Halfway into 2025, Afrojack had a revelation. Since the pandemic, the producer born Nick van de Wall had been, he says, “very focused on maintaining the business, so making sure Afrojack fans are happy.”

As such, he was focused on making new music, building his Wall Recordings label, playing shows around the world and, when events started again, and putting together the countless edits these performances require. By mid-2025 he realized his business was sound and as such, “I just want to do what I love, and that’s making music purely for the dancefloor and not thinking about commercial appeal or streams.”

While the producer regularly plays some of the biggest stages in dance music, he’s recently found satisfaction in playing more underground music in rooms where no one knows who he is, something he’s been able to pull off via his alias, Kapuchon. Showing up under this moniker during a Miss Monique set at Hï Ibiza last summer, he found the crowd wasn’t responding to the music because they knew Afrojack was playing it, but because they really liked it.

“They were looking at me like, ‘Is that Afrojack?’” he recalls. “It was just me as a guy playing music, and that was the only form of communication. When I play those records and they hit and I see people’s faces go like, ‘Yeah!,’ that’s my feeling of accomplishment for the year. I’m super happy with that.”

Existing on this wavelength of the scene has in fact been so satisfying that in March, Afrojack is embarking on the seven-date Kapuchon Presents Afrojack Tour, which will take him to seven clubs across North America including Sound in Los Angeles, Refuge in Brooklyn and StereoBar in Montreal.

While seeing one of the marquee mainstage artists of the EDM era and beyond on a club tour might be surprising, Afrojack says this in this era of dance music, the rules around genres and which type of artists can play them are — at least among artists themselves — dissolved. “It’s fun to see that we don’t have to be split by genres,” he says. “Everyone can do everything, and I like that.”

Here, he talks about new freedoms in the scene, the “battle” of breaking through as a new artists and more.

Do you think the scene generally used to be more siloed and that artists like yourself had to just play what your known sound was?

It’s more complicated than just the sound. People that go out identify themselves as certain groups. You have people that go to techno parties and say EDM is for for normies. There are people that go hear electronica like Aphex Twin, Nicolas Jaar or Trentemøller and say techno is for amateurs. This is how people try identifying themselves with a genre to say, “We’re more advanced than you.” I don’t know why. I’ve studied a lot of psychology, but to this day I do not understand why people want to feel better than other people.

Are you feeling that evolve?

The nice thing now is to see that the DJs and producers don’t feel like this. The DJs and producers are not purists overall. Someone like Charlotte [de Witte] wouldn’t not play a record because I was part of it, or because it’s accessible or has too much commercial appeal. A song is a song. It’s weird if you listen to a song in a certain way because of who made it. I’m very happy to see now that more people are accepting of this fact.

There are so many conversations within the dance world that do have to do with these social and genre hierarchies you’re talking talking about. That sense of competition and elitism can be really exhausting.

Yeah, but it’s been like this forever.

But you’re saying that the DJs are not playing into it as much as the fans are?

Exactly. And it’s also because there’s some living legends now — if you look at Carl Cox or Richie Hawtin or Tiësto or Armin [van Buuren], they’ve been around for so long that they can kind of supersede the opinion of the younger generation of DJs. If a newer DJ says, “I think this” and then Carl Cox says “It’s actually like this,” you can’t really say anything, because It’s Carl Cox. You have to give it to him.

It’s a blessing that we exist in a genre where many of the legends and pioneers are still around.

Yeah. There’s a lot of bad things about social media, but one of the good things is that it’s made the relationship and understanding between the artist and the dance floor person, the party goer, the listener, super close. There is a bit less mystery, but at the same time, there’s more understanding, because now you have direct access to the mind of the artist behind the music.

Has that closeness in any way affected your career and what you do?

I was watching this interview recently, about how these days, musicians have to build their brand. I posted it on my Instagram. I love making music. I love DJing. I hate going on social media like, “Hello, this my brand new song. Please do this dance, because then the streams will go up.”

Some people messaged me that they agree, and they sent some other memes about like, when Thom Yorke used to release a record, he wouldn’t go out and say, “Hey, now we’re going to do this so you’ll stream the record.” It’s a different life now. You see a lot of artists getting booked because of social media fame or followings, people getting famous for making sexy faces at girls and taking off their shirts while playing a Suno-generated Afro-house remix of some pop song from the ’90s.

Ooh, let it fly.

I’m not going to name any names. I’m happy for these people, that they get to have success in any type of way. But at the same time, I’m like, I’m supposed to compete with this? I love music, and I love the success I’ve been given by my fans and by just the way things panned out. But it does really make me think, like, a few hours a day on making a social media strategy to promote my music, or am I going to use this time to make more music?

How are you striking that balance?

I’m lucky to be in a position where I can afford to have a team to focus on the social media stuff, but it’s definitely a problem for a lot of artists.

What’s your advice for those people who are just starting out, or who don’t have your level of success?

I think the only way to compete with it is to have pure authenticity and to show the authenticity. Instead of trying to say something for the camera, just go live for eight hours while making music. You don’t have to say anything, just show your craft. If you show your craft enough, it will work.

But it’s hard, man, especially now, since you’re competing with six packs, models, influencers, AI generated reels of a car crashes or a cat touching electrical wires or some s–t. Suddenly it’s not just about music, it’s about attention. It’s a tough battle.

Given that you became successful before the dominance of social media, do you get to bypass all of this?

I definitely think I’ve been very lucky to have been here for a while. I’ve had relationships with promoters for 10 or 15, years. I’m kind of in a safe space, as long as people enjoy my sets and my music. But for a new artist right now to break through, oh my god. I sign artists. I have a label. We do artist development. It used to be that if you have one great song and can DJ well, you have a career.

Now, you need to have one great song, then 20 really good songs in the same year, and you need to do great sets, and you need to immediately do 100 shows in the first year for no money in order to cement yourself as an upcoming DJ.

Do you think that there are artists who are as big as they are for the wrong reasons?

Tiny ones, but to really get big, you need so much authenticity. I have not seen anyone who became a worldwide success selling 10,000 or 20,000-capacity venues because of fake s–t.

Sure, like no one on that level can really be faking it.

Like Rampa and Keinemusik, they made the hit of the summer [with “Move.”] They’ve also been doing this type of music for 20 years. It’s not like they just showed up and said “Let’s do some some relaxing Afro-house music.” No, they made really cool underground records for 15 years. They did the struggle. It’s not like they appeared out of nowhere. Same thing with Mau P. He was doing production work as an EDM producer for like, 10 years before he started the Mau P project. For the last five or so years it’s been banger after banger, and his sets are amazing.

Same thing with John Summit. He had “Where You Are” and “Shiver” and this amazing line of releases on his on his Experts Only label. He does the five hour sets. He does the eight hour sets. He pays homage to people like Green Velvet from Chicago. He did the tech house tutorials. People want to hate and say “oh it’s cheesy” or “it’s commercial” because he’s famous. But if you look at what him and people like him are actually doing, they’re putting in the work.

This is what I’m telling the kids we have signed to my label or the Wall Pro Academy. If you put in the work and put yourself out to the world, it will come. But these days, you need to put out a lot. It’s not one song anymore.

The Grammys are this weekend and the nominees include Skrillex, Fred again.., Kaytranada and Disclosure, with the nominees having dozens nominations between them over the years. As someone who’s won a Grammy, do you think there’s a reason the artists you just mentioned aren’t breaking through in the Grammys lane?

Kaytranada is more likely to get nominated than anyone I just mentioned because [artists like us] represent DJ and party culture, and that’s not artsy, and the Grammy are supposed to be artsy. I’m not that guy. I don’t want to play the part of being artsy or whatever. We live in a capitalist world. This is the way it is. If you go on social media and do a campaign, your song will have more success and you will sell more tickets. I don’t like it, but this is how it is.

A lot of artists choose to present themselves in an artsier way, but that’s also a system, I had this conversation a long time ago about selling out, because I did a song with Pitbull. They said “Ah, you sold out.” I was like, Pitbull is an artist that’s been making music for 10 years, and he’s really successful, so people probably like his music. Then he he calls me like “Yo, I really like this song. Can I sing on it?” Am I going to say no because he’s too commercial? Because if I would say no because it’s too commercial, then technically I’m selling out, because I’m saying no to another person to protect my income.

Well, to protect your image.

Yeah, but this is the thing — if you’re protecting your image, you’re selling out to your image. Instead of trying to build an image, just be you… You won’t get respected by certain groups or certain types of cultures, because they need images for their own identification. They identify with certain images. So it’s not the best thing to do from a commercial perspective, but as a human being, I think it’s the greatest thing, because you don’t have to think about your decisions. It’s not like, “I don’t know if I want to work with this guy, because maybe they’re gonna think I’m less cool.” From a musical perspective, that’s not very friendly.

Was that always your approach?

I didn’t do it once, and that was with [not putting my name on] “Titanium,” because at that time I thought I was too cool. This comes with the pressure of being young and getting more famous and being like, “I’ve gotta protect it.” That’s the only time I made the decision not to put my name on something. I like to say I learned from my mistake, but I don’t know if it was a mistake, because I’m very happy with where I am today. It’s definitely something I wouldn’t do again. It’s also what I try to tell people. If you are who you are, people will understand. I said the same thing 15 years ago and I say it again like — do you like chicken?

Uh, yes I eat chicken.

So today you might eat chicken, tomorrow you might eat steak, the next day you might eat vegetables, and the day after that you might eat a cookie. Just because you love one thing doesn’t have to mean you are only that thing. This is what I’m trying to tell people.

  

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The ShopBillboard team can be found working from home on occasion, typing away and finding the best deals for you, likely listening to the latest and greatest hits that have graced our charts.

When working, we rely on fast and affordable home internet to get us through, a lifeline if you will, that can be likened to morning coffee. A good Wifi connection is essential, especially for the folks who have to deal with hybrid schedules that have you juggling working at the office and at home all at once. Without that stable connection, we wouldn’t be able to bring you the music content we work so hard to write up. Enter T-Mobile’s 5G Home Internet plans, a saving grace that offers hard-working individuals the support they need to confidently work from home, without costing a fortune.

Starting at just $35/month with Autopay; plus taxes & fees and a T-Mobile postpaid voice line you can get reliable 5G home internet. You’ve got fast internet for the whole family, giving you crisp, clear access to streaming hit movies and Billboard charting artists’ new music a la A$AP Rocky and Madison Beer, while also working just as reliably for long work days and important Zoom meetings.

If you’re really feeling frisky, T-Mobile 5G Home Internet’s fast internet¹ is powerful enough to support software to make your own tunes from the comfort of your own home, a key function for some of our music-lover readers. In short, the provider allows for creativity and innovation whether you’re tackling your job or a music-oriented endeavor which is something we can totally get behind.

From the standard plan, T-Mobile 5G Home Internet also offers an Amplified plan for $45/month with Autopay; plus taxes & fees and T-Mobile postpaid voice line, which includes faster internet than the Rely plan for only $10 more. Finally, you’ve got the All-In plan for $55/month with Autopay; plus taxes & fees and a T-Mobile postpaid voice line that includes everything mentioned above, along with a wi-fi mesh extender and streaming perks. This includes Hulu & Paramount+ Essential.

The plan is much more affordable than simply shelling out on a singular subscription to those streaming platforms alone. For example, a standard subscription to Hulu is $11.99/month, while a Paramount+ Essential plan will run you $7.99/month. Add that up and you’re paying $18 a month, and that’s without the fast home internet. If you deem that none of these plans are right for you after 15 days, you’ll get your money back.

Want even more bang for your buck? Now new home internet lines get a snazzy virtual prepaid Mastercard. For the Rely plan, you get $100, $200 for the Amplified plan and $300 when you sign up for the All-in plan² for a limited time. To put that in perspective, you can buy a bunch of new albums from your favorite artists, including merch, for $300. Ultimately, that means more cash back in your pocket.

1. Fast/Reliable: Speeds vary due to local network characteristics and management. During congestion, customers on this plan may notice speeds lower than other customers and further reduction if using >1.2TB/mo., due to data prioritization. ↩︎
2. Savings with $15 monthly bill credit. Credits may take up to 2 bill cycles; credits will stop if you cancel any lines or change plans. Up to $300: Via virtual prepaid card when you activate a qualifying new Home Internet line online. Available for digital activations ($100: Rely; $200: Amplified; $300: All-In), not available in retail. Allow 14 weeks from rebate submission. ↩︎

All products and services featured are independently chosen by editors. However, Billboard may receive a commission on orders placed through its retail links, and the retailer may receive certain auditable data for accounting purposes.

Dr. Martens has had some iconic collaborators from the music scene who have transformed their beloved shoe silhouettes into something unique.

We’re talking the Sex Pistols, Black Sabbath, Joy Division, New Order and The Who, just to name a few; however, none have aligned better with the brand like Metallica, Dr. Martens latest collaborator. For this collection, the iconic heavy metal band’s aesthetics are translated into some of the brand’s best-selling footwear, namely the 1460 ankle boot and the 1461 derby style. Both silhouettes can be purchased now on Dr. Martens website while supplies last. The launch is limited, meaning you’ll want to act fast if you want to get your hands on either style.

When you think about it, the meshing of both Metallica and Dr. Martens is pretty perfect. We can clearly envision fans of Metallica wearing these styles, headbanging and moshing in a crowd full of concertgoers, getting their fresh new kicks all scuffed up and muddy, the way Dr. Martens shoes are intended to be worn. Dr. Martens has always branded towards an audience of those on the edge of society; in fact, the brand was founded on feeding into the 1990s grunge movement. It was all about dressing metalheads, goth and punk kids, those deep into countercultures, looking to express themselves through their clothing.

The 1460 boot is a staple of the Dr. Martens brand and, as such, was treated with the utmost care in this collaboration. These Metallica 8-Eye Smooth Leather Boots retail for $200 and come in sizes for both men and women. You’ve got all the usual suspects of the 1460 style, yellow welt stitching, a branded pull tab and glossy Backhand leather uppers along with eye-catching grungy graphics on the uppers and toe box pulled straight from Metallica’s seminal 1988 Damaged Justice tour created by the artist Pushead. The boot is ankle length and lace-up.

In our experience with the 1460 boot, we can say that time makes these boots even better. Fresh out the box, the style is a winner worn with jeans or juxtaposed with a maxi skirt. Like all Dr. Martens styles, constant wear softens the leather, making for a more comfortable experience on the foot. They also look better all scuffed up and worn in, each crease telling a story. Dr. Martens’ 1460 is a durable model that won’t steer you wrong, lasting you years upon years of wear, making them a stellar investment piece.

The 1416 is a derby-style option, a preppier choice retailing for $180. This smooth leather silhouette also features a lace-up design with contrasting yellow welt stitching. This time around, the graphics, also dreamt up by Pushead, making reference to the band’s 1986 Damage Inc. tour. The tour was a significant milestone for the band, being that it was the final tour featuring bassist Cliff Burton before he died in a tragic bus crash in Sweden that same year. The tour was in support of Metallica’s fan-favorite Master of Puppets album, which peaked at number 29 on the Billboard 200 charts. The tour also marked their transition from opening for Black Sabbath’s Ozzy Osbourne to headlining.

Once again, you have sizes for both men and women, making the shoe unisex. Skull iconography is seen throughout the shoe, along with the word “Damage.” Like the 1460 boot, these leather derby shoes will also look better as they’re worn. This is a less-grungy option that we think would look right at home with baggy jeans and a crisp button-down or your favorite vintage Metallica band tee.

Travis Scott has always given Kid Cudi his flowers, and he highlights Cudder once again on Thursday (Jan. 29) for inspiring him to feel seen in hip-hop and like he could actually make it one day as a rapper.

Scott sat down with Rolling Stone for the publication’s My Life in 10 Songs video series, La Flame listed Cudi’s “Soundtrack 2 My Life” at No. 7 and explained how the 2009 Man on the Moon: The End of Day anthem made Trav feel like he was “brothers” with the Ohio rapper.

“It’s just the soundtrack to my life,” he began. “From 0:00 to the end of the song, I felt like we were brothers or something. We live like the same life. I think that s—t came out in ’09 and I was a senior in high school. I was like, ‘You know what, I could probably make it.’ People gotta understand, Cudi came out and was moving albums and s—t. To me, I was like, ‘Wow, people are really resonating with this.’”

Scott also remembered going to a Kid Cudi show, which featured Asher Roth as an opener, for one of the first concerts he ever attended.

“He had the LED screen and it was this black-and-white thing and the shadow and he walked out of the LED screen,” the Houston native recalled. “I remember looking around like people are really receptive to this guy’s story. I was like, ‘Okay, people will hopefully understand the story I got to tell.’”

The lore goes even deeper for Travis Scott. The Scott part of his stage name is inspired by Kid Cudi’s real name, Scott Mescudi.

Travis would end up working with Cudi for the first time on 2016’s Birds in the Trap Sing McKnight standout “Thru the Late Night.”

They joined forces for a handful of collaborations in later years, including the Billboard Hot 100 No. 1 hit “THE SCOTTS” as well as UTOPIA‘s “LOOOVE,” “Baptized in Fire,” “Get Off Me” and “At the Party.”

Elsewhere in Scott’s top 10, the 34-year-old listed tracks from artists like Kanye West, BJÖRK, Bon Iver, Fun, James Blake, Portishead, Z-Ro and Aphex Twin.

Watch the full video below.

Manager and entrepreneur Romel Murphy‘s dai + drm (pronounced ‘daydream’) has inked a multi-million dollar joint venture with Create Music Group, according to a press release about the deal. Murphy, who has enjoyed recent success with the launch of AI-assisted gospel artist Xania Monet, is building a “future-forward music label” that spans label services, management, consulting and marketing through the new deal, adding on to dai + drm’s established management and consulting branches.

Already, the JV has signed “AI-driven songwriters” Solomon Ray, Nova Sole and Aria Blu, as well as what it calls “traditional artists” (artists who do not use AI) like Jenneske, Renee Harmoni and IME Casino. The label describes these AI creatives as “AI-driven songwriters” because, through the use of generative AI, human songwriters who back the projects are able to bring their song ideas to life by creating AI-assisted or AI-generated master recordings.

Murphy plans to apply the experience he’s had managing Telisha Jones — the woman behind Monet, who uses Suno to take her poems into AI-assisted songs — and her signing to Hallwood Media to make dai + drm into a next-generation label that applies “modern tools, including AI, to help [signees] scale their impact without compromising authenticity or ownership,” a press release states.

“This hybrid approach [to signing AI-driven and human talent] allows dai + drm to bridge worlds, pairing real music expertise with cutting-edge technology to serve creators across genres and formats,” says the press release about the deal.

The company wants its signees to be able to “retain equity and monetize across both master recordings and publishing,” according to the press release, to achieve “long-term sustainability and creative control.” (Note: dai + drm is a label, not a publisher).

“At every major shift in music, songwriters are often left out of the conversation,” says Murphy. “My goal is to make sure songwriters are at the forefront of AI in music, seated at the table, not getting crumbs, while maintaining ownership and long-term equity in their work.”

“Romel is an extremely bright entrepreneur. We look forward to seeing his record label flourish,” said Jonathan Strauss, CEO of Create Music Group, in a statement.