An Official Avicii “Levels” Merch Collection Is Launching in 2024

Avicii‘s “Levels” has lived on inside the hearts of his fans, but they’ll soon be able to physically emblazon the song across their chests.

Subscribers of the official Avicii newsletter today received an email with details of a new limited edition “Levels” merchandise collection, which is launching in mid-May on the late artist’s web shop.

In a clever homage to the track’s BPM, the exclusive collection is limited to a run of just 126 units per product. It features a black t-shirt, flat-brim hat and hoodie, each of which carries the spirit of the song’s timeless appeal.

For fans of Avicii, hearing “Levels” is a near-spiritual experience. The breakthrough 2011 single was a tour de force for the dance music legend, launching the career of a prevailing icon before it was cut short in 2018, when he tragically died by suicide.

Prevalently regarded as one of the most popular EDM songs in the genre’s history, “Levels” has stood the test of time as a generational anthem. Since the start of 2024, the track has been streamed over 530,000 times a day on Spotify, per today’s newsletter.

Fans of Avicii can register for notifications on the availability of the limited edition “Levels” merch collection here.

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Visa Issues Prevent Benga From Joining Skream for Coachella, U.S. Tour Dates

Fans across the global electronic music community are sending their love to Benga after he revealed he’s pulling out of his upcoming U.S. tour with Skream due to last-minute visa issues.

One of dubstep’s most influential figures, the U.K. producer said his visa process “hit a snag,” ultimately delaying his ability to travel and perform stateside this month. Benga took to social media to share the unfortunate news with fans.

“I am absolutely gutted, my team and I have worked tirelessly on making this happen,” Benga said. “But hey, I’m respecting the process and staying positive. I’ve [sic] am doing well and have had the best two years health wise and I am ready to get back out there. The journey hasn’t been easy, but getting the chance to tour again with Skream has been amazing.”

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The affected shows include Benga’s four-night run with Skream and SGT Pokes in Denver. Skream will now take the stage with fellow dubstep icon Mala for a show in San Francisco later this month.

In place of Benga’s helping hand, he said they’ve “called on some of the OG’s to step up in my place” in an effort to fill the void while he sorts out his unfortunate travel issues.

One bright side in the announcement is that despite not being able to join Skream at Coachella for a b2b set later this week, they’ve announced a performance together at the iconic Indio festival’s 2025 edition.



Hedex to Headline Charity Rave in Memory of Friend's Death From Brain Tumor

Hedex is set to headline a charity rave in the UK to pay tribute to his late friend, Dan Cracknell, who tragically died last year.

Cracknell passed away from a rare and aggressive brain tumor, according to Rainbows, a Loughborough hospice caring for babies, children and young people facing severe and terminal illnesses. The facility provided him and his family with care and support in the final days of his life.

One of Cracknell’s visitors at the time was Hedex, a rising superstar in the world of drum & bass music. The Class of 2024 star was his favorite DJ, per Rainbows.

Hedex and Dan Cracknell.


“Drum & bass was Dan’s life,” his mother Francesca told Rainbows. “He loved to party and he was always out at a rave.”

In addition to a performance by Hedex, the show promises a performance art lineup of fire breathers, stilt walkers and face-painters for an unforgettable night dedicated to celebrating Cracknell’s life and supporting Rainbows.

The charity rave kicks off at Ashby’s Ciros Nightclub on April 19th and tickets are £20. You can visit the Rainbows website for more information.

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Expecting His First Child, FISHER Extends Ibiza DJ Residency

As FISHER queues up life’s next big track, his Ibiza residency is adjusting to acommodate a new set of dates to close out the 2024 summer season.

The changes arrive after FISHER and his wife Chloe announced that they are eagerly anticipating the arrival of their first child, setting the stage for a brief intermission in the barnstorming DJ’s touring schedule from June 19th to July 10th.

During this time, the decks at Hï Ibiza will be entrusted to fellow house music star Patrick Topping. As a result, FISHER has promised to extend his residency to October 2nd, making up for the brief time off and ensuring that the summer season at Hï will not only continue its tradition of unforgettable nights, but also add an extra week of FISHER’s signature performances.

With its unparalleled sound system and avant-garde design, Hï provides the perfect canvas for FISHER’s hyperactive sets, which have consistently been regarded as among the island’s most compelling. Fans can purchase tickets to his residency here.

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Future-Proofing Festivals: CAA Vet Alex Becket on Why EDM is the Sound of Success for Coachella and More

Imagine it’s 2013. Skrillex’s brostep is decimating crowds, Avicii is triggering spiritual dancefloor awakenings, a 17-year-old Martin Garrix drops “Animals” and the retina-searing lasers of Ultra are changing eyeballs forever.

While that EDM serotonin rush still remains, the industry looks different over a decade later, when its consumers often prioritize the intimate, walk-on-air euphoria of a dark warehouse rave over the regurgitated frills of a major festival. From a cultural standpoint, the chasm between those two formats keeps growing—but for its artists, the road between the two is paved with uncertainty and hardship.

So where exactly do DJs fit into this industry in flux? And what challenges do they face?

Without the peace of mind that comes with blitzkrieg marketing offensives and veteran negotiators like CAA’s Alex Becket, most must navigate choppy waters solo as inflationary pressures hike the rising costs of touring to unsustainable levels. For those artists, it’s a lonely masterclass in DIY hustle.

Becket is the powerhouse agent behind—among many others—RÜFÜS DU SOL, Bedouin, Monolink and G Jones, the lattermost of whom was recently named by as one of the world’s best electronic music producers. He has been with CAA for nearly two decades and became the firm’s first electronic music agent in 2012 before nabbing a spot in Billboard’s venerable “Dance Power Players” list in 2019.

It’s no secret that leading agencies like CAA wield industry tentacles to curate prime festival real estate as a means to nurture the eggs of their mainstream golden geese. In other words, the stages of major festivals are the ultimate slingshots for new albums. Meanwhile, their electronic artists—as well as those repped by independent bookers across the nation—are left tasting the dust of their hip-hop and pop contemporaries.

But if there’s any silver lining, blue-chip agencies and festivals today are acutely focused on unearthing and booking EDM talent, according to Becket, who tells us he expects to see more dance acts on big stages in the near future.

Alex Becket, a music agent at CAA, one of the world’s most influential entertainment and sports talent agencies. 

c/o Creative Artists Agency

Once relegated to the fringes of the festival circuit, dance music producers are now commanding top billing and drawing massive audiences to marquee mainstream events like Bonnaroo, Lollapalooza and Austin City Limits, all of whom tapped ODESZA to headline last year.

Meanwhile, Coachella’s organizers in 2023 approached the trio of Skrillex, Fred again.. and Four Tet to close out the world’s quintessential music festival in lieu of a spurned Frank Ocean. Prior to their last-minute headlining set, Coachella counted only Calvin Harris and Swedish House Mafia—themselves replacements after stepping in for Kanye West in 2022—as their only other DJ headliners in the last decade.

Now, after a year teeming with unforgettable EDM moments, Coachella is introducing a brand-new stage to serve as the festival’s de facto epicenter of rave music. The ambitious stage, Quasar, will feature three-hour DJ sets by RÜFÜS DU SOL and a cancer-free Michael Bibi, among other deeply influential dance music artists.

Ahead of Coachella’s return this weekend, we caught up with Becket to discuss Quasar as well as the evolving relationship between major festivals and the electronic dance music community. After Coachella made the decision to blend Sahara’s lineups with more mainstream artists, it seems Quasar is the festival’s new epicenter of electronic dance music. Why now?

Alex Becket: The way “underground” house and techno music has become so popular in recent years, and arguably is now the mainstream dance music of the day, the traditional home at the festival for that sound, the Yuma Tent, has become too small to service all the demand. It’s a great sign for the health of our industry that the festival needs a stage like Quasar for this growing audience. Take us behind the scenes of your discussions with your artists about Quasar. What about the new stage was so appealing to them?

Alex Becket: Coachella has been such a pioneer for dance music over the years and they’ve done it again with Quasar. The opportunity to play an extended three-hour set is unheard of amongst multi-genre contemporary festivals and represents the core culture around DJs and raves. It’s exciting for these artists to have the freedom to take fans on a journey without the constraints of 60–75-minute sets that are typical at the festival. We’ve seen a surge in EDM bookings at festivals like Coachella. Can you elaborate on the strategic advantages—beyond pure popularity—that booking EDM artists brings to major festivals?

Alex Becket: Coachella has been booking electronic artists for decades but it’s true this year feels particularly dance-heavy. For whatever reason, I think other genres are down right now and electronic is filling up a lot of that void on festival lineups. Dance music appeals to a broader audience than a lot of other genres, and that drives mass appeal. What role, if any, has technological advancements in live production and stage setups played in making EDM acts more appealing for festival organizers? And to what extent does this focus on live spectacle factor into a festival’s decision-making when executing lineups?

Alex Becket: Festivals want big shows and big moments so it factors in a lot for them. Big production was an essential part of the “EDM” boom in the early 2010s and has always been a big part of the EDM experience. “Underground” shows with no production emerged in response to that, and now you’re seeing the pendulum swing back the other way in many cases with underground artists building big shows. In this way we’re seeing big productions with better music and it’s a winning combo. Are there any particular up-and-coming artists or sub-genres that you anticipate will gain even more traction in the festival circuit in the near future?

Alex Becket: Hard techno is definitely having a moment with younger generations, and we’re having a ton of success at CAA in the minimal tech and minimal deep tech space. Our new colleague Julian Teixeira has a lot of the best up-and-coming artists in this world like Chris Stussy, Dennis Cruz and Ben Sterling.

Part of Alex Becket’s roster at CAA, RÜFÜS DU SOL’s Jon George and James Hunt will DJ at the debut of Coachella’s new Quasar stage in 2024.

Michael Drummond What challenges or obstacles do EDM artists face when it comes to securing prominent slots at major festivals dominated by more traditional rock, hip-hop and pop acts?

Alex Becket: DJs and electronic artists have been sharing the top lines at festivals with rock, hip-hop and pop acts for years. In the past, relatively few dance artists headlined hard tickets and their value was closely tied to VIP sales (still does) which is harder to quantify and not public information. That’s a different metric that made direct comparisons difficult and worked against dance artists for prominent slots or billing, but many dance artists live in the hard ticket world now and it’s not much of a thing. How do you see the festival landscape evolving in the next five to 10 years when it comes to the representation of EDM and other electronic music genres on major lineups?

Alex Becket: The sky’s the limit! One of dance music’s greatest strengths is diversity, both of the audience and the music. I expect to see more dance acts on big and small stages alike, and different music thrives in different settings.

I love the variety of experiences Coachella offers in this way. You can go see an insane visual spectacular like Anyma at the Sahara Tent, then pop over to the Do LaB for the best dance party at the festival, then head to an immersive experience with RÜFÜS DU SOL (DJ SET) at Quasar, then end your night with Adriatique at the Yuma for a true nightclub experience in the middle of a festival. The options are incredible!

Joshwa Launches New Record Label, No Bad Fridays

Joshwa has launched a new record label, No Bad Fridays, by virtue of its debut release, “Get Stupid/Lluvia.”

Some of the London-based producer’s most memorable career moments, he said, have unfolded on Fridays, when most new music releases.

“It’s never a bad day when new music is released into the world,” he said in a press release. “It’s been a dream of mine to have my own label to share the music that represents the sound I play in my sets—a mixture of dark and light. I wanted to channel the positivity music has had on my life through the label and what better day to do it than a Friday… No bad feelings on a Friday.”

The label’s debut is a two-pronged tech house release from Joshwa himself. “Get Stupid” pulses with lively percussive elements, vibrant vocal chops and—just as the vocals boldly command—a “funky ass bassline.” On the flip side, “Lluvia” enchants with a house beat that seems to glisten like raindrops, accompanied by haunting Spanish vocals and a mesmerizing flute pattern.

Listen to both tracks below and find them on streaming platforms here.

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The Duality of Mau P: An Underground Advocate Becomes a House Music Vanguard

Mau P‘s journey didn’t begin in pursuit of the spotlight’s glare—it unfolded in the dimly lit corners of the underground, where the energy is raw and ambitions run deep.

Fortune had different plans for the breakout DJ and producer, who, despite his underground inclinations, has released a slew of major commercial hits in short order, beginning with the infectious anthem “Drugs From Amsterdam.” Since then, Mau P, whose real name is Maurits Westveen, has become nothing short of a seminal figure in the electronic music landscape as he bridges the gap of house music’s past and future with unparalleled finesse.

Mau P.

Tommy Reerink

In the heat of Miami Music Week, caught up with Westveen for a sit-down interview at The W Hotel. He shared insights into his musical journey thus far, which has oscillated between the allure of commercial success and the raw, unfiltered essence of underground dance music with each intriguing chapter.

There’s perhaps no better illustration of this dynamic than Mau P’s latest Beatport #1 hit, “Beats For The Underground,” which has not only dominated charts but also blitzed the world’s warehouse parties and club dancefloors alike—all after evolving through six different versions.

“The fun thing was that people were noticing small changes I added in each version of the song,” Westveen recalled of the track’s unique trajectory. When he noticed the rips on YouTube alone were garnering hundreds of thousands of views, the decision to ultimately slate it for an official release was a no-brainer.

With a background rooted in the stylings of big room house music under the umbrella of his former alias, Maurice West, Westveen’s transformation into Mau P started as a daring plunge in the throes of the pandemic.

Indeed, the artist’s shift from the festival-friendly sensibilities of Maurice West to the underground panache of Mau P has not been without its ironies. “Drugs From Amsterdam” catapulted him into the limelight far beyond the smoke-filled rooms of the underground scene he’d come to cherish.

“They wouldn’t let me be underground,” Westveen jokes, reflecting on the track’s unexpected success. “We wanted to dive more into the underground sounds and with the first track we’d already messed it up.”

Despite the whirlwind of success, Mau P remains immensely grateful for the journey and the choices with which it has afforded him. However, the rapid growth was not without growing pains.

“Nobody knew what Mau P was and what we wanted to accomplish here,” Westveen says of the time immediately following his breakout success. “We had to be so careful about picking the lineups, and which parties to play and what remixes to do.”

Ultimately, he believes that navigating these opportunities has been a privilege, allowing him to craft his path with intention and authenticity. “It’s easier to have that problem [of choice] and be able to say ‘no’ to a lot of things than to have to do it all over again starting small from an underground perspective,” he adds.

Mau P.

Tommy Reerink

Mau P’s success is emblematic of a cultural recalibration, one that seeks to honor the rich history of house music for loyalists while propelling it forward through a modernized lens for the next generation of producers. In his unique position at the intersection of these worlds, he is both a beneficiary and a catalyst of that shift, appealing to a desire for authenticity and depth that the dance music community has been yearning to revisit.

“The most interesting thing for me, ever since I started doing Mau P, is that the genres and sub-genre borders in-between have faded away,” Westveen says. “I feel like a lot of people don’t know what to label songs anymore.”

The blurring of stylistic lines is an indication of a broader evolution. And it’s in this melting pot of genres that he finds rhythm with an audience who is increasingly indifferent to labels, yet deeply connected to the essence of what makes dance music resonate across generations.

This ethos extends into Mau P’s live performances, the arena where he truly shines in sharing his passion and unique vision for the future of underground dance music. He says that despite initial expectations for him to deliver a set of Beatport Top 100 hits, his true determination lies in showcasing the unheard. It’s here, amidst the energy of the crowd, that he thrives in his craft, educating and elevating audiences with sounds that defy conventional categorization.

Fortunately, he’s earned increasingly more visible opportunities to do exactly that. Mau P was recently booked to perform at Coachella’s ambitious new stage, Quasar, marking another milestone in his broiling career.

He also just announced the largest outing yet in his “Baddest Behaviour” party series at Brooklyn’s Under The K Bridge Park, where a marathon open-to-close set promises an unforgettable experience for nearly 7,500 attendees. Tickets to the show, which is scheduled for September 13th, are on sale now.

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Over 200 Leading Artists Rally Against AI Tech In Call for Responsible Music Innovation

Amid the era of AI, when technology’s rapid evolution often blurs the lines between enhancement and infringement, over 200 artists have banded together in an unprecedented plea for respect and responsibility.

The Artist Rights Alliance has published a scathing open letter, titled “Stop Devaluing Music,” to issue a timely rebuke of AI developers in the music industry. In a clarion call for action, the petition urges tech companies to pledge against releasing generative music tools and technologies that could diminish the human artistry of songwriters and producers.

“Make no mistake, we believe that, when used responsibly, AI has enormous potential to advance human creativity,” the letter asserts.

This acknowledgment of artificial intelligence’s potential underscores the artists’ stance not as anti-innovation, but pro-accountability. Their grievance lies not with the technology itself but with the manner in which it’s currently being deployed by big tech platforms and developers.

The heart of the issue, per the petition, is the irresponsible use of AI that compromises artists’ ability to protect their privacy and intellectual property. It’s a predicament that stems from some of the world’s largest companies taking liberties with AI model “training” based on existing music—without regard for the original creators. This practice not only undermines the intrinsic value of music, but also poses a threat to the livelihood of those who create it.

“Unfortunately, some platforms and developers are employing AI to sabotage creativity and undermine artists, songwriters, musicians and rightsholders,” the letter continues. “When used irresponsibly, AI poses enormous threats to our ability to protect our privacy, our identities, our music and our livelihoods.”

Among the high-profile producers throwing their weight behind the initiative are industry luminaries like Billie Eilish, Metro Boomin, FINNEAS, Hit-Boy and Chase & Status. Their participation, along with superstars the likes of Sam Smith, Kim Petras, J Balvin, Pearl Jam and more, amplifies the petition’s message and highlights the widespread concern among artists of all walks about the future of music creation in the face of advancing AI.

Read the full open letter here.

Giolì & Assia Will Perform Across the Globe for Fall 2024 Tour, “RESURRECTION”

Giolì & Assia, whose distinctive fusion of sultry percussion and worldly live vocals has placed them into a creative league of their own, have announced a new tour.

The Class of 2021 duo announced “RESURRECTION,” which will take them across the globe from September to November 2024. The international tour will celebrate their upcoming EP, due to release later this month.

Kicking off with North American shows in Los Angeles, San Francisco, New York City and more, the tour will then take Giolì & Assia to London, Dublin, Paris, Amsterdam and Berlin, among other major cities.

“We’re incredibly excited to announce the ‘RESURRECTION’ World Tour and share our new music with fans worldwide,” the pair said in a press release. “After a period of reflection and creative exploration, we’re ready to come back stronger than ever and connect with you all in a whole new way. Nothing compares to that feeling of playing our music live and we can’t wait to be back with you all soon.”

Fans of Giolì & Assia, who recently made their signature handpans available for sale, can sign up for the “RESURRECTION” tour pre-sale here.

The duo recently relaunched their imprint, Diesis Records, and recorded a special #DiesisLive session at the Temple of Selinunte in Italy. The opening track in the set, “God Don’t Leave Me Alone,” is a brand-new song from their upcoming EP.



Creative Tips From Kelly Badak, the Artist Translating Real-Life Rave Imagery Into Graphic Design

For Kelly Badak, the primal beats and retina-searing lasers of raves are more than just a backdrop for partying. They are the raw material fueling her creative process.

Armed with a vast mental sketchbook unrestricted by spiral binding, Badak is a graphic designer translating the palpitating energy around her into digital brushstrokes for clients. She has garnered hundreds of thousands of followers on social media, where she unearths rare fonts that harken back to DIY punk and rave posters of yesteryear—a lost art after the advent of the digital era.

After moving from Miami to The Big Apple three years ago, Badak enrolled in the Tribeca-based New York Law School, where she’s studying IP and trademark law. Ahead of her graduation in May, she’s studying for the grueling New York State bar exam and managing the balancing act of driving the business of her own creative design agency.

It’s a familiar struggle for many in her field. Client revisions, creative roadblocks and the gnawing pressure to deliver fresh ideas can leave even the most passionate designer feeling deflated. But for Badak, the frenetic energy of a rave is her antidote.

Back in her home studio, the afterglow of the rave galvanizes her creativity. The kaleidoscopic visuals become a mesmerizing flow chart in her mind’s eye and the faces—a mosaic of unfiltered joy—become the bedrock for her next project’s mood board.

Badak traces her love of dance music back to 2013, when she watched Avicii and Hardwell rock the stages of Ultra Music Festival in performances now considered iconic. Over a decade later, she prefers the more ferocious, industrial sound of techno music, which she finds “soothing” while she works because it facilitates a full-blown descent into a stream of consciousness without the distraction of lyricism.

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A lot of her work, she says, is inspired by the visuals she sees at shows. A performance by South African dance music icon Black Coffee was a particular touchstone, his sultry rhythms weaving a latticework with live visuals in ways she’d never seen. The same goes for a show headlined by the renowned Âme duo, whose visuals featured a spinning chrome ball that now serves as a wellspring for her own aesthetic.

Badak isn’t just replicating what she sees—she’s attempting to capture the uninhibited movement and shared euphoria we all feel at raves but can’t quite explain to our families at Thanksgiving dinner. And in that sense, her work is a testament to the transformative power of rave culture, a chrome-plated bridge between the unrestrained world of electronic dance music and the structured domain of graphic design.

We caught up with Badak to peer through the looking glass of her creative process. In her own words, here are some creative tips for graphic designers to find inspiration in their work from the weird and wonderful world of electronic music.

Immerse yourself within the atmosphere

Next time you’re at a rave, try to study the visual effects and lighting and notice how it connects and matches with the music. Lighting designers and VJs inspire me so much.

Appreciate the visuals

There’s nothing wrong with recording at a show for the sake of the beauty of the moment. I record mainly for the visuals to draw inspiration from later on when I’m working on my art.

Try to recreate one visual as practice from a show you attend

Really, the best way to improve your work is to practice. By recreating an artwork, with the addition of your own personal touch, you’ll be able to really hone the skills you already possess and gain an understanding of the original artist’s thought process.

Practice by creating visual narratives

Every track tells a story to evoke a certain emotion from its listeners. Try to come up with a design that complements a song you enjoy listening to by translating the emotions you feel into your artwork.

Appreciate the sub-genres of EDM

Whether it’s industrial techno, trance, gabber, hardstyle or house, understanding the differences will help you design artwork more effectively for events regarding that specific genre. Pay attention to frequent color schemes, motifs and recurring imagery in the music’s artwork.

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Gather inspiration from event flyers

Take notice of their use of fonts, color, imagery and overall tone of the artwork and how it aligns with the genre of music it’s promoting. There are tons of websites with archived rave flyers from the 90s that I use to influence my work.

Stay in tune with trends

Keep up with relevant blogs, social media accounts and other artists to stay informed about rising trends in the works and visual artworks of DJs. I like to attend shows regularly to observe how both DJs and their visual artists are improving and upgrading their work.

Stay true to your own style

It’s important to be innovative in the work you produce, and it’s equally as important to stay authentic to the energy that the music emanates. Try to avoid clichés and trite artwork elements, and aim to create artwork that resonates with its intended audience with the addition of your own personal flair.