is so original and amazing. Kill The Noise is coming out with a new fire album. Blanke has been crushing it. Said the Sky's new album is brilliant. Dabin is on another level. William Black. List goes on.

Sylvan Esso: Proc Fiskal!

Ten City: Emmaculate.

EDM.com: Favorite album(s) of all-time? 

ILLENIUM: Hybrid Theory by Linkin Park, Recovery by Eminem, Worlds by Porter Robinson, No Return by Odesza and Recess by Skrillex.

Sylvan Esso: Nick of Time by Bonnie Raitt and Aquemini by Outkast.

Ten City: BSSign of the Times by Prince, Inner City by Marvin Gaye, Club Lonely by Lil Louis.

Ten City: MJFragile by Yes, Claudine by Gladys Knight & the Pips, Physical Graffiti by Led Zeppelin, Goodbye Yellow Brick Road by Elton John.


And just like that, Hardwell is back.

Fresh off a historic comeback set at the 2022 edition of Ultra Music Festival, the Dutch dance music icon has doubled down by announcing a world tour in support of a brand new album, Rebels Never Die. According to a press release shared with EDM.com, the tour is a "large-scale production concept that will give fans a unique multi-dimensional experience" to witness Hardwell's return to the stage after a four-year hiatus.

ultra music festival 2022 hardwell

Hardwell performs at the 2022 edition of Ultra Music Festival in Miami on March 27th, 2022.

Alive Coverage

The fabled "Spaceman" producer had performed at Ultra every year from 2012 to 2018, when he stunned the electronic dance music community by stepping away at the age of 30. He now seems to be back with a renewed creative spirit after his momentous performance, where he unveiled a revamped, electrifying sound rooted in techno and future rave music.

Hardwell dropped the curtain on a staggering 15 IDs during the set, giving fans a generous taste of honey before offering up the Rebels Never Die hive. He has not yet announced a release date for the full-length album, his first since 2015's debut United We Are, but revealed that it will feature 14 songs and will release under his storied record label, Revealed Recordings. Fans can pre-save the record here.

Approximately 150,000 people flocked to Ultra's Main Stage to experience Hardwell's set, which also reportedly broke the record for the festival's livestreaming viewership. Check out the full performance below.


  • March 27 – Miami, US – Ultra Music Festival
  • May 26 – Jerusalem, IL – Sacher Park
  • July 10 – Split, HR – Ultra Europe
  • July 15 – Boom, BE – Tomorrowland – Weekend 1
  • July 29 – Boom, BE – Tomorrowland – Weekend 2
  • August 07 – Cluj, RO – Untold Festival
  • August 14 – Ibiza, SP – Ushuaïa
  • August 28 – Daresbury, UK – Creamfields
  • September 16 – Montreal, CA – Olympic Stadium
  • September 17 – New York City, US – UBS Arena
  • September 23 – Vancouver, CA – Tradex
  • September 24 – San Francisco, US – Bill Graham Civic Auditorium
  • October 1 – Valinhos, BR – Laroc Club
  • October 21 – Hamburg, DE – Barclays Arena
  • November 5 – Madrid, SP – IFEMA
  • November 12 – Lodz, PL – Atlas Arena
  • November 25 – Dubai, AE – TBD
  • November 26 – Frankfurt, DE – Festhalle
  • December 3 – Amsterdam, NL – Ziggo Dome

To Be Confirmed Dates:

  • December – Bangkok
  • December – Jakarta
  • December – Hong Kong
  • December – Shanghai
  • December – Taipei
Flyer for Hardwell's Rebels Never Die World Tour.

Flyer for Hardwell's Rebels Never Die World Tour.


Facebook: facebook.com/djhardwell
Twitter: twitter.com/HARDWELL
Instagram: instagram.com/hardwell
Spotify: spoti.fi/3DgtvpH


And just like that, Ultra Music Festival is back.

In the wake of a brutal pandemic that triggered unprecedented cancellations of one of the world's largest dance music festivals, organizers put together arguably one of its biggest lineups. DJ Snake, Kygo, Martin Garrix, Alison Wonderland and many, many more will descend on Miami's Bayfront Park for the long-awaited return of Ultra.

They've now released the festival's 2022 programming, which has more scheduling conflicts than a divorce attorney's office. But isn't that the beauty of it all?

Ultra returns to Miami's Bayfront Park from March 25-27. Check out the set times and full schedule below.


Set times for March 25th, Day 1 of Ultra Music Festival 2022.

Set times for March 25th, Day 1 of Ultra Music Festival 2022.

Ultra Music Festival


Set times for March 26th, Day 2 of Ultra Music Festival 2022.

Set times for March 26th, Day 2 of Ultra Music Festival 2022.

Ultra Music Festival


Set times for March 27th, Day 3 of Ultra Music Festival 2022.

Set times for March 27th, Day 3 of Ultra Music Festival 2022.

Ultra Music Festival


Facebook: facebook.com/Ultra
Twitter: twitter.com/ultra
Instagram: instagram.com/ultra


While not quite up to the amount of parties seen in the past, 2022 Miami Music Week still has something for everyone. Below is a list of the parties as we know them.


What: Defected Records
When: Thursday March 24, 2022, door at 12pm
Where: Island Gardens, Miami, FL
Who: Catz ‘N Dogs, Darius Syrossian, Eats Everything, Ferreck Dawn, LP Giobbi, Mele, Sam Divine and Special Guest TBA
Ticket link: https://www.tixr.com/groups/diskolab/events/defected-miami-2022-36651
Cost: $30 for before 3pm arrive, $40 after, $85 VIP
Tickets on sale now!
For VIP Tables email vip@diskolab.com


What: Chemistry feat. Eric Prydz
When: Thursday March 24, 2022, door at 9pm
Where: RC Cola Plant, 50nw, 24th St, Wynwood Miami, FL 33127
Who: Eric Prydz, Maceo Plez, Innella (live), Cristop
Ticket link: https://www.tixr.com/groups/diskolab/events/eric-prydz-mmw-2022-36947
Cost: $60, $175 VIP
Tickets on sale now!
For VIP Tables email vip@diskolab.com


What: Rapture Festival
When: Friday March 25th, 2022, Doors at 3pm
Where: Historic Virginia Key Beach Park, 4020 Virginia Key Beach Dr, Miami, FL 33149
Who: Bedouin, Monolink (exclusive appearance), Sabo & Goldcap, more TBA!
Ticket linkhttps://www.ticketfairy.com/event/rapture-festival-2022
Cost: $75 currently for GA, $120 for VIP. Table service available at the ticket link

What: BPM Miami
When: Friday March 25th, 2022 and Saturday March 26, 2022
Where: Little River Studios, 300 NE 71st St, Miami, FL 33138
Who: Art Department, Audiofly, DJ Chus, Gordo, Serge Devant, Seth Troxler and more!
Ticket linkhttps://dice.fm/partner/main-link/event/5q7qd-bpm-miami-2-day-event-experience-25th-mar-little-river-studios-miami-tickets
Cost: currently $56.65


What: Dreamstate Miami
When: Saturday March 26th, 2022 and Sunday March 27th, 2022, starting at 4pm
Where: Ekolog Warehouse, 6301 NE 4th Ave. Miami, FL 33038
Who: Adam Scott, Cosmic Gate, Infected Mushroom, Kristina Sky, Markus Schulz and more
Ticket linkhttps://www.eventbrite.com/e/dreamstate-miami-tickets-264175575257
Cost: $110 day pass, $200 for both days, VIP tables available at ticket link

What: BPM Miami
When: Friday March 25th, 2022 and Saturday March 26, 2022
Where: Little River Studios, 300 NE 71st St, Miami, FL 33138
Who: Andrea Oliva, Deep Dish, John Digweed, Neverdogs, Steve Lawler, Victor Calderone and more!
Ticket linkhttps://dice.fm/partner/main-link/event/5q7qd-bpm-miami-2-day-event-experience-25th-mar-little-river-studios-miami-tickets
Cost: currently $56.65



What: Dreamstate Miami
When: Saturday March 26th, 2022 and Sunday March 27th, 2022, starting at 4pm
Where: Ekolog Warehouse, 6301 NE 4th Ave. Miami, FL 33038
Who: Adam Scott, Cosmic Gate, Infected Mushroom, Kristina Sky, Markus Schulz and more
Ticket linkhttps://www.eventbrite.com/e/dreamstate-miami-tickets-264175575257
Cost: $110 day pass, $200 for both days, VIP tables available at ticket link


It turns out there are even more hidden gems in Avicii's archives, two of which we've learned are collaborations with Tiësto.

In a new interview with Level One, Tiësto says he and Avicii were initially excited about one particular track they had in the pipeline, but it was still unfinished. However, upon the Swedish superstar's tragic death, Tiësto, like so many of Avicii's collaborators, ultimately found himself uncertain as to what Avicii would have wanted to do with the track.

"We made a track together years ago and we wanted to release it. Actually, I have two tracks with him," Tiësto recalls. "We never really finished both of them. After he passed away. I didn’t know if he would have wanted them to be released; so I decided not to."

"I’m not sure if they’ll ever see the light of day," he added.

Tiësto was one of Avicii's foremost champions throughout his career. The Dutch dance music legend was introduced to Avicii's music when the latter's manager began sending him songs. As Tiësto recalled in a 2020 tribute livestream with "Wake Me Up" singer Aloe Blacc, the year was 2008, well before Avicii had even played his first live set.

Scroll to Continue

tiesto avicii

Tiësto and Avicii.

While Tiësto isn't pressing for the release of these tracks, he isn't short on content in his own pipeline. He is preparing for his next album cycle, a project he says fans could hear as early as this summer.

"The London Sessions was a really great album," Tiësto said. "I spent a month in London, met up with all the best songwriters and we has a lot of session. I feel like that’s how albums are gonna be from now on: they’ll be a vibe and not necessarily just like 10 songs put together. It’ll be more like: ‘Yeah, this is where I’m at, my headspace,' and really try to close it out within three months from start to finish."

"I think the new album should be finished by February and then come out in the summer," he added.


Facebook: facebook.com/tiesto
Twitter: twitter.com/tiesto
Instagram: instagram.com/tiesto
Spotify: spoti.fi/3dVvySo


The result of the rapid and dramatic decline of the Coronavirus in California has led the State to relax its indoor mask wearing requirement.

Related to this, Coachella and Stagecoach announced this week that they will no longer require masks to be worn, proof of vaccines or negative Covid-19 tests.

We can only hope that no new variants arrive and we are past the most restrictive parts of Covid-19 restrictions.

We look forward to partying in the sun this April mask free and worry free!