
Belladonna, JOA & Nuran
Miami, United States

Overview
On Saturday, August 16, Floyd Miami welcomes Belladonna to the Red Room, an intimate space that perfectly matches the artist’s epic sound. Known offstage as Nico Chiara, Belladonna is the result of a long evolution from platinum-certified hip-hop and pop producer to rising force in melodic techno. Before stepping into his own spotlight, Nico was behind some of the most successful records across Germany, Europe, and the U.S., collecting over 1.67 billion streams, 45 gold records, 12 platinum certifications, and two Billboard #1 hits.
With Belladonna, he stepped beyond industry compromises, building a sound rooted in deep synth layers, heavy grooves, and carefully crafted vocal work—an element he brought directly from his hip-hop roots. His music isn’t designed for passive listening. Tracks unfold like stories, pulling listeners into a focused, atmospheric zone.
Since debuting live at Void Club in Mykonos in 2024, Belladonna has taken stages at La Guérite Cannes, Sky Club Malta, and Railway Park Budapest alongside names like Korolova, ARTBAT, and Rebūke. His breakout track “WHERE I’M FROM,” created with Cassian and Script, became an unofficial anthem at Zamna Festival Tulum before release and later climbed to #1 on Beatport’s Melodic House & Techno chart, supported by artists including Anyma, Tale of Us, and CamelPhat.
The Red Room offers the exact setting Belladonna thrives in: intimate enough to feel personal, yet spacious enough to create a shared, cinematic experience. Each set is designed as more than a party—it’s a controlled journey through light and shadow, driven by heavy analog synths, vocal textures, and deep percussive elements.
With upcoming collaborations featuring Kevin de Vries, Carla Morrison, FISHER, and Script, Belladonna is shaping up as one of the most intriguing new voices in electronic music. For Miami audiences, this is a rare chance to catch him in a close, carefully curated setting before he expands further onto global festival stages.
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