DPA Mics Play a Crucial Role in Groundbreaking Immersive Audio Live EventsAccording to recent news from DPA Microphones, "For the worldwide anniversary tour celebrating AIR’s iconic debut album, Moon Safari, the French musical duo set out to deliver a live experience that felt as rich, precise and atmospheric as the record itself. Monitor Engineers Julien Vouillon and Florentin Convert had two goals: to recreate a sound as close as possible to the album and provide a fully immersive listening experience. To achieve this, the pair relied heavily on the clarity, precision and natural imaging of DPA Microphones. The result was a mix of solid technical innovation and audio quality that AIR’s music deserves."

“Since the rise of in-ears, a concert has to sound like the record—both at front of house and in the monitors,” Vouillon says. “AIR’s music demands that level of detail and space. The system is centered around binaural processing via spatial audio processing software (SPAT Revolution), feeding the musicians a spatially accurate, responsive ‘room’ inside their in-ears. But the immersive mix only worked with captured ambience that was stunningly clean and true. That’s where DPA came in.”

“What surprised us was how the DPA mics gave us the same drum sound every night, no matter the venue. You really hear the instruments as they are, not some interpretation of them, which is what makes the immersive mix feel like a studio recording happening live,” said Convert.

“Our goal was to get the musicians to listen to their own album, live. With the DPA 5100 and SPAT Revolution, we recovered what is always missing from classic in-ears: the natural 3D of the room, the air and the space,” added Vouillon.

According to a statement, Convert "immediately recognized the microphone as the ideal match for their approach."

“It’s discreet, easy to use and reproduces the natural 3D of the room,” he explains. “With SPAT Revolution, it adds the air and space that are always missing in classic in-ears.”

"To complement the main surround capture, the team relied on several models from DPA’s pencil microphone lineup, including the 2012 Compact Cardioid, 2015 Wide Cardioid and 2017 Shotgun Microphones for the ambience feed," they say.

According to Vouillon, “A crucial point was minimizing the delay between front-of-house and the ambience. If the system was too offset, the musicians would feel it immediately. The solution was adding a pair of DPA 2015s in ORTF stereo format facing the stage, helping musicians feel grounded in the physical space.”

Of AIR's live album release, Vouillon said that, "The vinyl was created directly from the live stereo monitor mix combined with the DPA 5100 room capture, mixed live during the performances and not reworked in the studio afterward. The only post-production step was mastering by Alex Gopher. It’s a good demonstration of how accurately the immersive monitoring system translated the live experience."

Vouillon adds, “The real refinement came when we added pink noise into the sidechain. It keeps the compression active until just the right moment, making the audience reactions feel natural and alive.” Vouillon, who long relied on other ambient microphone solutions, says the transition to DPA felt like a breakthrough. “After Florentin introduced me to the DPA mics, I was blown away. The mics have perfect transients and depth, and zero artifacts. I’ve replaced all my old habits with the DPA range.”

For more information, visit dpamicrophones.com.The post DPA Mics Play a Crucial Role in Groundbreaking Immersive Audio Live Events first appeared on Music Connection Magazine.

Music industry leaders, megastars pay tribute to Clive DavisRob Stringer, Patti Smith, Alicia Keys, the Lipmans, Merck Mercuriadis, and more pay tribute to legendary record exec
Source

Why Bob Dylan's Most Famous Question From 1963 Still Has No AnswerBob Dylan wrote "Blowin' in the Wind" in ten minutes in 1962. Presidents have quoted it. Protestors have sung it. Philosophers have wrestled with it. The answer is still blowing in the wind.

The Freddie Mercury Quote That Had Nothing to Do With MusicFreddie Mercury had everything the world could offer — and called himself the loneliest man alive. The quote that reveals who he really was when no one was performing for.

"In Times of Dragons" by Tori AmosUniversal/FontanaProducer: Tori Amos

Tori Amos’ 18th album sees the alt-pop veteran in full myth-maker mode, spinning political dread into fire-breathing allegory, where tyrants lurk like serpentine villains and hope flickers stubbornly underneath. It’s a sprawling 76-minute velvet coup that demands total surrender to its intricate, moss-covered melodies and, despite the record’s sheer density and occasional self-indulgence, it impressively navigates that tension between ancient folklore and modern chaos. In essence, it’s shadowy and just unhinged enough to remind us why she remains a high priestess of the avant-garde. Few artists could craft a campfire story for the end of the world that feels quite this essential. 

The post "In Times of Dragons" by Tori Amos first appeared on Music Connection Magazine.

From Lionel Richie’s voice trademark bid to the Michael Jackson biopic box-office record… it’s MBW’s Weekly Round-upThe biggest headlines from the past few days...
Source

Studio Mix June 2026: PinkPantheress, Taj Mahal, Easy Honey, and MoreOSCAR SCHELLER SCORES GLOBAL HIT WITH “STATESIDE” REMIX

U.K.-born producer Oscar Scheller lands a global breakthrough with his remix of PinkPantheress’ “Stateside” featuring Zara Larsson, which topped the Billboard Global 200. Reimagined from vocal stems into bouncy electropop, the track gained further momentum after its spotlight at the 2026 Olympics, underscoring Scheller’s growing influence behind some of pop’s biggest names.

ANGÉLIQUE KIDJO AND AYRA STARR CELEBRATE CONNECTION ON “AYE KAN”

Angélique Kidjo and Ayra Starr unite for “Aye Kan (Are You Coming Back?),” a warm, intimate collaboration brought to life in a candlelit video filmed at New York’s Power Station studio. The track, a love-as-wealth anthem, previews Kidjo’s upcoming album HOPE!!, blending personal history, cross-generational inspiration, and a message of connection and resilience.

BROOKSPEARE MUSIC UPGRADES STUDIO WITH SSL ORIGIN CONSOLE

U.K.-based Brookspeare Music has enhanced its remote recording studio with a Solid State Logic ORIGIN analogue console and UF8 DAW controller. Specializing in string sessions for film, TV, and games, the studio benefits from the setup’s flexibility and hybrid workflow, allowing seamless integration between analogue warmth and digital precision while supporting a wide range of recording projects.

CHRISTOPHER ARDRA ANNOUNCES SAW IT IN A DREAM WITH REFLECTIVE NEW SINGLE “REASONS”

New York songwriter Christopher Ardra previews his sophomore album Saw It in a Dream (out June 5) with the introspective single “Reasons.” Written after the end of his band Station, the track marks a personal turning point, setting the tone for a self-produced, multi-instrumental project that explores identity, catharsis, and the search for clarity.

WEIR BROTHERS LAUNCH NEW STUDIO CITY SOUND ERA WITH MICHAEL DAMIAN PROJECT

Studio City Sound has a new home, and the brothers Weir are putting the finishing touches on a new Michael Damian album there. Seen left to right: Producer Larry Weir who also runs National Record Promotion, recording artist, actor, and film director Michael Damian (Weir), producer, engineer, and Studio City Sound CEO Tom Weir. The new Michael Damian album is slated to drop this Summer.

EASY HONEY SETS THE MOOD WITH “BASEMENT KISSING” AHEAD OF PLAID EP

Charleston indie-rockers Easy Honey return with “Basement Kissing,” a hazy, late-night single previewing their EP Plaid. Written during a rapid cabin session in Colorado, the project finds the band expanding their sound while staying rooted in nostalgic hooks, as they gear up for a 25+ date North American headline tour.

TAJ MAHAL PREVIEWS TIME WITH BREEZY NEW SINGLE “WILD ABOUT MY LOVIN”

Taj Mahal returns with “Wild About My Lovin,” a swinging new single from his album Time (out now). Featuring longtime collaborators, the project blends blues, reggae, and soul, and includes a rare Bill Withers composition. The release arrives alongside a special GRAMMY Museum event, highlighting Mahal’s enduring, genre-spanning legacy.

PRODUCER PLAYBACK:

“One of the most important aspects of recording is the psychology of it… Some people perform better when you’re their bud and there’s camaraderie, others work better when you challenge them. You have to feel out the artist at the beginning of the session.” – Johnny K

The post Studio Mix June 2026: PinkPantheress, Taj Mahal, Easy Honey, and More first appeared on Music Connection Magazine.

Project 91 launches Playgrounds, a live experiences platform backed by Justin Kalifowitz’s Klaf CompaniesThe New York-based events company confirmed that Playgrounds will serve as an umbrella platform for concerts, branded experiences, and destination events
Source

Ringo Starr Twinkles With Friends at the GreekRingo Starr has been one of the biggest names in drumming world-wide for over 60 years. For the last 37 years Ringo has been touring with his All-Starr band, which has had some big alumni such as The Band’s Levon Helm and Rick Danko, The Eagle’s Joe Walsh, The E-Street Band’s Nils Lofgren and Clarence Clemons, Billy Preston, Dr. John, and drumming icon Jim Keltner.

To be a member, Ringo's requirement is at least three hits from their own band or as a solo act. The All Starr band returned to the Greek Theater in Los Angeles for the first time since 2024, as they played Yaamava Casino last year for the L.A. area show. Generally, the Greek shows are every other year but there have also been back-to-back years. This short West Coast run began May 28th at Pechanga Casino in Temecula, CA and concluded at the Greek on June 14.

The 16th incarnation of the All Starr band has included Toto’s Steve Lukather since 2012 (guitar/vocals), former David Lee Roth and ELO drummer Gregg Bissonette since 2008, Colin Hay of Men At Work on guitar and vocals (member in '03, '08 and since '18), Average White band bassist/vocalist Hamish Stuart (2006-08 and since '19), vocalist Warren Ham also a touring member of Toto (All Starr member since 2014). On keyboards is Buck Johnson from Aerosmith and the Hollywood Vampires, who originally was filling in for Edgar Winter starting in 2024. Lukather, Stuart, and Hay all played three songs from their bands.

The show began with Ringo on vocals for the first two songs starting with Carl Perkins’ “Matchbox” followed by solo hit “It Don’t Come Easy.” Starr stepped behind the drums for song three, which was Toto’s “Rosanna” led by Lukather. Starr double-drummed with Bissonette. Next Stuart was featured on Average White Band’s “Pick Up the Pieces.” Then it was Hay’s turn performing Men At Work’s “Down Under.” When the All Starr band members were featured, they would play three songs in a row (one each). Lukather plays bass on Average White Band’s “Cut the Cake” and a cover of the Isley Brother’s “Work to Do,” and Stuart plays guitar on those.

Each night during Average White Band’s “Cut the Cake,” the band minus Lukather, Bissonette and Johnson leave the stage and as a duo play bits of Queen’s “We Will Rock You,” The Beatles “Come Together,” The Safaris “Wipe Out,” Rush’s "YYZ,” Led Zeppelin’s “Rock N’ Roll,” Chicago’s “25 or 6 to 4,” Jimi Hendrix Experience’s “Manic Depression," The Rolling Stone’s “Honky Tonk Woman,” Led Zeppelin’s “Immigrant Song,” The Beatles “The End,” and finally Van Halen’s “Hot For Teacher.” Last year Starr began performing “The No No Song” for the first time in many years. During Toto’s Africa, Lukather mentioned his fellow band co-founder David Paich being in the audience.

The closing songs were Starr’s “Photograph,” The Beatles’ cover of Johnny Russel’s “Act Naturally,”  and as always “Help From My Friends” with John Lennon’s “Give Peace a Chance.” At each show, there’s quite a bit of humor and before “Yellow Submarine,” Lukather and Ringo joked around, with Lukather playing the opening riff to The Beatles’ “Daytripper” and “Please Please Me.”

For the finale, Ringo always brings up a few friends including returning guests Jim Keltner and former Guns N’ Roses Velvet Revolver Drummer Matt Sorum, and Toto’s David Paich as well as Jackson Browne, Heartbreaker’s members Mike Campbell, and Benmont Tench and Allman Betts drummer Alex Orbison.

Ringo’s 86th birthday will be in just three weeks, on July 7.

Setlist:

Matchbox- Carl Perkins

It Don’t Come Easy

Rosanna- Toto

Pick Up The Pieces- Average White Band

Down Under- Men At Work

Boys- Shirelles (The Beatles Version)

I’m The Greatest- John Lennon

Yellow Submarine- The Beatles

Cut the Cake- Average White Band (Without Ringo)

Frankenstein-Edgar Winter Group (Without Ringo)

Octopus’s Garden-The Beatles

No No Song- Hoyt Axton

Overkill- Men At Work

Africa- Toto

Work To Do- Isley Brothers (Average White Band Version)

I Wanna Be Your Man- Beatles

Johnny B. Goode- Chuck Berry (Edgar Winter dedicated to his brother Johnny)

Who Can It Be Now?- Men At Work

Hold the Line- Toto

Photograph- Ringo Starr

Act Naturally- Buck Owens (Beatles Version)

With a Little Help From My Friends/ Give Peace A Chance- Beatles/John Lennon

The post Ringo Starr Twinkles With Friends at the Greek first appeared on Music Connection Magazine.

BMG/Concord merger approved by competition authorities in United States and Germany (report)Deal cleared in US, Reuters reports, after official approval in Germany
Source

Mixed Notes June 2026: Leena Punks, ZHU, Paris WYA, and MoreLA ZORRA ZAPATA REIMAGINES A CLASSIC WITH “PALOMA”

Peruvian artist La Zorra Zapata unveils “Paloma,” a haunting reinterpretation of the classic “Cucurrucucú Paloma,” marking the first release from her upcoming covers album. Now based in Mexico City, she reshapes the beloved song into an atmospheric, introspective piece, reflecting her personal journey across cultures and her evolving connection to Latin American musical traditions.

THUNDERCAT RETURNS WITH DISTRACTED

Six years after his last LP, Thundercat has released Distracted via Brainfeeder. Blending humor with introspection, the album explores modern distraction and connection, with contributions from A$AP Rocky, WILLOW, and Tame Impala, alongside a previously unreleased collaboration with Mac Miller.

GLOBAL POP ARTIST PARIS WYA DEBUTS NEW EP MANNEQUIN

Globally raised pop artist Paris WYA has released her new EP MANNEQUIN, a trilingual, emotionally charged project exploring identity, pressure, and self-reclamation. Created with Adrian Cota and Morgan Taylor Reid, the EP reflects her upbringing across Shanghai, Paris, and New York, blending ethereal pop production with diaristic songwriting as she steps into a new creative chapter.

KOKO LOVE RECLAIMS HIS NARRATIVE WITH THE COST OF FREEDOM

Montreal-born artist Koko Love reemerges with The Cost of Freedom, a debut album shaped by reinvention and intention. After shedding his former moniker and keeping the project off streaming for a year, he built momentum through live shows and word of mouth. Now arriving widely, the album reflects his commitment to authenticity, connection, and redefining the path to alternative success.

LEENA PUNKS TEAMS UP FOR RETRO-TINGED SINGLE “HOLD ON ME”

Leena Punks joins forces with REYUS and Lauren L’Aimant on “Hold On Me,” a cinematic progressive house track infused with ‘80s-inspired synthwave textures. Released via Interstellar Recordings, the collaboration blends euphoric production with a striking vocal performance, as the rising London-based artist continues to build momentum with support from major electronic tastemakers.

SOMBR BUILDS MOMENTUM WITH NEW SINGLE AND ARENA TOUR

Fresh off a breakout Coachella debut, SOMBR shares his new single “Potential” alongside a cinematic video and announces a 39-date North American arena tour. The self-written track follows a string of chart successes, as the rising artist continues to blend indie rock and pop while expanding his global reach after a landmark year of performances and accolades.

ZHU RETURNS TO HIS ROOTS WITH CINEMATIC NEW ALBUM BLACK MIDAS

ZHU unveils BLACK MIDAS, a 14-track return to his club-focused origins, shaped by a year spent rebuilding and creating on the road after the Southern California wildfires. Blending deep house and melodic techno, the album features collaborations with Joyia, HNTR, and others, alongside his evolving BLACKLIZT concept and immersive global live performances.

The post Mixed Notes June 2026: Leena Punks, ZHU, Paris WYA, and More first appeared on Music Connection Magazine.

The music industry is closing in on a billion global subscribers – with Spotify out in frontMIDiA Research estimates that the global subscriber count grew 10.1% YoY in 2025
Source

A Song That Changed My Life: Cardinals on Aphex Twin’s “Avril 14thThe Band Members: Euan Manning; lead vocals, guitar, Finn Manning; accordion, vocals, Oskar Gudinovic; guitar, Aaron Hurley; bass, Darragh Manning; drums.

The Storyteller: Finn Manning

The Song: Delicate and unnerving, Aphex Twin’s “Avril 14th” hesitantly registers in the mind, allowing its beautiful four-chord piano arpeggiation to take hold. Its muted, ever-so-slightly held notes linger just long enough, signaling a melancholic and unsettling, as well as a sad and stunning sensation all at once.

The mesmerizing two-minute composition highlights how Aphex Twin (Richard D. James), one of the forefathers of drill ‘n’ bass and Intelligent Dance Music (IDM), operates —brilliantly balancing creepy, borderline disturbing sonic aesthetics with moments of minimalist beauty. Because of this subconscious duality, it inadvertently slid into the mainstream, from cinematic soundtracks to iconic hip-hop samples. Today, it pops up as a shortcut in classical crossover and ambient playlists, instantly cutting through digital clutter.

The Background: Hailing from the charming harbor town of Kinsale — the official starting point of the Wild Atlantic Way, a breathtaking 1,600-mile highway winding along Ireland’s rugged Western coastline filled with dramatic sea cliffs and lonely lighthouses — Cardinals eventually followed a beacon of light calling them to settle in the historic, St. Finbarr-guarded city of Cork. Answering to their internal fate, they let the weathered, siren songs of the winding city streets guide them toward crafting music that subtly leans into an abrasive, yet melancholic, alt-folk-rock landscape; a style that fully channels the poetic realism baked into the backbones of the classical Irish musicians and authors.

In due time, the Leeside five-piece garnered the attention of Fontaines DC Frontman Grian Chatten. After releasing their self-titled EP filled with post punk energy and a strange, somber vitality, they entered the studio for a second time — a session which culminated in the creation of Masquerade — a strikingly stark, structural dyad of songs bleeding out equal measures of “alcohol and ecstasy.”  This visceral duality found its physical home in the vinyl itself: a brighter, more romantic everyday clarity spun into Side A, balanced against the moody, dark-art styled descent of Side B.

The release is a modern sonic manifestation of the Claddagh ring. The left hand gripping the sharp, angular post-punk sounds, the right cradling the fraught poetic fragility; at the center lies the heart, absorbing it all, creatively balancing the contradiction into a distinct unified sound. It is an artistic tightrope that Finn Manning subtly credits to “Avril 14th” and the ghost in the machine guiding his creative process with the band.

The Story: Like so many listeners navigating the modern musical landscape, Finn Manning’s introduction to Aphex Twin’s “Avril 14th ” arose through rosy childhood retrospection.  Specifically, he was captivated by the parallel musical narratives in Kanye West’s “Blame Game” from 2010’s My Beautiful Dark Twisted Fantasy — a striking intersection where a contemporary classical piano instrumental was sampled as an anchor for a maximalist rap production. Even at a young age, this phantom melody seemed to possess a melancholic, poignant air that felt entirely detached from the rest of the song.

Driven early on by an exceptionally acute ear for musical nuances, Manning became obsessed with the beautiful piano arpeggiation beneath the bravado, prompting him to dig through the digital and physical crates. What he uncovered beneath the rap framework was the source material: the delicate, unadorned skeleton keys of Aphex Twin’s “Avril 14th” and its subdued essence.

This realization served as the creative genesis for Manning’s approach to songwriting within Cardinals. His finely tuned mind recognized that a lyricless composition could tell an entire story on its own, leaving listeners to fill it with any mood desired. It is precisely this emotional shapeshifting that drew Manning in. He recalls being struck by the tactile physicality of the sound, the tangible human element felt within the recording itself.

“The chord progression on 'Avril 14th ' really interested me in how music was able to tell a story by itself,” Manning notes. “The production of the recording is so intriguing in its base. The clicking of the keys has this typewriter effect that almost reminds me of a noir detective film.”

Through that same physicality, the different melodies in the song seemed to evoke different feelings. “I was particularly struck by the textures I was hearing.” Manning continues, “There’s a click and crackle where you can hear the physical keyboard itself working. I was mesmerized by how the left hand bass notes flowed and complemented the right hand at all points.”

Beyond the structural cleverness and unassuming delivery of the song, the track became a lifelong musical gateway. Manning leaned into classical piano, which eventually guided him toward artists who use atmosphere as the foundation of songwriting. “I went on to listen to a lot of classical music…and it led me to Brian Eno, and his album Apollo: Atmospheres and Soundtracks.”

Today, that old, fuzzy feeling when hearing “Avril 14th acts as a time capsule. Played on a modified Disklavier, the track’s mechanical imperfections heighten its beauty.  When Manning listens to it now, the music effortlessly flattens time and space together, transporting him back to how he heard it for the very first time — “lonely, optimistic, affecting.”

“The song has no lyrics, but the piece itself is incredibly emotive,” Manning reflects. “Still, today I can listen to it, and it can have a different feeling every time. I get different shades of melancholy, pride, hope, and nostalgia depending on what I am feeling.”

Photo Credit: Steve Gullick

The post A Song That Changed My Life: Cardinals on Aphex Twin’s “Avril 14th first appeared on Music Connection Magazine.

Sir Lucian Grainge highlights global opportunity for Japanese artists ahead of Music Awards in Tokyo, where UMG artists Fujii Kaze and Mrs. GREEN APPLE win top prizesGrainge delivered remarks at an official gala for Music Awards Japan, according to UMG.
Source

Why Led Zeppelin IV Has No Title — And Still Sold 24 Million CopiesLed Zeppelin's fourth album had no title, no band name, and no logo — just four symbols. It became their biggest seller, with 24 million copies sold in the US alone.