Laura Segura, executive director of MusiCares, has departed the organization after five years as executive director, according to an email sent to staff by Harvey Mason Jr., CEO of the Recording Academy and MusiCares.
The memo announced a “key leadership transition” heading into Memorial Day weekend, revealing that Segura is “no longer with MusiCares” — and that Theresa Wolters, who’s been serving as MusiCares’ head of health and human services, “is stepping into the role of interim executive director.”
No reason or details regarding Segura’s departure were given. Billboard reached out to the Recording Academy and MusiCares on Saturday (May 24) for comment.
The leadership and staff directory on MusiCares’ website no longer includes Segura’s name and lists Wolters as interim executive director.
Segura was named executive director at MusiCares in 2020, after serving as vp of membership and industry relations at the Recording Academy.
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She was honored at Billboard‘s Women in Music, which recognizes top executives in the industry, in both 2022 and 2023.
Segura and Wolters, who is now MusiCares’ interim executive director, co-penned a guest column for Billboard, “Health Insurance Isn’t Enough — Music Also Needs a Financial Safety Net,” published in March.
MusiCares, founded by the Recording Academy in 1989, provides a safety net of critical health and welfare services to the music community. The U.S. based, independent 501(c)(3) charity offers financial grant programs, support resources and crisis relief.
Earlier this month, MusiCares reported that nearly $10 million raised for Los Angeles wildfire relief efforts during the 2025 Grammy Awards was distributed to recipients across the region. As of May 2, $6,125,000 was disbursed to more than 3,100 music professionals across L.A, and $3,969,005 had been directed to the community-based organizations California Community Foundation, Direct Relief and Pasadena Community Foundation.
An additional $16 million was raised by MusiCares and the Recording Academy during Grammy weekend with the MusiCares Fire Relief campaign and its annual Persons of the Year gala. $6 million of that amount was allocated to longterm fire relief efforts, and $10 million will go toward the organization’s year-round mission delivery.
“What moved us most in the days following the Grammy telecast wasn’t just the scale of support, it was the spirit behind it, Segura said in a statement on May 2. “Thousands of people gave what they could, and together, their generosity became a lifeline for those in crisis, which reached far beyond our industry. That’s why we partnered with trusted community organizations who are helping Angelenos across the region access the care, resources and support they need to rebuild.”
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Billboard has learned the identities of all six individuals killed in a fiery jet crash early Thursday morning (May 22) in San Diego, California.
The victims of the crash include Kendall Fortner, Emma Lynn Huke, Dominic Damian and Celina Kenyon. Billboard previously reported that talent agent and the flight’s pilot, Dave Shapiro, and Daniel Williams, former drummer with metal band The Devil Wears Prada, were among those who perished in the crash early Saturday morning just two miles south of an executive airport in San Diego. The crash caused a massive fire as it tore through the residential enclave, damaging homes, melting vehicles and causing panic in the coastal suburb where residents were shocked but, thankfully, uninjured from the violent crash that killed all six passengers.
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Fortner, 24, had interned at Sound Talent Group while a student at San Diego State University, joining the company after graduating in 2021 with a degree in business. Fortner was born in Glendale, California, and raised in Santa Clarita, attending West Ranch High School.
Kendall Fortner
The Fortner Family
“Ever since Kendall’s father took her to concerts at a young age, she was hooked on music,” a letter from Sound Talent Group reads. “From 1950s doo-wop to classic rock, Green Day to Ed Sheeran, Kendall loved it all. She taught herself to play a variety of instruments, including piano and guitar.”
Fortner had expressed interest in working in the music business as a teenager, “and the job at STG was a perfect fit that showcased her work ethic and ability to plan tours and festivals nationwide,” the letter continued. “Fiercely independent and strong-willed, Kendall was the life of the party and lit up any room she entered.”
Fortner is survived by her parents Gary and Kristin, her brother Justin and his wife Hannah and their son, Theo, and her brother Jordan and his wife Kailey.
Huke, 25, was born and raised in Orange County, California, and attended Santa Margarita Catholic High School, where she was part of a national championship-winning dance team.
Emma Huke
The Huke Family
“After graduating from the University of Oregon in 2022 with a degree in journalism, Emma completed several internships in the music industry before joining Sound Talent Group in 2024 as a booking associate,” according to STG.
“There was nothing Emma loved more than live music. She worked hard to save up money so she could travel to concerts and festivals. And while she loved all genres of music, her favorite artists to see live were Taylor Swift and The 1975,” the letter read. “Emma also brought that passion for live music to her work. She was smart and organized, helping STG plan and promote their biggest tours. Clients and friends called Emma a force of nature, and she was a beautiful soul who brought joy and a light to everyone in her presence.”
Huke is survived by her parents, Tim and Allison, and her younger sibling, Ellis.
Damian was a personal friend of Shapiro and worked as a senior software engineer, according to his LinkedIn page.
Damian held a black belt in Brazilian Jui-Jitsu who trained at Baret Yoshida’s gym in San Diego, where Damian lived. The gym is honoring Damian on Monday (Mat 26) in a special event.
“Dom was intelligent, thoughtful and had amazing jiu jitsu. A really kind guy who will be missed,” one online poster wrote.
Kenyon, 36, was a professional photographer who had joined the group to take photographs at a concert. Kenyon “decided to fly home to San Diego with other crew and friends on a late night private flight rather than a commercial flight so she could get home early to take her daughter to school,” a letter from Kenyon’s family reads, describing the San Diego resident as “an amazing mother, daughter, sister, grand-daughter, partner and friend.”
“Celina’s legacy is her daughter and partner, her parents, as well as countless family members,” they continue. “Our family is devastated beyond these words. The world has lost a beautiful bright light.”
The letter from STG also included additional information about Shapiro, who had moved to Alaska in 2020.
“Dave’s superpower was his ability to recognize new talent, work with their unique skills and sound, and give them the counsel and resources to make a living in the music industry. Some of your favorite bands wouldn’t be on your playlists right now without Dave,” the letter read.
“Dave impacted the lives of countless people in the music industry, but on a personal level, he was the best friend you could ever want – funny, full of life, always passionate about music, and never jaded. He was the guy that would give you the shirt off his back if you needed it,” according to the letter.
Shapiro is survived by his wife, Julia; his sister, Jennifer, and her children, Isabella and Jonathan Lee, and Dave’s beloved dogs, Amigo, Juneau and Monster.
Williams, 39, is a former drummer and founding member of the band The Devil Wears Prada. He was a native of Dayton, Ohio, who began playing drums in the sixth grade.
Williams left the band in 2016 to pursue a career in the tech industry, serving as a senior software architect at GoPro and Apple Inc.
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Sophie Turner seems to be streaming her ex’s new album. The actress posted Joe Jonas‘ Music for People Who Believe in Love on Saturday (May 24) in an Instagram Story, where she also shared a note of support for his latest solo release.
“Go go @joejonas,” Turner wrote on the post, which showed an image of the album on Spotify and tagged her ex-husband’s Instagram profile.
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Her reaction to Music for People Who Believe in Love‘s release comes after the former couple — who co-parent their two children, four-year-old Willa and two-year-old Delphine — finalized their divorce in September 2024. Jonas, who outside of his solo endeavors is one third of the Jonas Brothers, met Turner in 2016. They were wed in 2019.
Though Jonas and Turner initially had a disagreement over custody, they voluntarily entered into a confidential parenting plan and separation agreement that was in the best interest of the family, a judge declared on final judgement paperwork for the divorce, dated Sept. 6, 2024.
“After four wonderful years of marriage we have mutually decided to amicably end our marriage,” they said in a joint statement that first announced their split in 2023. “There are many speculative narratives as to why but, truly this is a united decision and we sincerely hope that everyone can respect our wishes for privacy for us and our children.”
Turner later said the breakup “was incredibly sad.” “We had a beautiful relationship, and it was hard,” she told Harper’s Bazaar.
Music for People Who Believe in Love was released on Friday (May 23) via Republic Records. The set is Jonas’ second studio album as a solo artist, following 2011’s Fastlife, and features the singles “Work It Out,” “What This Could Be” and “Heart By Heart.”
Working on the personal project “was scary at times, and also freeing,” Jonas told Billboard last summer. “I’m not trying to come for anyone on this album. I’m not trying to put stuff on blast. I have a beautiful life that I’m grateful for. I’ve got two beautiful kids. I’m a happy person, and the music needed to resemble that — but also, the journey to get here.”
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D’Angelo has dropped out of the 2025 Roots Picnic in Philadelphia, citing medical complications related to a previous surgery.
On Friday (May 23), the iconic R&B artist announced through social media that he will no longer headline the Roots Picnic, scheduled for May 31 and June 1 at Philly’s The Mann in Fairmount Park. The decision was made following medical advice related to an “unforeseen” delay in his surgical recovery.
“It is with the deepest of regrets that [I] must cancel my performance at the Roots Picnic in Philadelphia next weekend,” D’Angelo wrote in a statement shared through the Roots Picnic’s Instagram page. “But, due to an unforeseen medical delay regarding surgery [I] had earlier this year, [I’ve] been advised by my team of specialists that the performance this weekend could further complicate matters.”
The festival added its support in the post’s caption. “Due to a longer-than-expected surgical recovery, @thedangelo won’t be able to join us at Roots Picnic this year. We’re sending love and keeping him in our thoughts as he continues to heal!” organizers wrote.
The 17th annual Roots Picnic will still go forward with a stacked lineup including headliners Meek Mill and Lenny Kravitz. Other performers include GloRilla, Miguel, Tems, Latto, Kaytranada, and Jeezy.
D’Angelo was originally slated to perform alongside festival curators The Roots. Stepping in as his replacement is fellow neo-soul icon Maxwell, the festival announced Friday on Instagram.
“It is nearly impossible to express how disappointed [I am] not to be able to play with my Brothers ‘The Roots,’” D’Angelo added. “And even more disappointed to not see all of You.”
The singer closed the message by thanking fans for their continued support, hinting at new music on the horizon. [I’m] currently in the Lab & can’t wait to serve Up what’s in the Pot!” he wrote. “LOVE U All and will see you very soon!” he wrote.
D’Angelo last performed at the Roots Picnic in 2016, during the festival’s first-ever New York City edition. The appearance followed the release of his acclaimed third album, Black Messiah, which reached No. 5 on the Billboard 200 in January 2015.
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Sacha Jenkins, a pioneering hip-hop journalist, author, filmmaker and cultural historian, has died at the age of 54.
Jenkins passed away on Friday (May 23) at his home due to complications from multiple system atrophy, his wife, journalist and filmmaker Raquel Cepeda, confirmed to The Hollywood Reporter.
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Throughout his multifaceted career as an author, producer, magazine founder and filmmaker, Jenkins was widely regarded as a key authority on hip-hop culture. Born in Philadelphia and raised in New York City, he moved to Queens in the late 1970s — a formative time when hip-hop, punk, graffiti and skateboarding were all rising cultural forces.
Jenkins was the son of Horace Byrd Jenkins III, an Emmy-winning documentary filmmaker who worked on 60 Minutes and Sesame Street. He began his own career by founding Graphic Scenes & X-plicit Language, an early magazine dedicated to graffiti art. Jenkins later co-founded the hip-hop newspaper Beat Down with childhood friend and fellow music journalist Elliott Wilson.
In 1994, Jenkins and Wilson launched the influential hip-hop and skateboarding publication Ego Trip. The magazine ran for 13 issues and spawned two acclaimed books: 1999’s Ego Trip’s Book of Rap Lists and 2002’s Ego Trip’s Big Book of Racism! Alongside team members Jefferson “Chairman” Mao, Gabriel Alvarez and Brent Rollins, Ego Trip also branched into television, producing several shows for VH1, including 2007’s The (White) Rapper Show.
Jenkins contributed his writing to publications like Spin, Rolling Stone and served as both music editor and writer-at-large at Vibe. He recently held the position of creative director at Mass Appeal, according to Rolling Stone.
As a filmmaker, Jenkins directed and produced a range of projects. His work includes Louis Armstrong’s Black & Blues (2022), Bitchin’: The Sound and Fury of Rick James (2021), Fresh Dressed (2015), All Up in the Biz (2023) and Harley Flanagan: Wired for Chaos (2024). His 2019 docuseries Wu-Tang Clan: Of Mics and Men earned him an Emmy nomination.
Jenkins is survived by his wife, Raquel Cepeda, and their two children.
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How do Alejandro Sanz and Shakira write a song? Alejandro Sanz, the Spanish idol, reunited with his friend Shakira to write “Bésame,” the lead single from his new album ‘¿Y Ahora Qué?’ Shakira and Sanz were unable to meet in the studio to record the song because both have incredibly busy schedules. As a result, the composition and recording process took place long-distance. Given that both artists are perfectionists, the WhatsApp conversations were “intense,” says Sanz.
Sanz spoke exclusively with Billboard for the cover story of Billboard Español and shared how it was to work with Shakira, Grupo Frontera and Manuel Turizo. He also talked about his new tour and the process of creating an album that has reignited his enthusiasm and passion, making him feel great again. Read the full story on Billboard Español and watch the interview on the Billboard Latin YouTube channel
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Roger Nichols, best-known for co-writing such Carpenters hits as “We’ve Only Just Begun,” “Rainy Days and Mondays” and “I Won’t Last a Day Without You” with lyricist Paul Williams, died on May 17. He was 84.
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Williams confirmed Nichols’ death in an extended, and deeply affectionate, post on Instagram. Williams didn’t list a cause of death, though he reported the basic circumstances of the death. “Roger Nichols passed away peacefully four days ago, at home with his beautiful family …his wife Terry and the daughters he was so proud of, Claire and Caitlin at his side.” (See full text of Williams Instagram post below.)
Nichols signed as an artist to A&M Records in 1968, a year before Karen and Richard Carpenter were signed to the Los Angeles-based label. His debut album Roger Nichols and the Small Circle of Friends was produced by Tommy LiPuma, engineered by Bruce Botnick, and featured session contributions from Van Dyke Parks, Randy Newman and Lenny Waronker. Although the album failed to crack the Billboard 200, A&M co-founder Herb Alpert thought there was something there and recommended that Nichols be hired by A&M’s publishing company as a staff songwriter. It was during this period that he was introduced to Williams.
That was a characteristically astute call on Alpert’s part. Williams and Nichols were one of the hottest pop songwriting teams of the early 1970s.
Williams and Nichols took off as songwriters in the fall of 1970, when they had two songs in the top 15 on the Billboard Hot 100 at the same time. On the charts dated Oct. 17 and 24, Carpenters’ version of “We’ve Only Just Begun,” a ballad which had originated as “soft-sell” commercial for Crocker-Citizens National Bank, was in the top five (on its way to a No. 2 peak). Three Dog Night’s “Out in the Country” was holding at its No. 15 peak.
The Carpenters smash, an instant standard, was lushly romantic. The Three Dog Night hit was a fresh-sounding mix of pop, rock and folk. Having two simultaneous hits by two different acts in two different styles caught the industry’s attention. “We’ve Only Just Begun” went on to receive two Grammy nominations – for song of the year and best contemporary song — at the first live Grammy telecast in March 1971. (It lost both awards to Paul Simon’s “Bridge Over Troubled Water.”) The Carpenters’ recording of the song was voted into the Grammy Hall of Fame in 1998.
Williams and Nichols continued writing songs for the Carpenters, including “Rainy Days and Mondays,” a superb and remarkably adult ballad which reached No. 2 (it took Carole King’s letter-perfect “It’s Too Late” to keep it out of the top spot), “Let Me Be the One” (another first-rate ballad that the duo never got around to releasing as a single), and “I Won’t Last a Day Without You,” a 1972 album track that was finally released as a single in 1974, when it climbed to No. 11.
Art Garfunkel recorded a tender Williams-Nichols song, “Traveling Boy,” for his first solo album, 1973’s Angel Clare, which made the top 10 on the Billboard 200. The song was released as the third single from the album, and bubbled under the Hot 100.
Nichols also had some successes with other collaborators. He teamed with William Lane to write “Times of Your Life,” which Paul Anka recorded in 1975. Like “We’ve Only Just Begun,” this song was also adapted from a popular TV commercial – for Kodak. Anka’s recording reached No 7 on the Hot 100 in February 1976.
Nichols retired soon afterwards, but his songs live on. R.E.M. covered “Out in the Country” as a B-side for their 2003 single “Bad Day.” Rumer covered “Traveling Boy” on her 2012 album Boys Don’t Cry.
Nichols was honored during Florida Chapter Presents The Recording Academy Honors 2006 at Loews Miami Beach Hotel in Miami.
He was nominated for the Songwriters Hall of Fame on Nov. 12, for the class that will be inducted on June 12. He wasn’t elected (the competition is fierce every year), but the ballot listed the five songs that are probably his most famous and enduring: “We’ve Only Just Begun,” “Rainy Days and Mondays,” “I Won’t Last a Day Without You,” “Out in the Country,” “Times of Your Life”
In a comment on Williams’ Instagram post, Nichols’ daughter Claire wrote, “My mom, Terri, and my sisters, Caroline and Caitlin, are all so proud of the man he was, and are in awe of the legacy he leaves.”
Here’s the full text of Williams’ Instagram post announcing Nichols’ death.
“The first song, Roger Nichols and I wrote was called “it’s hard to say goodbye. “… Sadly, we hit the nail on the head. Roger Nichols passed away peacefully four days ago, at home with his beautiful family …his wife Terry and the daughters he was so proud of, Claire and Caitlin at his side. They were his dream come true. His greatest joy
“Roger was my writing partner and my music school… a collaborator for years and a friend for life. I was an out of work actor looking for a career in music when I was signed by A&M records publishing. They were looking for a lyricist for Roger Nichols. An industrial strength, lucky break that changed my life.
“We wrote almost every day for several years. He was as disciplined as he was talented. I had the attention span of a sea otter… I was ready for a break after three hours and Roger would plunge ahead for another four or five. The words were born of the beauty in his completed melodies. I wrote what I heard, note for note…word for word. The lyrics waiting in the emotion already in his music. He made it easy.
“After many wonderful productive years, I wanted us to write songs for movies. He had another dream. He said I wanna go fishing … wanna go back to Montana. He smiled and said something about having a family and maybe making a home by a nice little river… it was clear that he was already gone. A few years ago, I visited him and met Terry and the girls at the house by the river …and I knew he found his dream.
“One last story. Roger was really excited when his daughter Caitlin was getting married last September. He chuckled and asked, “can you picture me wheeling down the aisle in my wheelchair, holding my daughter’s hand?”
“Of course, I said yes then …. and right now Roger, I can picture thousands of proud dads and their beautiful daughters that walked down the aisle to your gorgeous music or danced their father and daughter dance to We’ve only just begun… picture them standing and applauding what you brought to their lives and to mine. You brought love and beauty into this world, and we will never forget you.
https://i0.wp.com/neztelinc.com/wp-content/uploads/2020/10/station.nez_png.png?fit=943%2C511&ssl=1511943Yvetohttps://neztelinc.com/wp-content/uploads/2020/10/nez_png.pngYveto2025-05-24 03:01:262025-05-24 03:01:26Roger Nichols, Grammy-Nominated Co-Writer of ‘We’ve Only Just Begun,’ Dies at 84
Every year, over half a million music fans flock to the Las Vegas Motor Speedway for three nights to dance under neon lights to tunes spanning almost every imaginable dance music subgenre. While Electric Daisy Carnival just wrapped its 29th year, it somehow still finds ways to reinvent itself and grow — not just grow in crowd size, but in cultural and physical reach.
Just before opening the gates to the festival on May 16, the event’s producer Insomniac invited select guests to Hotel EDC at the Virgin Hotel to celebrate their latest international expansion. Partygoers celebrated with Gorgon City to highlight Insomniac’s next international destination, Medellín, where EDC Colombia will launch in October 2026.
Inside the festival, we saw more representation on the lineup via the Ubutu stage, which created a dedicated space for Afro-house for the first time in the festival’s 29-year run. This year the fest also added a dinner theater activation where guests were treated to a cocktail hour with an acrobatic showcase, followed by dinner featuring a dance troupe and ending with dessert and live singing.
With the festival approaching its 30th year, Billboard spoke to a handful of DJs, from legendary headliners to this year’s first-timers, to hear from their perspective on how EDC continues to grow and how they personally make each year better than the last.
Here are seven takeaways from their words of wisdom.
Even Legends Can Reach New Heights
Courtesy of Insomniac Events
Tiësto is without a doubt one of the biggest names in dance music. He’s played EDC every year since the festival moved from California to Las Vegas in 2011. You would think he’s turned every possible stone the fest has to offer, but this year, the legend was excited to play Circuit Grounds, a fan-favorite stage, for the first time. Circuit Grounds offers more screens to visually bring the audience into new and unexpected tracks like Tiësto’s upcoming collaboration with Sexyy Red on the F1 soundtrack, “OMG!” Backstage the artist rhetorically asked us “Who would have thought Tiësto would have collabed with Sexyy Red?… No one. Absolutely no one. And it’s an amazing track.”
Also bringing the unexpected this year was EDM titan Kaskade. He brought his b2b act with Alison Wonderland to the Cosmic Meadow stage after the artists debuted as a duo at EDC Orlando last year. This time around, they expanded their sound to include some of Wonderland’s signature trap tunes. “For me, it’s just about playing stuff we love and trying to figure out that bridge in between,” Kaskade told us. “We’ve only played a handful of shows so we’re still discovering that as we play out more together.”
Everything Old Can Be New
Koen Ten Holter
When you’ve played EDC for as long as Tiësto and Kaskade, who’s performed at the festival for two decades, you have to continue making changes to your solo sets. Tiësto reserved a special set for the mainstage, closing out the three-day festival with a set that saw a return to his trance roots. Rising German producer Marlon Hoffstadt introduced “The Godfather of Trance” before his In Search of Sunrise Set, named after his legendary 1999 compilation album.
Tiësto told us the time was finally right for such a moment, saying “I reconnected with the sound I started with back in the day, and I feel like it’s a full circle moment. When [Insomniac Events founder] Pasquale [Rotella] asked me ‘Will you do a sunrise set?’ and I thought ‘Yeah, the time is right now.’”
For Kaskade, his solo set was sprinkled with pieces of his decades-old hits. Many DJs’ styles evolve over time, and Kaskade says he still struggles trying to resurface his former fan-favorites but admits, “People online will like this. There’s sometimes when there’s somebody hitting me up like ‘You haven’t played this song in 10 years!’ and I’m like ‘Oh yeah. That is a good song. I should remember to bring that out.’” So, if you’re waiting for more tracks from his 2008 album Strobelite Seduction to make it into his next set, like us, keep posting.
The Bright Lights Never Dull
The electric sky still shines just as bright, if not brighter, almost 30 years later. Alison Wonderland is still amazed at the impact that EDC has had on her and her friends after playing the festival 10 years later. She reflected on her first time playing at the Las Vegas Motor Speedway and crying, telling the audience “I started in my bedroom and now I’m here.”
A decade later, she’s still humbled by her EDC experience saying that she can’t believe she is sharing the stage with Kaskade. But there’s nothing that could prevent her from taking the stage at the Electric Daisy Carnival. “In fact, I actually love EDC so much that at 9 months pregnant I played main stage,” she said of this set that happened in 2023.
The Power of Planning
With over 500,000 people attending the festival every year, it’s the perfect opportunity for an artist to not only reach their fans but also expose themselves to a group of people who have potentially never heard their sound. Just ask Ben Nicky.
We caught up with the British producer 10 minutes after his first set at Kinetic Field on Saturday night before he made his way to Neon Garden for a b2b set with Maddix. Walking into his trailer, he was already on his computer working on a track because he’s aware of how every set offers its own opportunities.
“I’m like a DJ’s DJ,” he said. “I’m always changing something. Mainstage you’ve got your big fanbase there, but you’ve got another fifty to sixty thousand people who might not know you or be more into commercial stuff. So, you have to tailor and play more well-known vocals. Whereas in the trance tent, I can get away with more dark and underground stuff.”
Koen Ten Holter
Ben meticulously tweaks every element to fit the crowd he’s trying to appeal to, and the crowd at EDC is some of the most knowledgeable when it comes to dance music. Brazilian star Alok told Billboard that means you can’t phone it in.
“I feel like people here each year are more and more educated,” he said, “so, it’s not easy to please them. So you really have to bring stuff that makes sense and not obvious.” He knows a thing or two about keeping an audience on their toes. He just had a buzzed-about Coachella performance, for which he hired dancers with two-tone arms to create eye-catching live visuals.
Don’t Forget to Live in the Moment
While some DJs meticulously plan their sets, others prefer to “just rip it” in the words of Tape B. He started playing EDC in Orlando while doing his undergrad in Florida. Now that he’s worked his way up to EDC Las Vegas, he attended a programming meeting for the first time ahead of his solo set on Friday. When it came to his joint set with dubstep super DJ, Crankdat, they planned to start their set with their unreleased collab but keep it loose otherwise.
He told Billboard about the planning that went into the set saying, “Met up with Crankdat. Worked on our back-to-back for a little bit. Got songs kinda together. We’re mainly freestyling it tonight. So, it’s going to be very interesting, but very fun.”
Koen Ten Holter
Unreleased Tracks Make Everyone Happy
One of the most exciting aspects of attending EDC Las Vegas is the massive amount of unreleased music you’ll hear. REZZ said she was most excited to give fans a taste of what direction she’s taking her project next. “I’m super excited for this year. I’m playing like, seven new songs, more than half of which I’ve never played before.” Check TikTok to see fans’ live reactions to some of this new music.
Julian Bajsel
It’s become customary for DJs to head to Las Vegas with a ton of unreleased music. Riot Ten used it as a chance to treat his most dedicated fans to an early listen of his new album, Requiem For a Riot, before it drops in a week. Other artists may opt to test out some tracks they’re workshopping to see how the crowd reacts, like DJ Snake who played his upcoming song “Paradise” for the audience at AYU dayclub, not once, but twice, to make sure it went off every time.
There Are No Small Opportunities
With this year’s addition of the Ubutu stage, Afro-house had a major presence at the festival for the first time. Francis Mercier noted that EDC is “the home to different types of music from hip-hop to dubstep to house to now Afro house. It’s a place where you can hear all different types of music.” This new stage opened the door for artists like Karaba, who hails from Montreal, Canada, to play a stage at EDC Las Vegas for the first time.
Making the most of these opportunities is key, according to Morten. His first time playing the fest was in 2016 when he thought no one would see him spinning at one of the art cars. When he took the stage he was surprised by the energy. “It doesn’t matter what stage you’re at, the party and the crowd is incredible.” Since then, he’s played solo sets, b2b with David Guetta and this year played Kinetic Field with Artbat.
If you really want to see how quickly you can ascend to greatness, you just have to look at Cloonee’s trajectory. He admitted that EDC wasn’t really a festival you thought about as someone who grew up in England. After living in the States for a few months, he found himself nervously playing the Stereo Bloom festival back in 2022. This year he played Circuit Grounds right after Tiësto,z who said he wasn’t going to play Cloonee’s hit song “Stephanie” with InntRaw and Young M.A because it would be this year’s most played song and you don’t play the most played song before its creator takes the stage.
Meanwhile, the advice Cloonee would give himself before playing Stereo Bloom in 2022 is, “Calm down because you’ve got bigger ones to do.”
Catch more of Billboard’s EDC Las Vegas coverage on Billboard’s Instagram, TikTok, and YouTube Channels.
https://i0.wp.com/neztelinc.com/wp-content/uploads/2020/10/station.nez_png.png?fit=943%2C511&ssl=1511943Yvetohttps://neztelinc.com/wp-content/uploads/2020/10/nez_png.pngYveto2025-05-24 03:01:252025-05-24 03:01:257 Things We Learned From Talking to EDC Las Vegas 2025 Performers
Mexican star Julión Álvarez has postponed his Saturday show at AT&T Stadium in Arlington, Texas, after not being able to enter the United States, according to the artist’s team.
Álvarez — alongside the show’s promoter CMN and his management/booking company Copar Music — issued a statement Friday (May 23) explaining that, “Due to unforeseen circumstances,” he was “unable to enter the United States in time for the event.”
Adding, “With nearly 50,000 tickets sold, this sold-out show was set to be an unforgettable night for fans. Both CMN and Copar Music, along with Julión’s team, are actively working to reschedule the performance as soon as possible. Julión Álvarez extends his heartfelt thanks for your patience and continued support, and he looks forward to reuniting with his Texas fans very soon.”
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In a video message posted on Instagram, Álvarez further explained that his work visa had been cancelled. “It’s a situation that is out of our hands. It’s the information I have and what I can share.”
In April, the regional Mexican star, known for hits like “Póngamonos de Acuerdo” and “Te Hubieras Ido Antes,” made his grand return to the United States with three historic sold-out shows at SoFi Stadium in Los Angeles.
The shows in L.A. saw Álvarez perform in the U.S. again, eight years after a legal process that began Aug. 10, 2017, when the U.S. Treasury Department singled out the singer for alleged money laundering and links to drug trafficking. This caused the closure of his social media accounts and the rejection of U.S. companies to work with the Chiapas-born singer, and kept him away from stages in this country.
In May 2022, the charges were dropped and Alvarez announced in a press conference that everything had been “cleared up.” The three shows in L.A. and the one in Texas this year were setting him up for his upcoming 4218 Tour in the U.S., although the tour dates had yet to be announced.
While it’s unclear why Álvarez was not able to enter the U.S., the news comes at a time when international artists have faced a visa situation that has impacted a handful of regional Mexican acts and events. Earlier this month, Michelada Fest in Chicago was canceled over artists’ visa uncertainty.
Today’s press statement mentions that previously purchased tickets “will be honored for the new date,” but if unable to attend the rescheduled concert, “refund details will be provided.”
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With stock markets slipping and tariff concerns rising, music stocks from South Korea and China were the best performers for the week ended May 23.
K-pop company SM Entertainment, home to aespa and RIIZE, led music stocks with a 10.6% gain. Two Chinese music streamers, Netease Cloud Music and Tencent Music Entertainment (TME), followed with gains of 7.0% and 5.4%, respectively. HYBE, home to BTS and its members’ solo projects, was close behind with a 4.0% gain.
Driven by the gains in Asian stocks, the 20-company Billboard Global Music (BGMI) rose 0.2% to a record 2,800.92. The small gain marked the seventh consecutive weekly gain after a two-week loss centered around President Trump’s April 1 tariffs announcement. Proving that music performs well in times of economic uncertainty, the BGMI has gained 31.8% year to date, far exceeding both the Nasdaq (down 4.5%) and S&P 500 (down 2.4%).
U.S.-listed stocks performed especially poorly this week. Only one music stock traded on a U.S. exchange, TME, posted a gain this week. (TME is dual listed and also trades on the Hong Kong Stock Exchange. Its American Depository Receipts trade on the New York Stock Exchange.) Of the 12 stocks on the BGMI that lost value this week, only German concert promoter CTS Eventim trades outside of the U.S.
CTS Eventim, which fell 4.7% to 106.60 euros ($121.21), was the only music company to announce quarterly results this week. While the 2024 acquisition of See Tickets helped revenue jump 22%, adjusted earnings before interest, taxes, depreciation and amortization (EBITDA) improved just 8.9% and the company missed some analysts’ expectations. After Thursday’s announcement, the company’s share price fell as much as 14.7% before ending the day down 6.2% to 105.60 euros ($111.09).
Among multi-sector companies in the label and publishing business, Universal Music Group fared well, gaining 1.8% to 27.77 euros ($31.57). Warner Music Group fell 5.3% to $26.22 despite a lack of market-moving news or analyst comments. Reservoir Media, which reports earnings on May 28, dipped 1.2% to $7.23.
Streaming services were a mixed bag. Spotify fell 0.4% to $653.82. Deezer rose 0.8% to 1.31 euros ($1.49). Anghami sank 5.1% to $0.56. LiveOne was one of the week’s biggest losers after dropping 20.8% to $0.76. On Thursday (May 22), LiveOne announced it secured $27.8 million of convertible notes financing and drew down $16.8 million on May 19. The notes convert into shares of LiveOne common stock at $2.10 per share.
Live Nation fell 1.8% to $145.01. Macquarie increased its price target to $175 from $165 and maintained its “outperform” rating. On Tuesday, Live Nation named Richard Grenell, an appointee during President Trump’s first term, to its board of directors.
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