The documentary was first announced earlier this month. As with past editions, it pairs one artist’s story with those of the People of Tomorrow, the fans and creatives whose lives connect back to the festival. Topic, Alok, Vintage Culture and John Summit led the 2022 through 2025 films, and the Alok edition won a Webby Award in 2024.

Four stories in this year’s film

Miss Monique’s segment follows her onto the Tomorrowland stage amid war and displacement. She built her career in Kyiv before her MiMo Weekly mix series broke through internationally during the pandemic, and she had already launched her label Siona Records when the war forced her to leave Ukraine. She kept touring across Europe and has now played the Mainstage in Boom two years running. This July she also debuted her ‘Biorhythm’ show on the Freedom Stage.

Norwegian photographer Olav Stubberud toured the world with Swedish House Mafia, The Chainsmokers and Martin Garrix, then lost his connection to photography when COVID shut down touring. He found his way back through analog film, most recently shooting Fred Again’s Los Angeles shows entirely on film.

Fahbeer opened Lost in Thaislation in Bangkok three years ago, turning Thai street food into cocktails, and will run her own bar at Tomorrowland Thailand this December. Luca, born in Romania and now based in Cologne, grew up in orphanages and spent years living on the streets before winning Tomorrowland tickets through a radio contest in 2017. He now works as a flower delivery driver.

The film also features ‘Million Miles Away (VIP Remix)’ by Miss Monique, P.O.U. and Susie Ledge, an Amazon Music Original created exclusively for this edition. The track is out on Tomorrowland Music and streams exclusively on Amazon Music. Watch ‘We Are Tomorrow’ below.

Source: Tomorrowland

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The series has run every year since 2022 and sits apart from the aftermovies. Where those are built on drone shots and drops, ‘We Are Tomorrow’ follows a handful of attendees through the year leading up to the festival and cuts their stories against one artist’s set on the grounds in Boom. The 2025 film, built around John Summit’s Mainstage moment, included Ladick, a 33 year old attendee who uses a wheelchair, and Rachael, who lives on Scotland’s Orkney Islands.

A Yearly Series With A Webby On The Shelf

Alok fronted the 2023 edition, which won a Webby in the Documentary (Branded) category. Vintage Culture led the 2024 film, released on YouTube on September 16 of that year, and the John Summit edition followed on October 4, 2025. Every installment has streamed free on YouTube.

Miss Monique, born Alesia Arkusha, is a Ukrainian DJ and producer working in progressive house and melodic techno, and she runs Siona Records. She played the Mainstage in 2025 and premiered her ‘Biorhythm’ audiovisual show at the Freedom Stage on July 17, 2026.

Also New From Tomorrowland: The WR1 Sneaker

Separately, Tomorrowland has released its first sneaker. The WR1 was developed over more than a year, unveiled to attendees at Tomorrowland Belgium 2026, and is now available worldwide. It comes in seven colorways priced between 129 and 179 euros through store.tomorrowland.com and the Ibiza flagship store, and the campaign features Lost Frequencies, Miss Monique and Novah.

The first step is yours. The Tomorrowland WR1 sneaker will be available during an exclusive one-day pre-sale this Sunday September 13, followed by its worldwide release on Monday September 14.

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According to YouTube, content creators have expressed confusion surrounding their exposure, as other platforms, including TikTok, Instagram and X, have quantified views differently. Now all platforms are aligned as they strive to provide creators with a more consistent, industry-standard measurement of their public exposure.

What This Means for Creators

Creators will likely see their total Public Views increase faster moving forward, while Engaged Views will still remain an available metric within YouTube Analytics. This distinction allows creators to differentiate between how many times playback began versus how many viewers chose to continue watching for a significant period of time.

This also presents no change to creator earnings qualifications, as the platform has clarified earnings will continue to be based on Engaged Shorts views and Engaged Watch Hours, both of which remain visible in YouTube Analytics. Moving forward, it remains helpful to conduct deep dives into any particular piece of content’s watch-time and more nuanced engagement metrics to understand how audiences actually consume content and how to target your desired market.

YouTube’s Push to Change the Creator Experience

The updated view-counting system is one of several changes YouTube has announced or introduced in recent months. Other developments include the following:

1. YouTube Premium Lite — a budget-friendly, ad-reduced subscription — is expanding to all countries where standard YouTube Premium is available.
2. Creators will need 10 million qualified Shorts views over 90 days to remain eligible for Shorts ad revenue sharing, beginning February 1st 2027.
3. Expanded revenue opportunities, including YouTube Shopping bonuses, brand deals incentives and earnings boosts for starting/growing trends.

These changes come amidst a push for heightened AI integration in YouTube’s search and creation sides of their platform. New conversational search tools are designed to change how viewers discover content, while Gemini-powered Remix and likeness-detection privacy tools provide creators with new ways to produce content and manage the use of their likeness.

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Standout performances include Martin Garrix, David Guetta, Nicky Romero, Meduza³, Oliver Heldens, Illenium, Fisher, Alesso and Sebastian Ingrosso. Recordings of notable B2Bs include HI-LO B2B Layton Giordani, Hardwell B2B Sub Zero Project, Dyen B2B Maddix, Afrojack B2B R3hab and Ayybo B2B Odd Mob, granting fans worldwide the chance to experience these rare bookings and unique Tomorrowland sets in full.

Whether you attended either weekend in person or watched online, with this much footage from both weeks, there’s guaranteed to be something amazing you haven’t seen yet. Dive into the official playlist and find it!

While Tomorrowland will likely not reveal next year’s ticketing details anytime soon, (tickets for the 2026 edition went on sale in January), prospective attendees should still sign up for information and pay close attention to the official Tomorrowland website.

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According to hacked internal data obtained by 404 Media, Suno reportedly scraped millions of copyrighted songs and lyrics. It came from services including YouTube Music, Deezer, Genius, and several online audio libraries to train its generative AI models. One leaked file allegedly shows the company ingesting more than two million YouTube Music clips alone. Additional datasets contained thousands of hours of music, vocal recordings, lyrics, and even podcasts. The revelations offer the clearest look yet at how Suno built its technology after months of declining to publicly detail the contents of its training data.

The timing couldn’t be more significant. Suno is already at the center of high-profile copyright lawsuits from major record labels. They accuse the company of unlawfully using protected recordings to train its AI. While Suno has acknowledged that its models were trained on publicly available music files and metadata, it maintains that doing so falls under fair use. The newly leaked documents, however, appear to support allegations that the company relied heavily on scraping content from streaming platforms.

The breach itself also exposed customer information, including email addresses, phone numbers, and limited Stripe-related payment details. Suno says the incident occurred in late 2025 and primarily involved outdated source code rather than sensitive financial information. The company also stated it did not notify users because it determined the incident did not meet legal notification requirements.

Whether this leak ultimately changes the outcome of Suno’s legal fights remains to be seen, but it undeniably raises the stakes in the broader debate over AI and music ownership. As generative music tools become increasingly sophisticated, the industry continues to grapple with a difficult question: where does innovation end and unauthorized use begin?

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The platform has reportedly approached concert promoters about securing rights to stream live performances directly inside the Spotify app. While nothing has been officially confirmed yet, Spotify has already started experimenting with concert video content, including footage from Dua Lipa’s recent Mexico City performance.

For EDM fans, this could open the door to watching major festivals and headline sets without needing to travel across the world. Imagine livestream access to events like Tomorrowland, Ultra, or Creamfields directly through the same app people already use every day for playlists, podcasts, and artist discovery.

Spotify Wants To Become a Live Music Hub

Over the past few years, Spotify has expanded far beyond audio streaming. The platform now includes music videos, video podcasts, audiobooks, AI-powered content tools, and even concert ticket features.

Last month, Spotify introduced “Reserved,” a new feature designed to help real fans secure concert tickets before scalpers and bots. Now, live-streamed concerts appear to be the next step in building stronger connections between artists and their audiences.

The move also reflects how dance music culture continues evolving digitally. Festival livestreams already attract millions of viewers globally, especially for fans who cannot attend events in person because of travel costs, ticket prices, or sold-out capacity.

Can Spotify Compete With YouTube?

Spotify’s biggest challenge will likely be competing with YouTube, which has dominated festival livestreaming for years. YouTube has streamed Coachella exclusively since 2011 and remains one of the biggest platforms for live music content online.

Still, Spotify has one major advantage: its massive music-focused audience. The company currently has hundreds of millions of active listeners worldwide, many of whom already use the platform daily to follow artists, playlists, and live events.

For electronic music fans, the idea feels exciting. High-quality festival streams, exclusive DJ sets, backstage content, and live performances could completely change how fans experience dance music from home.

For EDM fans, the possibility of watching major festival sets directly through Spotify feels like a huge shift for live music culture online.

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Posted EDC sets include performances from Hardwell, Kaskade, Subtronics, Griz B2B Wooli, Underworld, Seven Lions, and many more. Whether you attended in person, suffered a schedule conflict, or watched the livestream, now is your chance to relive some of the weekend’s biggest moments.

Tickets for next year will be available Friday, May 22 starting at Noon PST on the official website. Passes for 2027’s EDC Dusk (May 14-16), EDC Dawn (May 21-23), and EDC Dusk & Dawn (both weekends) are listed, with GA, GA+, and VIP options available for purchase and layaway. The festival’s expansion promises lower individual weekend capacity and a reduced ticket price; Future Owl GA starts at $399 for one weekend and $599 for both. Stay tuned for more information about the new experience!

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This set is a different approach to the Summit way, with unreleased IDs sprinkled around and packed with signature songs from his album. It is a different set from his most recent headlining sets like Ultra Miami, and more suited to fit the Coachella vibe.

“last second decided to pull up to the desert and it was a night i’ll never forget..”

-John Summit

The full 4K stream is now available on John Summit’s official YouTube channel.

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Multiview allows viewers to watch up to four channels at the same time on a single screen. If you’re a Red Zone fan, you know what we’re talking about (shoutout Gamepass Szn ticket holders!). The feature itself isn’t new, but this update alters the way it works, giving it a more natural flow for the user to interact with.

A new take on an old method. The goal? To put personalization front and center. YouTube TV users can mix content freely while being presented with a cleaner interface. Now, content is grouped into categories like “Recommended” or “Movies/Series”.

The feature gained attention earlier this month when it appeared during Coachella’s livestream. It turned passive viewing into something more interactive and user-driven. A move in tone with the larger shift in streaming happening as we speak. Platforms move away from linear viewing models towards user-controlled experiences.

There are still some limitations that need to be addressed in the future. Not every type of content is currently available for multiview, and certain categories—like family-focused programming—may be restricted. However, this rollout highlights where streaming is heading next. Multiple options intertwining, allowing you to watch whatever you want, whenever you want to.

Another interesting angle is how this positions YouTube TV against traditional broadcasters and streaming services. Features like multiview turn viewing into something closer to a dashboard. As platforms compete for attention, giving users control over multiple streams at once may help shift people’s favor.

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Following Coachella’s successful two-weekend run, Goldenvoice developed the long-form interview series to capture authentic dialogue between artists across different genres. The inaugural season features four episodes with diverse pairings: David Byrne and FKA twigs, PinkPantheress and Slayyyter, van Buuren and Beyer, and Sara Landry in conversation with LP Giobbi, TOKiMONSTA, and Mary Droppinz.

Each episode invites artists to step outside their performance roles and engage in unfiltered conversations about personal stories, creative philosophies, and how Coachella continues to influence their work. The series aims to showcase the festival’s deep resonance across musical genres.

In the debut episode, van Buuren and Beyer dive into topics ranging from the evolution of techno and trance to vinyl DJing mishaps and the unique experience of playing multiple Coachella stages. The conversation reveals both artists’ perspectives on electronic music’s current moment.

Van Buuren reflected on the changing landscape of electronic music in America: “When I play a show, especially in the U.S., I’m really happy to experience this moment in time where it feels like underground electronic music…people are more open to it, especially trance. People are more open minded in general. It’s easier for me to DJ now.”

Beyer echoed similar sentiments about the scene’s post-pandemic evolution, noting: “I feel that Covid…kind of reset [the scene] in a way, and a lot of things changed in those 2-3 years. Some for the better, some for the worse. It felt like some of the culture got a bit lost in the transition, but at the same time it was like a blank canvas. A lot less judgement on the music.”

The interview series was filmed across both Coachella weekends within the festival environment, including at Red Bull Mirage, which serves as a dedicated space for organic artist and attendee connections.

This marks Coachella’s second long-form original series developed in partnership with YouTube, signaling the festival’s continued expansion into premium, artist-driven content. The remaining three episodes of ‘Artist on Artist’ will roll out exclusively on Coachella’s YouTube channel next week.

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