NITO indie agents, managers take ticket scalper complaint to FedsThe National Independent Talent Organization (NITO) has filed a formal ticket scalper complaint with the U.S. Federal Trade Commission (FTC) alleging widespread violations of the Better Online Ticket Sales (BOTS) Act.
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Imagine Dragons livestream to benefit Tyler Robinson Foundation FridayThe Tyler Robinson Foundation and Bandsintown are hosting a special Imagine Dragons livestream performance from Los Vegas tomorrow Friday, September 20th at 9:30 PM PT/12:30 AM ET.
The post Imagine Dragons livestream to benefit Tyler Robinson Foundation Friday appeared first on Hypebot.

Q2 2024 music market metrics: bifurcation is hereThere are so many music industry metrics and financial results flying around these days that it can be difficult to keep up with them all. Don’t worry, we’ve got you. MIDiA has just published the first edition of a brand-new report series: quarterly music metrics. The aim of the report is to synthesise a sea of data into the insights that matter. Here are some highlights from the first edition.

Q2 2024 faced intense music industry scrutiny, with Universal Music Group’s (UMG) streaming revenue growth lagging that of market leader DSP Spotify. A complex mix of factors contributed to this trend –– UMG pointed to sluggish performance of Amazon Music and Apple Music, though regional factors were probably the main culprit, with Spotify growing well in Global South regions where UMG is not as strong. 

Earlier this week, UMG’s Sir Lucian Grainge laid out UMG’s vision for ‘streaming 2.0’ – a more segmented approach to taking the streaming market to its next phase. This included a more considered outlook of 10% annual subscriptions growth 2023 – 2028. Which is exactly what MIDiA projected in our music forecasts. It is solid and achievable growth. But one that does indeed need a fresh, more nuanced approach with the music market now bifurcating, both in business terms (DSPs vs social) and geographic terms (Global South vs Western markets).

The signs of bifurcation are already apparent with early signs of a slowdown in streaming music consumer behaviour to accompany the revenue trend. Spotify and YouTube Music were the only leading DSPs to experience weekly active user (WAU) growth between Q2 2023 and Q2 2024. All other DSPs saw declines over the period. This is not a one-off event. Between Q2 2020 and Q3 2022, all DSPs experienced steady WAU growth. From then on, however, all experienced flattening or declining growth. 

YouTube is worth taking note of as well. WAUs for watching music videos on YouTube have been in steady decline since Q3 2022, reflecting the growing competition from short form (both TikTok and YouTube’s own Shorts). YouTube Music app WAUs were up slightly.

The streaming slowdown is not restricted to DSP WAUs. The vast majority of monthly consumer streaming activities and wider monthly music behaviours, were also down. 

Secular trends are likely at play, namely cost of living pressures and growing competition for attention from other forms of entertainment. Interestingly though, the fact YouTube Music and Shorts, and TikTok related activities were the only ones to buck the trend is evidence of the bifurcation of music between DSPs and social, with the latter on the up.

But streaming value chain dynamics aside, Q2 24 was another quarter of solid growth across the wider music industry with leading labels, publishers, DSPs, and live music companies all registering growth once more. Total revenue across the fifteen leading music companies tracked by MIDiA were up 9.6% in Q2 2024, to reach $20.7 billion, with publishers and DSPs growing fastest.

Live continued its post-lockdown renaissance but the first signs of moderating growth are showing, with Live Nation’s and Eventim’s combined growth rate of 8.2% the first single digit growth rate since recovery started in Q2 21. There is no cause for alarm bells yet, but saturation of market demand for increasingly expensive live experiences will likely manifest in the coming years.

If you liked what you saw here, then check out the full report: Q2 2024 music metrics | Bifurcation is here

If you are not yet a MIDiA client, then drop us a line at businessdevelopment@midiaresearch.com

And as if you need any further persuasion, the data file with the report includes around a million consumer data points alongside quarterly company financials across labels, publishing, streaming and live, including separate sheets for major labels, publishers, and South Korea!

Rise of the Songwriter Brand [MIDiA’s Tatiana Cirisano]Explore the rise of the songwriter brand that has played a major role in shaping the current industry. With this shift, songwriters can gain more recognition and opportunities beyond traditional songwriting roles.
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Union Audio relaunches MasterSounds’ much-loved two.valve and four.valve analogue rotary mixersUnion Audio has relaunched the two.valve and four.valve analogue rotary mixers, which were previously sold through MasterSounds, now under the Union Audio banner.
MasterSounds founder Ryan Shaw shared a statement back in June announcing that the brand was building the final units of its DJ mixers, FX units, ISO4s and LinearPOWER supplies. Shaw founded MasterSounds in 2008, and then formed a partnership with Union Audio’s Andy Rigby-Jones in 2016. The mixers were formerly named as the Two Valve MK2 and Four Valve MK2.

READ MORE: Classic rotary mixers made “accessible” with the launch of Union Audio’s new Orbit LE range

At the time of the statement, Shaw said the brands were going to continue their journeys of discovery “in different directions” following the final MasterSounds sales. The relaunched Union Audio two.valve and four.valve mixers host the same specs as before, and are still handmade in the UK.
The brand says they are built to deliver a “premium DJing experience”, incorporating valve warmth with modern engineering. Each of its two or four channels features high-quality phono and line inputs, allowing for easy transitions between various audio sources. The mixers’ layouts feature rotary faders, an Innofader crossfader, EQ controls, and an intuitive interface.
Central to these mixers’ sound is the valve (tube) circuitry, which provides a unique warmth and richness. As Union Audio explains, the mixers are constructed with carefully selected components, and have a robust metal chassis to provide durability.

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“We are delighted to return these much loved and enjoyed products to our own portfolio, which has expanded to meet the diverse needs of our customers, whilst maintaining the same superior audio excellence, build construction and innovative design across the range,” states CEO Rigby-Jones.
These products are available now. The two.valve mixer is priced at £1,524 and the four.valve is £2,400. Find out more over at Union Audio.
The post Union Audio relaunches MasterSounds’ much-loved two.valve and four.valve analogue rotary mixers appeared first on MusicTech.

Transpanner 2 is a FREE 3D Audio Panning Plugin by Artists in DSP
Developer Artists in DSP has made available Transpanner 2, a free 3D audio panning plugin for Windows and macOS. The developer released the plugin under the “pay what you want” price model, and it’s available in VST3 and AU formats. Artists in DSP describe Transpanner 2 as a psychoacoustic panning algorithm with a super simple [...]
View post: Transpanner 2 is a FREE 3D Audio Panning Plugin by Artists in DSP

PreSonus to scrap Studio One Artist and Studio One Prime editions in favour of “one, feature-complete” DAWPreSonus has announced some pretty big changes for the future of its Studio One product offerings. As of this autumn, there will be “one DAW for all”.
Beginning with the release of version 7 on 9 October, the brand is moving to one, feature-complete edition of its flagship software and will no longer offer Studio One Artist and Studio One Prime Editions. Going forward, Studio One Pro will be the one-stop shop for everything.

READ MORE: Mixland partners with Undertone Audio on new UnFairchild 670M mkII V1.0 plugin

“From the first version of Studio One in 2009, we’ve released new major versions every two years,” states PreSonus in a press release. “In order to continue to grow Studio One, we’re aiming to deliver more major new features, faster, as soon as they’re ready. To accomplish this, we’re changing our release cadence to a faster feature release cycle with multiple major new feature releases each year.”
According to PreSonus, these changes are the direct result of user feedback. Studio One Pro 7 will be the last numbered version release, meaning in the future version naming will be time-based with the first of these new feature releases coming early next year. No official date for this has yet been given.

However, starting today, all Studio One Pro perpetual licences will include one full year of new feature releases from the time of registration. This means you’ll upgrade your licence on your schedule and still get to keep a full year of new features released after you purchase a licence — without worrying about the timing of major releases.
PreSonus assures you will never lose access to Studio One Pro with any perpetual licence, and that in fact, Studio One Pro perpetual licences will become “more accessible than ever”, with improvements to upgrade eligibility and pricing. Also from today, the brand is offering one upgrade price for all, allowing owners of any previous version of Studio One Professional or Studio One Artist Edition to upgrade for $149.99.
As for Studio One+, this will become Studio One Pro+, and is “still the best way into everything Studio One Pro”. All Pro+ subscribers will continue to have unlimited access to cloud-based tools, content, loops, samples, and all the extras.
For subscribers and members on Hybrid plans, your annual subscription will continue to include a Studio One Pro perpetual licence along with all new features released each year of your subscription.
Find out more over at PreSonus.
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“I’ve come to realise that the perfect mix doesn’t exist, although Daft Punk might be able to achieve that”: Producer Ben Böhmer on embracing imperfection in musicHave you ever found yourself stuck in an endless quest for the perfect mix, pouring countless hours into fine-tuning your tracks, only to realise that the ideal sound you seek remains just out of reach?
It’s a struggle many artists are familiar with, including German DJ-producer Ben Böhmer, who recently spoke about his own battle with perfectionism in a new interview.

READ MORE: Kavinsky is teasing an ‘Olympics Version’ release of Nightcall

Speaking to MusicRadar about his upcoming album BLOOM, Böhmer shares how the recording process drove him “crazy” at times, noting that at one point he had a whopping “130 mixdowns”.
“It took me about 18 months to complete the album and most of the songs were finished at a pretty early stage but it took ages to finalise them,” says the producer. “I felt that was easier to do in the past and figured it would get easier as my knowledge about production grew, but I was completely wrong about that.”
“The last 5 or 10 percent drove me crazy from time to time and at one point I had about 130 mixdowns that I gave to other mix engineers but I didn’t like the results that much. In the end I finished it by myself and I’m still not happy, but please don’t write that [laughs].”
Böhmer also notes that while there are moments when he feels “100 percent happy” with his creations, what sounds interesting and good can change over time “because your tastes are always changing.”
“It’s probably normal for the process to drive you mad,” he adds, “but that’s why I enjoy playing live because even if I perform a song from 2016 it’s never too late to make changes to it or add an idea.”
The musician continues: “What really drives me crazy is the mixdown and trying to find the perfect balance between a sound being clean or not clean or the right sound that works between the big stage and home speakers. Now that I’m on album three, I’ve come to realise that the perfect mix doesn’t exist, although Daft Punk might be able to achieve that because they sound amazing everywhere despite their tracks being made with very little equipment.”
BLOOM is due out on 27 September. Check out the single Best Life below.

The post “I’ve come to realise that the perfect mix doesn’t exist, although Daft Punk might be able to achieve that”: Producer Ben Böhmer on embracing imperfection in music appeared first on MusicTech.

IK Multimedia launch iLoud Micro Monitor Pro The iLoud Micro Monitor Pro doubles the power of IK's renowned compact monitors, extends their low-end response down to 42Hz and offers some built-in room calibration functionality. 

IK Multimedia launches “feature-rich, professional version” of its iLoud Micro MonitorIK Multimedia has launched a new “professional” version of its iLoud Micro Monitor, which hosts “double the power” of its standard predecessor.
The IK iLoud Micro Monitor Pro is still small enough to fit in a backpack, and is described as “incredibly balanced with a wide soundstage even at close distances”. It provides 50 watts RMS per speaker and utilises IK’s iLoud “physics-defying” bass down to 42 Hz.

READ MORE: IK Multimedia’s T-RackS 6 packs over 60 analogue-modelled plugins, with a free version available

To keep things compact and portable, each speaker weighs around 3lb./1.4kg each. These are also fitted with a Class-D amplifier, custom-designed drivers, and have a peak SPL (sound pressure level) of over 107 dB.
An advanced DSP (digital signal processor) brings “near-perfect” phase alignment, time coherence and flat frequency response for accuracy. There’s also built-in ARC self-calibration, meaning the speakers adjust to any space for a consistent sound output, and IK’s own X-MONITOR software is integrated for control over speaker parameters and the ability to emulate the sound of other top studio monitors.
As for set up, there’s a tiltable flip foot design and a 3/8” threaded insert, so the iLoud Micro Monitor Pro can be set up in a range of ways, such as on a desktop, mounted on a mic stand, or mounted on a wall. The speakers can also be spread wide apart as there is no link cable.
They can be used independently or bundled together, and IK says this is “the only portable monitoring system that combines the power and essential tools for professionals and audiophiles to perform anywhere”.
Take a closer look in the video below:

iLoud Micro Monitor Pro can be purchased singularly for $/€279.99 (ARC MEMS microphone not included), or as a pair for $/€559.99 (includes ARC MEMS microphone).
Find out more over at IK Multimedia.
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These speakers prove you can have powerful and accurate sound in ANY roomAdvertorial feature in partnership with IK Multimedia
You spend a lot of time and effort putting your studio together. But, sometimes, there’s one crucial factor that’s overlooked in getting the best results: a studio of any size, from a spare room at home to a professional facility, is sonically imperfect – and each one is different.
Monitor speakers are designed and tested in acoustically ‘dead’ anechoic chambers that offer a neutral response with no reflections. But a real space with irregularly positioned walls, windows and rafters behaves completely differently when it comes to sound.
IK Multimedia’s new iLoud Micro Monitor Pro speakers, the professional version of the company’s popular iLoud Micro Monitors, solve this problem by offering built-in room correction by quickly connecting the special, bundled MEMS microphone.
IK Multimedia iLoud Micro Monitor Pro. Image: Press
Rather than requiring a dedicated audio interface, the iLoud MM Pro monitors can tune their frequency response to any space or any placement automatically without the need for a computer or external box. Connect the microphone to each speaker’s XLR socket, press the Calibrate button and they will tune themselves automatically. Incredibly, each speaker takes just two minutes to calibrate.
Calibration is vital because it can be difficult to jaudge how the shape of the room is affecting your perception of a mix. Does the low-end sound bigger than it actually is because of the monitors’ proximity to a wall, or are high frequencies being lost because of poor monitor placement? It’s very easy to mix a track based on the sound in the room but then find that when played back in another location or on a different system, the balance is wrong.
The aim, of course, is to achieve a sonically accurate picture of your music. While some studios can mitigate these issues with acoustic treatment, that’s a costly process that’s also not usually possible in smaller home studios. Even if correctly installed it doesn’t guarantee to fix everything and it doesn’t help at all if you have to move between mixing locations.
IK Multimedia iLoud Micro Monitor Pro. Image: Press
While the popular iLoud Micro Monitors are great performers, the new Pro model is the first to offer this calibration fully built into the speakers. And, of course, it also works with IK’s included X-MONITOR software should you want to achieve even more accurate results, do an A/B comparison or even quickly hear how your mix sounds in different environments, like in a car or on a smartphone. Furthermore, it also has the capability of emulating the sound of other popular speaker models.
This speedy auto-calibration is especially useful since they are ultra-portable yet offer superb reproduction, meaning they can travel with you without much hassle and then tune themselves to whatever space you happen to find yourself in. Suddenly the compromises associated with compact speakers are no more. And they’re great for using in tandem with larger speakers in a more permanent studio setting too, a common technique in studios for making a mix sound good on different types of monitors.
IK Multimedia iLoud Micro Monitor Pro. Image: Press
Without room calibration, moving to a new space to mix would introduce a whole new set of acoustic variables. In short, you wouldn’t really know what the space was doing to the sound. But with the automatic calibration on the iLoud MM Pro speakers — plus the manual switches for LF and HF shelving — you can be confident that your soundstage is accurate. And all without any tedious experimentation with speaker positioning.
In addition to established studios or producers working on the move, the iLoud MM Pro monitors are also perfect for smaller home studios where space can be at a premium. Not only do they offer rich, room-filling and accurate sound but the quick and easy room calibration can be even more important in these kinds of imperfect spaces. Plus they bring this technology to a much wider audience since you don’t need to invest in lots of extra gear or even necessarily be an expert in acoustics to tune your speakers to your space.
You might have thought that room calibration meant installing large, expensive baffles — indeed, much of the time it has. With this new generation of self-tuning portable monitors, however, accurate reproduction is available anywhere, be it in your pro studio, home studio or even on the road.
Whatever kind of music you make, you can be sure that it will sound its best when mixed on a system you can trust.
Learn more at IK Multimedia.
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Could DC Snares be the drum plugin that makes sample packs obsolete?£49, Plugin Boutique 
The brainchild of multi-award-winning Australian producer Davide Carbone, DC Snares is designed to revolutionise how you create and manipulate percussion. Drawing from his experience in techno group FSOM, remixing high-profile artists like Moby, and designing sound and music for Jaguar car adverts, Carbone’s product is a highly versatile drum engine that goes so much further than just snares.

READ MORE: Are KIT Plugins’ BB F66 and F67 convincing emulations of classic Fairchild compressors?

So, can this plugin replace sample packs, removing the need to paw through thousands of one-shots to find the perfect fit? And if so, is it worth Plugin Boutique’s £49 asking price? There’s certainly a strong case. With its four-slot sound engine, versatile effects, and deep modulation options, DC Snares offers a level of creative control and variety that’s hard to find in sample packs.
For producers seeking a quick fix, its complexity might feel like overkill — but for meticulous sound design geeks, this plugin opens doors to infinite percussive possibilities.
What is DC Snares?
Beneath the Layers
At the core of DC Snares are four sample playback slots, letting you layer different sounds together to create new combinations. The plugin comes with a comprehensive library of bundled samples, ranging from classic rims, snaps, claps, and snare sounds to orchestral booms, longer experimental textures, and characterful vinyl crackle.
Honestly, these sounds are almost worth the price of admission alone. You’re getting 684 samples in total, spanning an incredibly wide range of timbres. This strong foundation makes DC Snares such a powerful percussion tool. In addition, you can drop in your own sounds, or opt for one of three synth engines (sine, noise, and pitched noise), perfect for creating kicks and hats from scratch or augmenting a snare’s low end with a sine tone.
Envelopes
Each sample slot features independent envelopes for amplitude and pitch, providing flexibility when it comes to crafting unique, detailed sounds. In the example below, we apply an aggressive pitch envelope to a sine wave, dial in a rim click for a bit of high-end snap, and layer vinyl crackle on top to achieve a dusty kick drum with a hip-hop vibe.
You might be doing this already within a sample-based workflow in the DAW but DC Snares makes it effortless to creatively blend different elements. To finish things off, we pick out a simple rim sample for the snare and an intriguingly distorted melodic sound.

DC Snares advanced drum synthesis

Advanced Parameters
If all you want to do is layer a couple of samples and maybe tweak an envelope or two, DC Snares’ compact default view gets the job done. But for more involved drum design, clicking the Advanced button opens up a panel of additional controls — and a world of sonic possibilities along with it.
Each sample gets an effects chain with six slots. You can stock these with utilities like EQ, compression, or gating, but we don’t find that necessary given the already high quality of bundled sounds. Instead, we have a lot more fun with the two most creative effects in the set — Resonator and Sizzler.
The former is ideal for transforming percussive content into tonal sounds, while the latter is designed to emulate how snare wires react in physical space. Undoubtedly, you can use it as such for more traditional sounds, but it’s also a quick and dirty way to create the harsher, metallic timbres that you might hear from artists like SOPHIE or Flume.
Check out the example below where we create an unconventional hi-hat with automation on the Sizzler pitch control.

The available dynamic and spectral effects do get the job done but aren’t as effective as your dedicated plugins — no surprises there. The reverb and delay aren’t desperately inspiring either, but remain useful when you’re working quickly or simply getting a vibe going.
If you really want to get your hands dirty, four envelopes can be assigned to many parameters across the plugin. Don’t be afraid to experiment here — it doesn’t take much to freshen up your percussive palette.
Beyond the Snare
Given its versatility, it feels like DC Snares’ name is selling this plugin a little short. It excels in creating all kinds of sounds — and not just those in your typical drum kit either. With each patch chromatically mapped to the piano keys, it doesn’t take long to find seeds from which to grow new loops and tracks.
If you’ve tried synthesising drums from scratch before, you’ll already know you can do an awful lot with a single sine wave. In the following example, we create an aggressive, mutating bass sound by modulating the pitch, the Resonator and Sizzler effects, and a healthy dose of saturation.

Sure, you could do all this in your favourite synth plugin but breaking out of your routine and using more unconventional methods for sound design might inspire some fresh ideas.
Randomisation
Randomiser
Another feature cementing DC Snares as an invaluable creative tool is its randomiser function, allowing you to generate new sounds instantly. It feels a bit like flicking through a sample pack — a process familiar to most producers — except you’re never going to run out of options.
An engaging way to explore the plugin’s potential, we actually spend considerable time using the randomiser. We used it to make each sound in the following example.

Given that you’re rolling the dice each time, reaching the desired result can take a few attempts. In this regard, the randomiser is sorely missing a setting lock to maintain parameters while experimenting.
On the plus side, almost everything it churns out is usable, and if you’re tired of your usual sounds, it doesn’t take long to find something that grabs your attention.
Is DC Snares worth the cost?
If you love crafting detailed drum sounds and don’t mind spending the time to finetune them, DC Snares may be the perfect fit. It’s a highly flexible tool that rewards creative exploration, and in our view, going beyond conventional snare sounds is where it really shines.
If you don’t have the patience for tweaking parameters, a simpler sample pack might suit you better – but given the randomiser and thoughtfully curated presets, even those short on time will get mileage from this plugin.
What’s more, DC Snares definitely delivers value for money — £49 is comparable to what you’d spend on just one or two premium sample packs. And whether you’re making your first foray into drum synthesis or you’re a seasoned sound designer, it’s hard to put a price on the ideas this plugin might inspire.

Key Features

Four playback slots for samples, sine waves, or noise
Independent pitch and amplitude envelopes for each layer
Four assignable envelopes
684 high-quality sounds included
Six effects slots for each layer, plus two bus sends and four master effects slots
Choose from 12 effects including dynamics, saturation, Sizzler and Resonator
Inspiring randomiser function
Real-time waveform displays
Play samples chromatically on the keyboard
Organise sounds using the preset browser

The post Could DC Snares be the drum plugin that makes sample packs obsolete? appeared first on MusicTech.

This vintage Helios mixing console is selling for $2.5 million — here’s whyFancy yourself a piece of music history for a cool $2.5 million? Well, you’re in luck. The Helios mixing desk famously used to record Bob Marley’s timeless classic No Woman, No Cry, is now up for sale.

READ MORE: “I always feel like everything could be better – I finished this album eight times”: Jamie xx reflects on new solo record, In Waves

According to vintage gear marketplace Retro Gear Shop, where the Helios is currently listed, the unit was only recently pulled from its previous owner’s home recording studio: “We went to Jamaica in person to acquire this desk,” states the listing.
Believed to have been manufactured in 1973 and still in full working order, this 20-input, 16-output Helios console spent years at the Harry J Studio in Kingston, Jamaica. Its storied past includes contributions to Bob Marley’s first four studio albums (Soul Rebels, Catch a Fire, Burnin’, Natty Dread) and collaborations with reggae legends like Burning Spear, Bunny Wailer, Augustus Pablo, King Tubby, and Dennis Brown.
Nicknamed the ‘Dub Station’, the console comes in a striking teal finish, and will be sold with a pair of matching colour Yamaha NS10 speakers.
Image: Retro Gear Shop
“Helios consoles are very rare to come by, who knows many other complete Helios consoles are still left available in the world,” Retro Gear says. “Rough estimates put it at only a couple dozen. Most have been parted out for their amazing analog preamp/ equaliser channels.”
“The Helios sound is absolutely legendary, with artists including Led Zeppelin, The Beatles, The Rolling Stones, The Who, Queen, Jimi Hendrix, Roxy Music and many more having recorded through Helios consoles.”
Priced at a staggering $2.5 million, if sold, the Helios will eclipse the EMI TG12345 MK IV – the iconic mixing desk that recorded Pink Floyd’s The Dark Side of the Moon and sold for $1.8 million in 2017 — as the most expensive console ever sold.
Learn more at Retro Gear Shop.
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Kavinsky is teasing an ‘Olympics Version’ release of NightcallKavinsky is teasing a new version of his song Nightcall, which recently broke a record after his performance of the 2010 track at the Olympics closing ceremony in Paris earlier this summer.
At the ceremony, which took place in August, Kavinsky performed the track at the Stade de France along with Belgian singer Angèle. His set fitted among performances from Phoenix, Air and Vampire Weekend’s Ezra Koenig.

READ MORE: “If people hear a slight mistake, it doesn’t matter because they know you’re there doing it”: Nero’s Dan Stephens on live sets

Following his set, Nightcall broke the record for the most Shazam’d song in a single day. It currently has over 7,239,192 Shazams on the music discovery platform at the time of writing. Now, Kavinsky is seemingly teasing a re-release of the track, which is reportedly a revamped version, as performed at the closing ceremony.
Kavinsky, Phoenix and Angèle have all shared the same teaser via their social media channels. It features a billboard with the names of each artist on it, an image of Kavinsky’s beloved Ferrari Testarossa, and a phone number.
Upon calling the number, a short message from Kavinsky, Phoenix and Angèle plays back before a short snippet of the song. No official release date or further information has yet been provided.

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Following the ceremony in Paris, other artists who also performed at the event saw their tracks soar on Shazam too, with Phoenix’s Lisztomania and Billie Eilish’s Birds Of A Feather also having climbed the platform’s chart.
Nightcall was originally produced with Daft Punk’s Guy-Manuel de Homem-Christo, and first featured singer Lovefoxxx. It gained mainstream popularity after featuring in the 2011 film, Drive. Phoenix frontman Thomas Mars shared that he was originally asked to sing on the track, but he turned it down as he “thought the song was perfect” and didn’t need his voice.
The post Kavinsky is teasing an ‘Olympics Version’ release of Nightcall appeared first on MusicTech.

Real-world asset tokenization is the crypto killer app — Polygon execAccording to Colin Butler, financial institutions that don't embrace blockchain technology will lose their relevancy and competitive edge.