For more than a decade, Bastian Bux built his career on some of electronic music's biggest stages. From his long standing relationship with elrow to performances at Tomorrowland, Ushuaïa Ibiza, Amnesia, and clubs across more than forty countries, he established himself as a versatile DJ and producer with releases on labels including Suara, Bedrock, Cocoon, MOOD Records, and Edible.

But after years of touring, Bux found himself questioning the very experience that had defined his career. The disconnect wasn't with DJing itself, but with the direction many club nights had taken. That realization became the foundation for Petit Comité of House, a Barcelona born event series and record label built around intimacy, community, and a return to the simple qualities that first drew him to house music.



Rather than chasing bigger productions or larger crowds, Petit Comité focuses on creating environments where music, atmosphere, and human connection come first. In just over a year, the concept has expanded from Barcelona to Ibiza, Amsterdam, Miami, and Colombia, while its label has earned multiple Beatport Top 10 releases and built a growing international following.

We spoke with Bastian about the experiences that led him to create Petit Comité, how years of touring reshaped his perspective on club culture, and why he believes the future of house music might lie in making things feel smaller again.



What was the initial spark for Petit Comité of House, and what gap in today’s club culture were you trying to address?



After more than a decade playing and partying around the world, I started to feel disconnected from the rave scene. One day I had a big crisis after a show in Costa Rica when I thought, "Okay, if this wasn't me, if this wasn't my job, there's no way I'd voluntarily go to this party." That thought was a massive shock to me. I committed to changing it by creating a party I would genuinely want to attend, with the kind of music I would truly want to hear while being there.



After years of playing large scale international stages, what made you want to shift focus toward a more intimate format?



I started to feel disconnected from large scale events as a clubber. As I mentioned before, I realized I wasn't paying attention to my own perspective as a genuine clubber and raver. Once I started listening to that inner voice, I realized I was craving a more genuine, authentic, and intimate format. I'm simply trying to satisfy the house head inside me instead of getting carried away by the daily inertia of DJ life without ever questioning it.



How has growing up in Barcelona, surrounded by both techno and house, shaped your instinct for how a dancefloor should feel?



Looking back on it now, I'd say it was a blessing. Barcelona, and Spain in general, is a really tough scene for local artists. It's not like Italy, the Netherlands, or the UK, where they're used to developing local talent and helping them reach the top. In Spain, we love importing big stars, but we're not so good at growing our own.



That creates a very demanding environment to come up in. Every opportunity you get, every dancefloor you're trusted with, is a real test. You'll be judged intensely by promoters, club owners, and the crowd, and you'd better win them all over if you want another chance. If you can thrive in that environment, the rest of the world becomes much easier to navigate.



When you think about the "original spirit" of house music, what does that mean to you in practical terms today?



I’m a big advocate for bringing back simpler, happier, freer times. I feel like too much of today’s electronic music scene is driven by online opinion instead of real experiences. People end up chasing the same trends, the same DJs, and the same narratives because that's what everyone keeps repeating. 

Those opinions shape people’s taste in a very artificial way. Sometimes I wonder if they even know why they’re at a party in the first place. Many have never really experienced the simple joy of losing themselves on a dancefloor. They’re just following the current. 



I want to get back to something much simpler: happy music, genuine people, and the freedom to dance without overthinking everything. That’s exactly what the original spirit of house music means to me. It’s what it meant back then, and it’s what made me fall in love with it in the first place. I’m not trying to invent anything new. I’m just making sure the flame doesn’t go out.

What are the key differences in how you approach a Petit Comité set compared to a festival or peak time club set?



First of all, at Petit Comité I play much longer sets. In Barcelona, for example, I play 4+ hours every time. That gives me a lot more room to explore different moods and levels of intensity, whereas a festival or peak time club set usually gives you only 90 or 120 minutes, which is a much shorter window to do that.



The intimate club environment also gives you the perfect canvas to paint whatever you're feeling, while a bigger space naturally pushes you toward a more intense palette of sounds. Petit Comité is about house music in all its endless colors, whereas a festival usually calls for a more specific level of intensity.

How important is pacing and storytelling in your sets now, and how does that translate into the identity of the brand?



For me, the most important thing is adapting the message to the context. I want everyone who comes to Petit to leave thinking, "Wow, I had so much fun." They danced, they laughed, they connected. The same kind of honest joy you get from sharing a beer with a friend or having a great conversation.



To create that feeling, the music has to fit the moment. A nightclub, a daytime pop up in a flower shop, or a beach club all require a different musical approach. The goal is always the same, only the language changes. I think that's what makes Petit’s storytelling feel so coherent, both musically and visually.



Petit Comité has already traveled across multiple cities. What have you learned about preserving its identity in different cultural contexts?



What I've learned is that no matter how different our cultures are, there's something we all share as humans: we naturally respond to the emotions created by a joyful, positive gathering. Petit Comité is built around positive, uplifting house music, and that creates an atmosphere where people feel relaxed, smile, play, and connect naturally. That kind of energy is universal.



Everyone responds to it. Our job is simply to amplify it and share it with as many people as we can.



The project has taken place in both traditional clubs and unconventional spaces like flower shops and ice cream parlors. What changes most when the environment shifts like that?



What I love about doing pop up shows in unconventional spaces is that they switch off people's expectations. Everyone has preconceived ideas about what a club or a festival should be like, but what expectations do you have when you walk into a flower shop?



Probably none. That leaves you free from your own assumptions and puts you in a more open, honest state of mind. That's the biggest difference compared to a club, and it's something I really love.



How do you think about curation when building lineups for Petit Comité compared to larger bookings or festival lineups?



My main goal with Petit is to create a coherent experience where positivity, happiness, simplicity, and joy are at the center of everything. That's why, when curating the lineup, I look for DJs who have a very specific gift: making people dance with a smile on their face. It has very little to do with technique and everything to do with emotion.



If a DJ has that, they can play at Petit regardless of their numbers. Extra points if they're also contributing to the proper house music community through their own music, a label, parties, or another project. I want people to leave a Petit event thinking, "That was so much fun, I want to know more," and when they discover our artists, to find a whole world behind them.



The label has had early success with multiple Beatport Top 10 releases. How do you balance that momentum with keeping the sound grounded in the original concept?



To be honest, I don't really think about momentum or whether the sound is grounded in anything. I built this whole universe by paying attention to my own taste and emotions. It might sound like a cliché, but I'm really just trying to please myself and create something that meets my own standards.



When I finish a track, I ask myself, "If I hadn't made this, would I play it? Would I genuinely like it? Would I wish I had made it?" If the answer is yes, I move forward. If it's no, I go back to work. Honestly, I don't think about much else.



When you're in the studio, how much does Petit Comité influence the way you write or structure music?



I only make music for Petit Comité now. Every track is written with our parties and our community in mind, but above all, I write for myself. Petit Comité is built for the clubber and house music lover I am, so it naturally shapes the way I write, arrange, and think about music at the deepest level.



I'm having more fun than ever making music, and I enjoy playing it more than ever too. I'm really grateful to Petit because it helped me rediscover why I fell in love with all of this, and that's why I'm fully devoted to it in the studio now.



Atmosphere seems to be a core part of the experience, from visuals to even scent. Why is that level of detail important to you?



Because I'm sensitive to those things. I've experienced so many events where everything looked perfect on paper, huge lineup, massive production, giant screens, but the experience itself was terrible because the vibe felt cold, the entrance was chaos, or something as simple as the place smelling bad. Those little details matter much more than people think.



What makes us enjoy ourselves isn't that complicated. You can be at the biggest festival in the world and have a terrible time, or be in an apartment with five friends, a Bluetooth speaker, and create a memory you'll never forget.

That's why I obsess over the details. If I can feel the difference, I know other people will too. At the end of the day, I'm just trying to create the kind of experience I would personally love, hoping others will feel the same. So far, I think it's working.



Looking ahead, what does growth look like for Petit Comité without losing the intimacy that defines it?



"Petit Comité" is a French expression that means "being only with the people you want to be with, and nobody else."

For me, growth is about building a community of people who share our values, and nobody else. It's never been about size, it's about quality.



You can feel intimacy and connection surrounded by hundreds of people, just as you can feel detached in a room of five. I see a future where, little by little, we connect with people through our shared values and come together from time to time to celebrate them.

As long as we protect those values, Petit will always feel intimate, no matter how big it becomes.

That's what I want to dedicate the rest of my career to.

Bastian Bux and the Idea Behind Petit Comité of House

Eighteen years is a long time for any party to survive in New York, let alone one built entirely around a weekly residency. Funkbox has managed it, growing from a single night into one of the city's most consistent house music institutions, guided from day one by Tony Touch and shaped early on by the late Voodoo Ray.



The concept was simple: a guest DJ every week, a dance floor first mentality, and a sound rooted in raw, soulful house. That formula ran uninterrupted for over 12 years until the pandemic forced it online, where Funkbox found a second life through livestreamed sets before returning to in person gatherings once the city reopened. Along the way, the party has hosted a roster that includes Louie Vega, Joe Claussell, Timmy Regisford, Tony Humphries, Danny Krivit, Ron Trent, Terry Hunter, and Dennis Ferrer, alongside DJs earlier in their careers building their own followings.



Ahead of Funkbox's 18th anniversary takeover at Superior Ingredients on Friday, July 17th, Tony Touch spoke about what has kept the party alive, how his background across hip hop, house, and radio shaped its sound, and what he hopes people take away from a night on the floor.



Funkbox has reached 18 years, which is rare for any party. What do you think has allowed it to last while so many others have come and gone?

Funkbox is a community driven event, built on support from the dance community, the DJ community, the art community, and the promoter community. A lot of teamwork, moving parts, and participation has kept this party alive.



You've moved between hip hop, house, and radio throughout your career. How has that crossover shaped the identity of Funkbox?

Crossing over between hip hop and house gives Funkbox a certain edge other NYC parties don't cover. We cater mostly to house and dance music, but we get away with going left, randomly moving into a different genre to add spice to the party. It's not just me either, our guest DJs do it too. Most Funkbox attendees love house music, but they're also hip hop heads at heart.



Funkbox has always been described as a dancer's party. What does that mean to you in practice when you're behind the decks?

It's exhilarating to play these parties and watch the dancers go to work. Many nights there are two, three, or more ciphers happening at once. Then you'll see couples dancing, spectators at the bar, and individuals dancing alone in their own world, completely zoned out to the music.



New York nightlife has gone through a lot of changes over the years. How has Funkbox managed to stay consistent through all of it?

Our formula of bringing in a guest DJ every single week made it feel like a different party every time. We ran weekly for over 12 years, right up until the pandemic. During that time, we built a strong online movement to keep our people connected through Instagram, Zoom, and Twitch, running online parties with guest DJs. Once the world opened back up, we kept congregating, at least once a month. We never stopped. We kept going and stayed consistent for our following.



The legacy of Voodoo Ray is part of the foundation of Funkbox. How did that influence shape the direction of the party early on?

Voodoo Ray was already a nightlife legend when we started this party. He was deeply connected to the dance community and had appeared in numerous music videos with major artists. He was tapped in, and we were already good friends before we launched Funkbox in 2008. He was the brainchild behind bringing in guest DJs, painters, performers, dance showcases, all of it. He was the main curator. 



He had the vision. He knew the house community was very cliquey, and that parties around New York weren't really doing the guest DJ format the way we could. We took it a step further and turned Funkbox into more of an experience.

You've played in cities all over the world. What makes a New York crowd, and specifically a Funkbox crowd, different?

New York is the mecca for what we call dance music. Funkbox is somewhat of a rebirth of what was happening in the city during the 70s and 80s. Our crowd ranges from old to young. We come to dance.



Moodymann is joining the anniversary lineup, which feels like a natural fit. What does he represent to you within house music culture?

Moodymann played a Funkbox party for us a few years back. I've been a fan of his for a long time. His approach to DJing, and even his productions, isn't like anyone else's. He's not scared to grab the microphone and really get people going. Being from Detroit adds a unique dynamic to what we're doing. Love that dude.



You've always balanced accessibility with credibility. How do you decide who fits the Funkbox lineup?

Our guest DJ roster ranges from young, local talent to the veterans of this game. We've booked hundreds of DJs over the years. Names like Louie Vega, Joe Claussell, Timmy Regisford, Tony Humphries, Danny Krivit, Ron Trent, Terry Hunter, and Dennis Ferrer, to name a few, down to people you may not know by name but who know how to play and have their own following.



After all these years, what still excites you about stepping into a Funkbox night?

The music and the reaction I get from the dance floor, still, every time. I love breaking new music. I love when guest DJs come in and take it somewhere unfamiliar to me. I love that with Funkbox, we keep pushing this culture forward.



If someone is coming to Funkbox for the first time, what do you hope they take away from it?

I want them to walk away feeling like they got a real taste of classic New York nightlife. No phones, just zones. Great music, great people, great energy.



One track that always works at Funkbox, no matter the year or crowd?

Too many to name, but for now I'll go with "My Joy" by Leela James, the Quentin Harris mix.



GRAY AREA FOOD SERIES

Is there a dish from your childhood that still hits the same every time you go back to it?

My mom's London broil.

What kind of cuisine do you feel most connected to culturally, and why?

Puerto Rican food. One, because I'm Puerto Rican, and two, because there's too much flavor to compete with. Rice and beans, steak with onions, plantains, tostones, pollo guisado. Too many favorites to pick just one.

FUNKBOX AT 18: Tony Touch on Nearly Two Decades of NYC Nightlife

Ellen Allien has spent more than three decades shaping Berlin's techno landscape, and her new album shows there's still plenty left to say.




Ellen Allien. Producer, DJ, label boss, curator and one of Berlin techno's most enduring trailblazers. She's built a career doing things her own way, long before electronic music was festival-friendly and algorithm-approved. She’s carved out a world where experimentation, community and uncompromising creativity comes first.




Now, with the release of her eleventh studio album New Life on BPitch, Allien enters another new chapter. Arriving this July, the record is an emotional, thought-provoking statement about community, resistance and finding hope through dance music at a time when those ideas feel more important than ever.




Blending minimal techno, darkwave textures and hypnotic euphoria, New Life is raw, futuristic and deeply human all at once. The productions weave together rhythmic bass with environmental soundscapes, spoken word and moments of genuine vulnerability.




The queen of Berlin's underground




It’s fair to say Ellen Allien has shaped the sound of European techno. She saw the wall fall with her own eyes, and soon became one of the defining figures of the city's electronic movement. She partied in abandoned bunkers and factories, championing the city’s subterranean DIY techno scene before getting behind the booth herself, then the production desk.




Allien’s landmark debut Stadtkind catapulted her to the forefront of the new techno movement, and she hasn’t slowed down since. Ten solo albums and scores of EPs, remixes and collaborations later, she still sits firmly atop the global techno scene.




Alongside her own productions, she's become one of electronic music's most influential tastemakers. Since founding BPitch in 1999 and later launching UFO Inc., Allien has consistently championed new artists while giving herself space to explore the rougher, more uncompromising edges of techno.




A pillar of dance music




Ellen Allien's reputation behind the decks is just as legendary as her productions. She’s at home playing marathon sets in Berlin clubs or major festivals around the world. Her sprawling We Are Not Alone weekenders at RSO Berlin have always been about taking people somewhere unexpected. Genre knows no boundaries, with techno, electro, ambient, breaks and experimental flowing together seamlessly.




That same philosophy extends beyond club walls. During the pandemic she launched her Balcony Streaming sessions from Berlin, keeping fans connected while supporting fellow artists, before expanding the We Are Not Alone universe into compilation albums, immersive exhibitions and collaborative audiovisual projects.




It's this constant curiosity that has kept Allien in the spotlight for over 30 years.




Enter “New Life”




So it’s no surprise her latest album explores brand new sonic territory. If New Life has a central message, it's that dance music has always been about more than dancing.




Recorded between Berlin, Miami and Ibiza, the album explores collective action, personal autonomy and the communities built on dancefloors around the world. At a time when club culture faces increasing commercialisation, Allien uses the record as both a celebration and a small act of protest.




She sees techno as a form of resistance. Existing, dancing and creating spaces outside conventional systems runs through every corner of New Life.




Sonically, it has emotional weight. Minimal techno pulses underneath shimmering synths, darkwave textures collide with euphoric melodies and her unmistakable spoken vocals drift through tracks as though from another dimension.




She weaves in the sounds of nature throughout, too. Birds sing, waves crash and imagined spacecraft soar across skylines, creating vivid soundscapes that could come from a rave or a dream.




The journey begins with lead single "Mein Herz", released on July 3 via BPitch, accompanied a free outdoor show on Thursday night at Hamburger Bahnhof. The track serves as an introduction to the album's world, fusing emotional rave energy with Allien's signature blend of minimal techno, darkwave and euphoria, while hinting at the powerful themes about to unfold.




Then there’s upcoming single “Steh Auf” – equal parts club weapon and rallying cry, it sets the tone for an album that's reflective as well as dancefloor-ready.




Forever looking forward




In an industry obsessed with the next big thing, Ellen Allien remains refreshingly impossible to categorise. While many of her contemporaries have settled into legacy status, she's still pushing forward, experimenting with new sounds, nurturing emerging artists and finding fresh ways to connect people through music.




Her influence stretches far beyond her own productions. From BPitch's role in launching countless artists to her We Are Not Alone events and Vinylism record store parties, community has always sat at the centre of her work.




With New Life, Allien isn't just revisiting the foundations of Berlin techno; she's asking what comes next. The result is a record that feels urgent without being heavy, political without preaching and emotional without ever losing sight of the dancefloor.




For all her latest news, updates and events, follow Ellen Allien on Instagram.

Producer spotlight: Ellen Allien

HAAi is entering a new chapter with DIGITiSE, marking the start of a three-single rollout ahead of her forthcoming October album.


Few artists embody the spirit of modern electronic music quite like HAAi. Over the last decade, the Australian DJ and producer has refused to be confined by genre boundaries, blending house, techno, breaks, psychedelia and leftfield electronics into sets best described as emotional journeys.



Now, following a whirlwind year that has seen her nominated for Beatport Producer of the Year, perform multiple six-to-eight-hour marathon sets across the United States, go back-to-back with Luke Alessi at EDC Las Vegas and remix Fred again’s “The Floor” for his USB002 Remixes project, HAAi is preparing to unveil her next artistic chapter.



The first glimpse arrives in the form of DIGITiSE on Mute, a new single featuring collaborator Pat Alvarez and the first of three tracks leading into her forthcoming album, due for release this October. Along with the new single, HAAi has teamed up with creative director and music video director Martin Falck to create the album imagery and visualizer.



The result is a futuristic, surreal, playful, and slightly uncanny fever dream; a fitting counterpart to an album exploring the tension between humanity and technology alongside individuality and connection.




From Western Australia to Global Dancefloors




Born Teneil Laetitia Throssell in Karratha, Western Australia, HAAi’s rise through electronic music has been anything but conventional.




After relocating to the UK in the early 2010's, she quickly became known for her adventurous approach to DJing, developing a style that prioritised feeling and storytelling over strict genre conventions. While many artists build careers around a signature sound, HAAi was more interested in exploration.




That curiosity has made her one of the most respected selectors in electronic music. Whether she's playing an intimate club, a major festival stage or an all-night set stretching into the early hours, audiences have come to expect the unexpected.




Building on the World of HUMANiSE




While details surrounding the forthcoming album remain tightly under wraps, the project will build upon the world introduced in HAAi’s acclaimed debut LP, HUMANiSE, which explored themes of connection, identity and transformation,




Rather than simply revisiting familiar ground, the record reconnects with the DNA of that project through the lens of her DJ sets. The result is a body of work shaped by the unpredictability, emotional intensity and genre-blurring instincts that have become central to HAAi’s artistic identity.




It’s a project rooted in queer and outsider culture, communities that have long informed HAAi’s creative perspective, and while her profile has grown significantly in recent years, there's still a sense that her music exists outside traditional electronic music categories.




Enter DIGITiSE




The first taste of this new era arrives with DIGITiSE, a collaboration with Pat Alvarez that captures many of the qualities that make HAAi such a compelling artist.




The track resists easy categorisation. Instead, it sits somewhere between left-field club music, house and broken bass. Many producers create tracks designed exclusively for DJs, while others focus on introspective listening experiences, but HAAi consistently finds ways to bridge those worlds. She creates music that feels equally at home on a festival sound system, underground club or a solitary late-night listen. Out on June 24th, DIGITiSE encapsulates that energy while signalling a broader evolution still to come.




The Return of Long-Form Storytelling




One of the most striking aspects of HAAi’s recent career has been her commitment to extended DJ performances. In an era increasingly dominated by short clips, viral moments and shrinking attention spans, she has embraced marathon sets lasting six, seven or even eight hours. These performances allow her to explore the full breadth of her musical influences, moving between genres and moods and rejecting the pressure to deliver constant peaks.




That same philosophy underpinned her acclaimed second album, and promises to continue into her third.




Looking Ahead




As electronic music becomes increasingly fragmented into micro-scenes and hyper-specific genres, HAAi remains refreshingly difficult to define. As a DJ, she’s capable of commanding marathon club sessions and major festival stages alike and her productions balance experimental instincts with genuine emotional depth.




With DIGITiSE serving as the first introduction to her forthcoming album, HAAi appears to be entering one of the most exciting periods of her career.




HAAi expansion of the world she created with HUMANiSE will draw listeners further into a universe where genre boundaries dissolve, dancefloors become spaces of connection and electronic music remains a vehicle for both freedom and self-discovery.




For all her latest news, updated and events, follow HAAi on Instagram.

Producer spotlight: HAAi

Kyle Domingo didn't take the straightforward path to Coachella. The Philippines-born, LA-based DJ and producer who records and performs as GUDFELLA spent time in the weeds of self-doubt before making a deliberate choice to put the music first and let everything else follow. That recalibration paid off.

With over 113 million streams, a debut EP in Galleria, and a breakout record in "Morning Coffee" that's been picked up by the likes of Michael Bibi, BLOND:ISH, Carlita, and Ahmed Spins, GUDFELLA has become one of the more interesting names moving through the house music space right now. Not because he set out to be, but because the music keeps landing.

We sat down with Kyle to talk about the mindset shift behind his rise, what makes "Morning Coffee" hit different on a proper sound system, the Cebuano dim sum he can never find in LA, and why he's convinced Apple needs to get it together.



You've gone from being a rising artist to playing stages like Coachella and Brooklyn Mirage. What's been the biggest shift in your mindset during that growth?



The biggest shift has just been confidence in my ability to make good music. I used to doubt myself quite a bit, especially during my struggle period. It took me to a point where I wasn't necessarily trying to focus on making music but rather, doing all the other things. The biggest change for me was putting good music back at the center of my project. Everything else with marketing and stuff followed.



"Morning Coffee" clearly struck a chord worldwide. What do you think made that track connect so strongly with both DJs and crowds?



I think the original song in itself is so hypnotizing in general. I wanted to be the one to take the vocal into a more dance environment. The feedback I've heard from fans is that the song hits ten times better live, getting played out of an incredible sound system. It's a huge vibe.



Your sound sits comfortably between underground credibility and wide appeal. How do you balance those two worlds when producing?



I don't really overthink it to be honest. I just try to make stuff I'd want to play and listen to myself. If it feels good in a club but also works outside of it, then I know I'm in the right place.



Growing up in the Philippines and now based in LA, how have those environments shaped your musical identity?



Well, I definitely would not be as good of a vocalist if I wasn't forced to do karaoke for my Titas by my parents, lol. Filipinos are very musical by nature, so there was lots of singing in our everyday lives — just singing along to the game shows on the Filipino channel, karaoke machine at family gatherings, long car rides.

Truthfully though, I have not been able to experience dance music in the Philippines yet. That is my next goal.



Collaborations like Bipolar Sunshine and Disco Lines show range. What do you look for in a collaborator before jumping into a track together?



If they're cool and nice and I enjoy their music. I really don't care for accolades.



Your debut EP Galleria helped establish your direction early on. Looking back, what did that project teach you about yourself as an artist?



The EP is really special to me. It was the first full body of work I put out as an artist. It honestly helped me find my sound, just having the space to explore across a full project instead of a single.



You've earned support from names like Michael Bibi and BLOND:ISH. Do you still remember the first time you heard one of them play your track? What was that moment like?



The first time I heard my track played I was in London on a writing trip. One of my friends FaceTimed me from Club Space while Carlita and Ahmed Spins were playing and my track came on. It was a super surreal moment. Honestly, it never gets old hearing people I respect play my music.



When you're in the studio, do you start with a feeling, a groove, or a specific idea? Does it change every time?



It changes every time. Sometimes I'll come in with an idea, or if I'm working with someone they'll bring something in and we just bounce ideas off each other.



What's more stressful: a packed Coachella set or your laptop freezing mid-production session?



A packed Coachella set is honestly just fun. A laptop freezing mid-session is way more annoying than anything. To be honest, myself and a bunch of my collaborators have been going through a bunch of laptop troubles lately. I don't know if there's something in the air, but Apple's gotta get it together.



If "Morning Coffee" had to be renamed after a different drink, what would it be and why?



I mean, I think the obvious answer would have to be espresso martini. It can still be considered a "morning coffee" if it's at the club at 4am.

GUDFELLA: The Recalibration

In our City Beats series, we explore underground scenes in cities all around the world, and this week we're spotlighting Dublin, Ireland.




Dublin’s dance music history is a story of underground resistance, cultural reinvention, and good craic.

Shaped by social change and queer culture from the late ‘70s onwards, Dublin’s underground is a master of reinvention. The city’s relationship with electronic music has always been intense, with many artists citing Ireland as one of the most galvanising places to perform in the world. Today, we’ll take a look at why that is.



The late ‘70s



One of the earliest sparks came with Flikkers, an iconic queer club night that opened in 1979 in the basement of the National LGBT Federation’s Hirschfield Centre in Temple Bar. At first, they mostly played disco, but it quickly became one of the first club nights to embrace the emerging house sound arriving from Chicago and New York.

At the time, homosexuality was illegal in Ireland, so Flikkers was a sanctuary. It was also socially conscious, providing mental health support helplines and raising funds for people affected by AIDS. When the Hirschfield Centre burned down in 1987, it marked the end of an era, but its influence remained deeply embedded in Dublin’s nightlife DNA.



The late ‘80s



In the years that followed, venues such as Sides, the Olympic Ballroom, The Mansion House, and The Asylum carried the torch, hosting nights that increasingly centred around electronic music. DJs like Fish Go Deep began experimenting with acid house, Chicago house, and European techno, helping to shape a distinctly Irish interpretation of club culture. Their Sweat night at Sir Henry’s in Cork became particularly influential, popularising deep and progressive house across Ireland and feeding directly into Dublin’s evolving scene.





The ‘90s



Another foundational figure was photographer, DJ and producer Eamonn Doyle, who founded D1 Recordings in 1994. The label became a hub for Ireland’s underground electronic community, releasing techno and deep house while also organising warehouse parties and club nights. At this point, Dublin’s dance music culture was no longer just imported. It was a local establishment with its own ecosystem of artists, labels, and spaces.

This growth happened against a backdrop of major national tension and transformation. The Troubles in the North, combined with economic stagnation, high unemployment, and mass emigration, created a sense of pressure and uncertainty across Ireland. For many young people, house music arrived as a release valve. Raves and clubs quickly became central to youth culture, offering spaces of expression, freedom, and collective escape.



Crucially, these spaces were often politically neutral in a deeply divided society. On the dancefloor, class divisions softened, identities blurred, and cultural boundaries dissolved. For a country historically shaped by religious conservatism and political conflict, club culture created something rare: a shared space. In many ways, it turned Dublin into a nocturnal counter-world; Catholic and constrained by day, expansive and experimental by night.

Crackdowns on nightlife

That freedom did not go unchallenged. Authorities frequently framed underground nightlife as deviant or socially dangerous, and Garda (Irish police) raids on raves and clubs were common throughout the early 1990s.

Events like an illegal rave at The UFO Club, which resulted in multiple arrests, reflected the state’s attempts to contain a culture it didn’t fully understand. Yet repression only pushed the scene further underground, intensifying its appeal. By the time homosexuality was decriminalised in 1993, the groundwork had already been laid for a more open, expansive club culture.

As the 1990s progressed, larger venues and “superclubs” began to replace smaller, more informal spaces, reflecting both the commercialisation and growing legitimacy of electronic music. This set the stage for Dublin’s 2000s nightlife boom, when the city experienced rapid economic expansion during the Celtic Tiger era. Rising employment, foreign investment, and increased disposable income all fed into a thriving nightlife economy.







Going international



From the early 2000s onwards, Dublin became a hot spot for international DJs. Tiësto, Armin van Buuren, Ferry Corsten, Sasha, and Jeff Mills all made debut appearances at venues like Point Depot, Red Box, and large-scale events like Godskitchen and Gatecrasher. Dublin quickly became a significant stop on the international electronic music circuit and a major influence on house and techno globally.

Perhaps what sets Dublin apart is its personality. Dance acts always note how much fun the crowd is. They don’t take themselves too seriously, they’re always up for a laugh and they welcome visitors with open arms. The mood is upbeat and the sense of humour irresistible.



Dublin’s dance music scene today



Dublin’s dance music scene in 2026 is vibrant, resilient and community-driven. Deep house, hard techno, trance and drum & bass all have a place here, while city festivals such as Forbidden Fruit Festival and Longitude bring major global acts alongside emerging Irish talent.



Grassroots crews, queer-led parties and artist collectives play a crucial role in shaping the city’s identity, creating inclusive spaces and nurturing new DJs and producers. And despite long-standing challenges around club closures and nightlife infrastructure, Dublin remains a key electronic music hub. Venues such as Tengu, Wigwam, Index and The Sound House are frequently cited by fans as anchors of a scene that values both underground credibility and creative experimentation.

Dublin’s dance music story, then, is not just about clubs or genres. It is about how a city used sound to process change: from illegality to liberation, from underground resistance to international recognition.

City Beats: Dublin

If you ask N2N to describe the music he's making today, he'll tell you it's a mix of everything that's inspired him over the years: disco, house, hip-hop, funk, and a healthy dose of the unexpected.

After more than 15 years of producing and DJing, he's developed a sound that's tough to categorize but easy to connect with. Whether he's playing a club, a festival, or a warehouse, his goal remains simple: play music that makes people move.

Ahead of joining Ship Wrek, Twin Diplomacy, Jengi, and Slaycey at Knockdown Center on June 19, we caught up with N2N to talk about his journey through different genres, what keeps him inspired, why New York crowds stand out, and how Dance Therapy has grown into something much bigger than a party.



1. You're joining Ship Wrek at Knockdown Center this June. What excites you most about this lineup?



The diversity in everyone’s sound. I will die on the hill that the best sets effortlessly flow through genres to build a narrative over time. Each of the artists on this lineup has multiple cards to play and quite a bit of experience across a variety of sounds.



2. Your sound has evolved over the years. What feels different about the music you're making today compared to when you first started?



Oh God. I mean, I started producing 15 years ago, and back then I was making, like... big room trance. I had the opportunity to open for Cassius while I was living in Shanghai in 2013, which is when I fell in love with house music. I went from that straight into a disco era, then into a Dirtybird era, which bridged the gap to where we’re at now.



My current sound is an amalgamation of everything that’s inspired me over the years, from hip-hop to disco to Dirtybird. It has to be funky, but it also has to be a little left of center. Take a dash of funk, a sprinkle of weird, and mix it up with something approachable, and you have the recipe for the music I’m making today.



3. What's one record you've been playing recently that perfectly represents where your head is at musically right now?



"Activator" by The Botanist. It’s absurdly catchy, filled with delightful ear candy, and hits on any system at any time of the day or night.



4. New York crowds have a reputation around the world. What stands out to you about playing here?



New York is my home. I moved across the country last year, but New York will always be my home. Every time I play in the city, it feels like I’m surrounded by family, whether I know 50 people in the audience or none.



New Yorkers don’t care if they “know” the song—they just want the music to be good. If it’s good music, you’ll get a good response. I love that. It’s how DJing should be. There’s always something magical about playing in New York. It’s not just another stop on the tour; it’s New York City, and it brings the best out of you every single time.



5. What can people expect from your set on June 19?

People can expect to dance. I’m here to play songs that make you move—that’s the beginning and the end of it. I’ve also been working on a way to incorporate the Knicks into my set, which feels like a necessity at this point.



6. Dance Therapy has become a major part of your identity as an artist. What does that philosophy mean to you today?



It’s no secret that a lot of us are struggling right now, whether it’s uncertainty in the world, a lack of financial stability, or a general sense of anxiety about life, the universe, and everything.



The dance floor feels like a sanctuary where we can momentarily escape our struggles and connect with a community that is right there with us—one that allows us to be our full and authentic selves without fear of judgment. For a lot of people, myself included, that’s absolutely a form of therapy.

Meet N2N: The Mind Behind Dance Therapy

In this series, we spotlight up-and-coming collectives who are paving their own way while driving underground culture forward.




Over the last few years, collectives such as EQ50 and Foundation.fm have helped create space for a new generation of FLINTA artists across electronic music. With many initiatives based in London, one collective is flying the flag for the UK’s second largest city, and that’s Sisterhood Birmingham.




Operating at the intersection of drum & bass, jungle, grime and 140, the collective has built a reputation for high-energy cyphers, club takeovers and radio broadcasts while championing diversity in roles that have historically struggled with representation.




Their community spans dozens of DJs, MCs and vocalists, powered by a formidable roster of performers including Natty D, MC Blacka, MC Dizzee DANGER, MC Genie, MC Mass and Vispera, alongside resident DJs such as Alpengeist, Missy C and founder Cam Edge.




Whether taking over the airwaves on Kool FM or shelling down dancefloors from Birmingham's Dark Horse to major drum & bass events across the UK, Sisterhood Birmingham has become one of the most vital grassroots forces in contemporary UK bass music.




Where it all began




Founded by Cam Edge in 2022, Sisterhood Birmingham has grown into a platform that champions non-male artists within Drum & Bass and jungle across DJing, MCing, vocal performance, event curation and beyond. They’re ethos is rooted in community, collaboration and representation, which is why the collective has become a crucial part of Birmingham's underground ecosystem.




“Sisterhood was formed off the back of an all-female event that took place in February 2022,” explains Cam. “It was a great success, the energy and vibe was just unmatched, working with non male artists really opened my eyes to a new way of doing things to support women in our industry.”




What started as a single event quickly revealed a wider need within the local scene.




Their mission was “to promote and hold space for non-male artists of all abilities and invest in women in the industry, where it was visibly lacking,” Cam says. “Provide opportunities and showcase our talent in all aspects of music. From curating events to DJing, singing, MCing and beyond.”




Building Something Different




The inspiration behind Sisterhood stemmed from Cam's own experiences attending D&B and jungle events and working within Birmingham's music community.




In an interview with UKF, Cam explained that she’d become frustrated seeing the same line-ups repeated while many talented women remained overlooked.




“I started to realise, where are all the girls on these line ups?” she said in the UKF feature. “I knew so many sick female DJs who work just as hard as the guys out there, driving up and down the country every weekend so why weren’t they getting on the flyers?”




That first event immediately felt different.




“From the get go I knew I was on to something great as there was zero egos inside,” Cam told UKF. “It was just about the music and the vibes were electric.”




Even so, building a collective in a male-dominated scene came with its challenges.




“In the early days of Sisterhood it was quite a daunting task as a woman to try and step into a male dominated scene in Birmingham and dare to do something different,” she says. “But as we have grown and continue to excel, I have really gained the confidence to continue to push the boundaries.”




Today, that confidence is reflected in both the collective's growth and its impact.




“I hope to still be inspiring many more women to chase their dreams in the years to come,” Cam says.




Community First




While the collective hosts events, its purpose extends far beyond the dance floor.




“Community plays a vital role in what we do,” Cam explains. “It provides a support network for artists to be creative and network with like-minded individuals and provides a place to nurture talent and support one another in our journey.”




Creating that support network requires constant engagement with the wider scene.




“Networking is a massive part of what we do,” Cam says. “Supporting other like-minded brands. Talking to up-and-coming artists and helping them to break through and provide a platform for all.”




The collective has become increasingly involved in education and advocacy work, collaborating with institutions including the University of Birmingham.




“We have worked with the University of Birmingham to speak with music students and been on various panels, speaking on diversity and inclusion in the music industry,” says Cam.




That spirit of mutual support has always been central to Sisterhood's identity. As Cam explains in her UKF interview, seeing others succeed has been one of the most rewarding aspects of building the collective.




“The whole experience so far has been so much more than I ever imagined it could be,” she told UKF. “I’m the kind of person who I want to see the people around me doing well.”




Creating Safe Spaces




For those attending a Sisterhood event, the atmosphere is just as important as the music itself.




“Our events are a safe space for people of all backgrounds to come together and feel free to lose themselves in the music,” Cam says. “We showcase headline artists supported by our collective. The energy is high and nothing but good vibes. It’s about having fun.”




One of the collective's biggest milestones came through a jungle and D&B event at The Dark Horse in Moseley, featuring scene pioneers DJ Storm and MC Chickaboo.




“That was a personal fave of mine,” says Cam. “Our collective got to support them, it was an absolute dream come true to be able to work alongside them.”




The booking held particular significance. In her UKF interview, Cam revealed that MC Chickaboo had personally reached out after seeing the work Sisterhood was doing.




“Chickaboo personally contacted me and said that she was so impressed with the work that Sisterhood had been doing right now and that she would love to come to Birmingham to support the brand,” Cam told UKF. “It was a personal highlight!”




The event remains one of Sisterhood's defining moments.




Looking Forward




While progress has been made, Cam believes there’s still work to do when it comes to representation within the music industry, especially within bass music scenes.




“It can be challenging generating bookings as a non-male MC as it is such a male-dominated environment,” Cam says. “Promoters may tend to favour men and may not even consider having a woman on their line up.”




“Also being taken seriously as an artist/performer,” Cam continues. “Sexism and misogyny still continue to be rife in the scene.”

At the same time, there have been encouraging changes across Birmingham.




“There are now so many crews and collectives emerging out of Birmingham, which is amazing to see,” Cam says. “Women taking inspiration from seeing other women DJ in venues and studios builds confidence for others to get involved.”




As for the future, Sisterhood Birmingham continues to expand its ambitions. Alongside plans with sister brand 0121 Recordings, the collective has recently launched VERSES, a new platform dedicated to emerging MCs, vocalists, rappers and lyricists from across the city.




“So you can look out for that coming soon!!” Cam says.




Alongside the aforementioned artists, Cam recommends keeping an eye on Ekstatic, DJ Tilz and DJ Becky G, all of whom represent the next wave of talent emerging from the collective.




As Sisterhood Birmingham continues to grow, its mission remains the same: creating opportunities, supporting artists and proving that grassroots communities can help reshape the future of dance music from the ground up.




For all their latest news and events, follow Sisterhood Birmingham on Instagram

Collective Spotlight: Sisterhood Birmingham

Before they were releasing records on Insomniac, Armada, and Confession, Twin Diplomacy were hockey players growing up in Miami. The twin brothers, Marius and Darius Bell, have quickly become one of the fastest-rising names in house music, earning support from artists like John Summit, Kaskade, Martin Garrix, and Tchami. Ahead of their June 19 performance at Knockdown Center alongside Ship Wrek, we caught up with the duo for a look beyond the booth.



The first thing they want people to know? If music hadn't worked out, they'd probably still be chasing a life in hockey—or fronting a rock band. Their roots in alternative music still run deep, with Aerosmith's "Walk This Way" remaining a track that instantly takes them back to where it all started.

When asked about the biggest moment of their career so far, the answer came easily: selling out their first headline tour. Another memory they'll never let go of is playing a sold-out show at Sound LA surrounded by friends, family, and the team that helped them get there.



These days, the artists inspiring them most include Odd Mob, while one of their favorite records to play is their upcoming remix of Prospa's "Don't Stop." Their own sound? They describe it in three words: dark, polished, and danceable.

Offstage, life is much simpler. Good food makes them happy. Golf and the gym fill their free time. Their pre-show routine includes Red Bull and coconut water, while their post-show ritual is far less glamorous: eating takeout in a hotel room and finally decompressing after the adrenaline wears off.



The twins admit they sometimes struggle with comparing themselves to others, something many artists can relate to. At the same time, they credit their success to being intentional, focused, and relentlessly driven.

And perhaps most importantly, they revealed two facts that tell you everything you need to know about Twin Diplomacy: they have an unhealthy habit of buying lasers whenever possible, and one of them puts coffee creamer in Coke Zero.

We'll let you decide which one is more concerning.

Catch Twin Diplomacy at Knockdown Center on June 19 alongside Ship Wrek, Jengi b2b N2N, and Slaycey.

Twin Diplomacy Are Just Getting Started

In our Ones To Watch series, we highlight innovative producers pushing boundaries in dance music culture while carving out their own space.


What if dance music could do more than fill a dancefloor? What if it could regulate the nervous system, shift emotional states and physically change how we feel?


For London-born DJ and producer Jenn Getz, these questions have become central to her music. While most artists spend their careers focused on energy and performance, Getz has spent the last few years exploring something deeper: the science of sound itself.


Originally from London, but based in Dubai, Jenn is entering a new chapter in her career. Armed with forthcoming releases on some of house music's most respected labels and a growing fascination with frequency and vibration, she’s busy building a career that stretches beyond the conventional boundaries of club culture.



From Ballet to Boat Parties



Long before she stepped behind the decks, music was ingrained in Jenn’s life. "I trained in Ballet from 4 years old to 12 years, so I was counting music since before I can remember,” she says.



Her journey into DJing began ten years ago on a boat in Gili Trawangan, Indonesia.


Getz was managing boat party events while her friend handled the music. "I sat next to him every boat and watched what he was doing until it made sense to me," she says. "Finally I got him to teach me properly and he used to let me play for a hour at the swim stop so he could have a break.”



The spark was immediate. "It just clicked for me and I didn't want to do anything else,” she says.



Four years later, she began producing, laying the foundations for a career that would eventually lead to releases on labels including Knee Deep In Sound, Altra Moda, Armada and Toolroom.


Beyond the Dancefloor


In a recent interview with Mixmag UAE, Getz explained that her interest in sound came from wanting to understand what was happening beneath the surface of club culture.



"DJs spend their entire lives working with sound,” she said. “Basslines, sound systems, frequencies, the way energy moves in a room, but we rarely talk about what sound is actually doing to the body.”


That curiosity led her to complete advanced training in sound healing and vibrational therapy.



"I wanted to understand what I was actually doing to a room every time I played," she says. "Very few people in electronic music actually talk about what that is doing to the body on a deeper level.”



The experience transformed how she thinks about music.


"It has changed how I approach sound completely,” she says. “I don't just think about tracks anymore, it is about how people are physically experiencing the music, when to build tension, when to release it, and when to strip everything back so the room can reset.”



The Science Behind the Beat



The relationship between clubs and wellbeing isn't a conversation that often happens in dance music, but Getz believes it should.

In her recent Mixmag interview, she explained that many people already intuitively understand the power of music, even if they don't know the science behind it.



"People instinctively know it feels good but most people don’t really know why,” she said.



When she began studying frequency and vibration, she realised there were tangible explanations for why certain music resonates so deeply.



"When you start understanding frequency and how the nervous system responds to rhythm and vibration you realise there are real reasons certain music feels so good and it can regulate the body and shift emotional states,” she says.



Now Jenn sees the dancefloor as more than a social space. It's a collective physiological experience.


"Put a room of bodies on the same tempo and everything syncs, breathing, movement and attention,” she observes.



Jenn argues that the distinction between clubbing and sound healing is smaller than many people imagine.



"Clubs are built on frequency,” Jenn told Mixmag UAE. “Bass literally moves through your body. Rhythm changes breathing and heart rate. When a room locks into a groove there is a collective shift in energy across the dancefloor.”




Music With Intention


This growing understanding of sound has totally altered Jenn’s approach to production."I now think about sound not just as something people hear but something people physically experience,” she says.



Rather than simply creating tracks for peak-time moments, she’s more interested in how music can influence the body on a subconscious level.



"I'm making music that works on two levels,” she says. “Music that makes people dance but also for physical and emotional response, it's music with intention.”



The concept sits at the heart of everything she's currently creating.

It's an ambitious idea, but one she believes is backed by science.

"When thousands of people are dancing to a groove their breathing synchronises, their bodies move rhythmically and their nervous systems shift into a different state.”



A New Solo Chapter


Jenn is also navigating a significant personal transition. After years working as part of a duo, she recently embarked on a solo career.


"This new chapter has given me the freedom to follow ideas that feel very personal to me musically,” she says.


That freedom is already translating into new music, with releases lined up an increasingly busy studio schedule.



"It’s already a really exciting year,” she says. “I have new management, new music coming out on some dream labels.”



Alongside club-focused records, she's continuing to explore the relationship between sound, frequency and emotional response.



"There is music locked in on labels like Knee Deep In Sound, Altra Moda, Armada and Toolroom, but my focus is pushing this idea forward in a way that actually translates on a club system,” she says.


Exactly what that looks like remains under wraps for now.



"I'm pushing into new territory,” Jenn says. “Using everything I've learned, no one has done what I want to do before and I'm doing something exciting with it, but for now that's all I can say.”



For an artist increasingly interested in what happens beneath the surface of a dancefloor, the next phase of Jenn Getz's journey is all set to be her most fascinating yet.



For all her latest news, updated and events, follow Jenn Getz on Instagram.

Ones to Watch: Jenn Getz

Neighbors & Guests is the kind of party that only makes sense in New York right now.

Launching June 6th at Superior Ingredients Rooftop, the new concept from Gray Area is centered around something that has always driven the city’s dance music scene forward: community. The debut edition brings together GENPOP, James Cook, Nog, Bustin’ Loose, Smurfo, Hector Romero, Orson, James Anthony, Rissa Garcia, LEFTI, Manguito, Anthony Romano, and John Michael Di Spirito for a full day of back to back sets that celebrate the DJs, promoters, residents, and local names shaping nightlife across the five boroughs.



At a time when many lineups are built around one major booking, Neighbors flips the focus toward the people who are already here putting in the work week after week. There is no headliner. No oversized billing. No separation between opener and closer. The idea is simple: place New York talent at the center of the experience and give the city room to speak for itself.

That mindset feels especially important right now. House music in New York has always been tied to connection. The best nights are rarely about status or production. They are about running into familiar faces, hearing DJs feed off one another in real time, and watching different corners of the scene come together under one roof. Neighbors taps directly into that energy. It is less about spectacle and more about building a space where the local scene feels represented from start to finish.



The long term vision for the series goes even deeper. Eventually evolving into “Neighbors + Guest,” the concept aims to take over all three rooms at Superior for extended programming stretching from afternoon into late night. While the focus will remain heavily rooted in NYC talent, each edition will introduce one carefully selected guest from outside the city, ideally an international artist who fits naturally within the atmosphere of the party rather than overpowering it. The goal is balance. A platform for discovery that still keeps New York at the center.



For the first edition, the rooftop setting feels fitting. The lineup reflects different generations and corners of the city’s house music scene, from respected veterans like Hector Romero to newer names steadily building momentum through clubs, underground events, and local collectives. The back to back format also adds something personal to the night, creating room for spontaneity and chemistry instead of rigid set structures.



In many ways, Neighbors feels like a reflection of where New York nightlife is headed. Smaller communities are becoming stronger. Local talent is drawing bigger crowds. People are searching for nights that feel personal again. In a city where trends come and go fast, that sense of connection still matters most. And for house music lovers, that is what keeps dance floors alive long after the lights come on.

Neighbors & Guests Is Bringing New York’s House Music Community Together

In our Ones To Watch series, we highlight innovative producers pushing boundaries in dance music culture while carving out their own space.



Irish DJ and producer Sloucho is building far more than tracks. Through melancholic pop, rap collaborations, leftfield electronics and immersive world-building, the OUCH™ founder is carving out one of the most conceptually ambitious projects in Ireland’s underground right now.

Once rooted in percussive bass music, Sloucho’s sound has evolved into something a bit more far-reaching. His new sound blends hyperpop, emo digi-pop, rap and experimental electronic production, all while championing emerging Irish rappers and singers.

Broken Spirit is a five-part singles project unfolding monthly throughout 2026 encapsulating the reality of being an artist in this day and age.




Building OUCH™ 





Sloucho’s OUCH™ project and Broken Spirit era explores themes of identity, technology, virality and artistic exploitation while championing a new wave of Irish underground creativity.

His soul purpose is to understand himself and the world through music, but all of that is hindered because his world is full of corporate CEOs who want to exploit him for his art. “It’s analogous to basically everything I'm experiencing in my life – just trying to deal with the industry and make art.”

The Sloucho character is at the centre of OUCH™, but he loves to bring emerging Irish talent into it, too. “I love collaborating,” he says. “And I really love having people come into my world if they're up for it.”

That world stretches across music, visuals, gaming, lore and recurring characters. Sloucho describes the project less like a traditional artist project and more “like a comic book character or something that has its own arc.”





Championing Irish Creativity





Collaboration sits at the core of the project, and Sloucho’s worked with just about every emerging artist in Ireland, Curtisy, Ahmed, With Love, Lil Skag, Emby, Vaticanjail, Spooklet, Rory Sweeney and Gemma Dunleavy to name a few. Sloucho sees his studio as a space where artists can step outside their established identities and experiment freely.

“I really like the idea of making a song with [an artist] that hasn't been done before,” he says. “I’m able to draw something different out of them.”

That approach has positioned him at the centre of a new wave of Irish artists, many are so steeped with authenticity and creativity they’re making waves way beyond Ireland’s borders.





Broken Spirit and raging against the algorithm





Sloucho’s Broken Spirit era is a direct response to the realities of modern music consumption.

He tells me it began as “like 30 songs that was produced in an intense period of no holds barred production.” Over time, those ideas evolved into a more focused body of work, released as five monthly singles rather than a traditional EP.

In April, he released ‘All Night’, a certified hyper-pop banger that channels vulnerable, catchy lyricism through slowed-down emo cloud-pop and digitised vocals.

“‘All Night’ explores a co-dependent relationship built on projection rather than truth, and the tension that arises from closeness without connection,” the press release states. “Where desire is driven by illusion, and authenticity erodes as love becomes something performed rather than genuinely experienced.”

In May, Sloucho followed up with two singles: ‘Wondering’ and ‘Catfished V2’ with Crutch. While ‘All Night’ could sit comfortably in the US charts, these last two are extremely Irish. In a world where Irish rappers historically Americanised their accents, Crutch raps in his thick Irish one, ensuring Irish identity is front-centre and unapologetic.

Beyond the music itself, Sloucho is also experimenting with entirely new ways of releasing music.

For Broken Spirit, he hosted listening parties across Ireland, selling NFC cards that unlock access to an exclusive website hosting the tracks — a direct-to-fan alternative designed to push back against algorithmic culture and streaming fatigue.

Sloucho says the traditional release model no longer makes sense.

“It would be kind of remiss of me to be like, the music is enough because it's actually not, unfortunately,” he says. “Having good music isn't enough.”

Instead, he’s interested in how artists survive in an attention economy dominated by metrics and algorithmic manipulation.

“The importance on virality is crazy at the moment,” he says.




Gaming the System



Sloucho speaks candidly about the pressures artists now face to compete inside algorithmic systems increasingly shaped by manufactured virality and marketing manipulation.

“If this is the current landscape, then we have to make something that makes sense to people in two seconds,” he says. At the same time, he remains fascinated by the challenge of understanding and navigating those systems.

“It’s kind of the new set of rules that you have to operate under, so in a way, it’s a bit exciting, even though it’s kind of scary and weird.”

That tension between artistic integrity and visibility is at the centre of Broken Spirit. “The fear is that in your pursuit of finally “making it”, you alienate the people that fucked with you at the start,” he says.





Looking Beyond Music



Sloucho’s ambitions extend way beyond releasing tracks. Alongside the Broken Spirit rollout, he’s created a video game set inside the same universe as the music. He sees it as an extension of OUCH™ so people engage with the lore and immerse themselves in Sloucho’s world.

Despite the frustrations of modern music culture, Sloucho remains optimistic about the possibilities of independent artistry. In a way, it’s more gamified than ever before, and he’s determined to defeat the final algorithm boss, not for any reason other than to continue doing what he loves.

“I want to perform,” he says. “I want to share music. I want people to listen to my music.”

That’s why Broken Spirit feels like part of a huge puzzle that Sloucho’s revealing piece by piece.



For all his latest news, updates and events, follow Sloucho on Instagram.

Ones to Watch: Sloucho

In this series we spotlight up-and-coming collectives who are paving their own way while driving the culture forward.




Gaffe’s had a few different incarnations, but one consistent ethos. They create spaces for audiophiles to make genuine connections through electronic music.




It started in a basement under a barber shop in Soho, just after COVID. The founder, Luca Marchal, wanted to find a way to recreate the most magical moments he’d experienced clubbing.




“We started Gaffe not because we wanted to run “a venue”, but because the best nights we’d tasted weren’t just parties,” he writes on House of Gaffe’s Substack. “They were temporary altered states built out of sound, art, care and a space that felt like it belonged to the people inside it - something a traditional nightclub couldn’t provide.”




More than a club space




Gaffe is often introduced as a nightclub, but that label doesn’t quite cover it. Gaffe is an attempt to build something that’s become increasingly rare in London: an intimate, independent space shaped by its community as well as its line-ups. That’s why it’s fast becoming one of the most loved grassroots concepts in the capital.




It’s been a journey. After some time as nomads, they finally found a home in Wandsworth in 2024, underneath the arches.




They had some issues with licensing and noise concerns from local residents, which meant the team had to get creative with how to operate the space. As well as a night club with a FunktionOne sound system, it was also a buzzing daytime hub for the creative community, hosting photography sessions, DJ workshops, yoga classes and creative meet-ups.




From Wandsworth to Tottenham




Towards the end of 2025, Gaffe moved. The Wandsworth site, which began as a temporary event space before becoming permanent, came with limitations. The design, the location and licensing challenges led the team to re-think their base, and demand for the space was already outpacing what it could realistically host.




Tottenham felt like a fitting environment for their next phase, context and audience. Tottenham is one of London’s new favourite nightlife zones, thanks to its abundance of warehouse space, non-residential land and acceptance of big and small independent club spaces.




UK nightlife is in decline. Clubs are closing at break-neck speed, and according to the Night Time Industries Association (NTIA), more than a quarter of all late-night venues have shut their doors for good between 2020 and 2025. That’s why new openings and relocations like Gaffe’s feel particularly significant.




Gaffe’s still a “home for the heads” and a crowd that values music, community, atmosphere and that FunktionOne soundsystem. The space continues to function as a multi-purpose hub, with weekends reserved for club programming.




In the last couple of months, Gaffe’s welcomed a steady stream of tightly curated nights focused on forward-facing sounds.




That includes Wigflex 20 Years x Pressure Control night, featuring Lukas Wigflex, Ivan Smagghe and John Talabot, alongside other events rooted in UK bass, techno and experimental club sounds from crews linked to Tempa, RC1 Soundsystem and Vasuki Sound.




DJs like Joker, Om Unit and LVRA have helped shape the space’s evolving identity around long-form sets and system-focused sound.




In contrast, the weekdays open up into something broader, with co-working, workshops, meet-ups and knowledge exchange strongly encouraged. It’s a model that positions nightlife as part of a wider cultural ecosystem. Perhaps that’s why it’s thriving.




Looking ahead




As Gaffe settles into its new Tottenham base, it’s come to represent a different kind of nightlife trajectory – one driven by gradual, intentional growth. Their thoughtful musings on Instagram and Substack add depth to their mission, with the founder often questioning their own role in building a health musical ecosystem.




"How do we back the people putting everything on the line without helping fragment the same community we depend on?” They ask in a Substack post. “When too many good things pull from the same people on the same weekends, the result is usually the same: dilution by overlap.”




Gaffe is still early in its story. But its foundations suggest it has the potential to become something much bigger than its size suggests.




On May 23rd, that vision will play out in full with a day to night adventure, presented by Gaffe. Expect extended sets from minimal mainstays alongside live modular improvisation sessions to mark International Synthesiser Day.




The line-up of deep diggers includes Que Sakamoto, Nina Yamada, Annyrock and Adi, plus support from Luca & Leo and a few names still under wraps.




With food, installations, and two spaces that shift from open-air daylight into warehouse darkness, it’s designed as a full-spectrum journey. Tickets are already moving, so get yours while you can.

Collective Spotlight: Gaffe

Eric Luttrell has spent more than a decade building a name for himself in electronic music, known for sets that balance melody, movement, and feeling. From his early work as part of The M Machine to his rise as a solo artist on Anjunadeep, his path has been shaped by a clear connection to the dance floor. That connection will be on full display July 5th at The Roof of Superior Ingredients in Brooklyn, one of the more intimate stops on his current run. Now, with his latest series of shows, the Summer of Love Tour, Luttrell is shifting the focus back to something simple but often overlooked: being fully present.

At a time when crowds are larger than ever and phones are constantly in the air, Luttrell is choosing a different direction. This tour centers on smaller spaces, open air settings, and a strict no phone policy, shaped by what he has been seeing more and more during his performances.



“I started to notice an increase of people standing, having conversations and not dancing in crowds,” he says. “The worst has been people standing directly in front of me just staring or recording an entire song on their phone. This doesn’t happen often, but when it does, it’s a huge negative distraction to me and everyone around. My attitude in the past has been more lax, but recently I feel the need to share how I’m truly feeling. We’re here to dance and enjoy music, not make a documentary.”

His words reflect a shift many artists and fans have felt. Phones have changed how people engage with live music, often pulling attention away from the moment itself. For Luttrell, that disconnect is something he wants to address directly. The no phone policy is not about restriction, but about creating space for something better.

Without phones, the experience becomes more immediate. There is no pressure to record or share. The focus returns to the sound, the people around you, and the feeling of being part of something happening in real time. It allows both the artist and the crowd to meet without distraction.

The choice to play smaller venues is just as important. These spaces bring people closer, making the experience feel more shared. Instead of watching from a distance, the crowd is right there, connected to the music and to each other.



“At these more intimate shows, closeness is part of the magic,” Luttrell explains. “There’s this opportunity to have an experience unique to smaller venues that you can’t get at a big festival. It’s like we’re one organism, one energy. We’re all a part of something special for a few hours, and we should lean into that together.”

That sense of unity has always been central to dance music. A room moving together to the same sound creates something that cannot be captured on a screen. It has to be felt in the moment.

For Luttrell, this tour is about bringing that feeling back into focus. His music has always been built around connection, and in this setting, it has more space to land. The shift to performing under his full name, Eric Luttrell, reflects this chapter, with a sound that feels more direct and grounded in the dance floor.



The name Summer of Love points to openness and shared experience. In these smaller, phone free spaces, that idea becomes real. The crowd is not just watching the show, they are part of it.

In a culture where so much is documented and replayed, Luttrell is offering something that exists only in real time. No recordings, no distractions, just music and the people in the room. It is a simple idea, but one that feels more meaningful than ever.

Eric Luttrell’s Take on the Summer of Love

Maxi Meraki has spent the past few years building his name through consistent releases and a busy touring schedule, becoming a familiar presence in clubs and festivals around the world. With music on labels like Diynamic, Higher Ground, and Insomniac, and support from artists such as Solomun, Adriatique, Black Coffee, and Keinemusik, he’s found his place within a tight circle of artists shaping today’s sound. His remixes for RÜFÜS DU SOL, WhoMadeWho, Monolink, and Mahmut Orhan show a clear direction in both taste and collaboration.



Off stage, things are a lot more low-key. In this interview, Maxi talks about staying grounded while traveling, the habits that keep him balanced, and how he thinks about building a career without rushing it. From cooking after long flights to playing extended late-night sets, it’s a look at the person behind the music and what keeps him going.



What’s one thing most people don’t know about you?


I’m actually quite calm and introverted when I’m not on stage. People see the shows and the energy, but most of the time I’m happiest cooking, biking around a city, or digging for music.



If you weren’t a DJ/Producer, what would you be?


Probably something creative but still connecting people. Maybe designing experiences or spaces. I love the idea of bringing people together through atmosphere, not just music. And I actually have a bachelor’s in International Business.



What’s the most memorable moment of your career?


Hearing thousands of people sing along to one of my tracks for the first time. That moment when something you made alone in a studio suddenly belongs to everyone.



Who’s an artist that inspires you right now?


Artists who stay true to their identity while pushing the sound forward… people like Solomun, RÜFÜS DU SOL, and WhoMadeWho.



What’s a track you play when you want to get the crowd hyped?


It changes constantly, but anything with a strong groove and emotional tension always works. Tracks that slowly build the energy rather than explode immediately. Probably one of the Maxi Meraki “classics.”



What’s your go-to snack or drink before a show?


A banana or something light, lots of water, sometimes a coffee. Touring teaches you pretty quickly that heavy food before a set is a bad idea. So I guess no more steakhouses before a show!



What’s your favorite city to play in, and why?


Buenos Aires will always be special. The crowd understands the music in a different way, there’s a shared energy that’s hard to explain.



How would you describe your sound in three words?


Energetic. Hypnotic. Emotional.



What’s one non-music-related thing or hobby that makes you happy?


Cooking. There’s something very grounding about making food after a long travel day.



What’s a track that always brings you back to your roots?


Daft Punk – One More Time. A timeless groove that captures the spirit of house music perfectly.



If you could collaborate with any artist, dead or alive, who would it be?


Probably someone like Depeche Mode. Their songwriting and atmosphere are timeless.



If you could time travel to any era of music history, when would it be and why?


Probably the late ’70s disco era in Miami. The music, the clubs, the energy — it was such a raw and exciting time for dance music culture.



If you weren’t touring or in the studio, where would we find you?


Probably somewhere by the sea, cooking with friends, or discovering a new restaurant.



What’s a fun fact or hidden talent that has nothing to do with music?


I make a pretty good homemade pasta.



What are some things you forget but feel better when you are reminded about?


How lucky I am to travel the world through music.



What personal prison have you built out of fear?


Perfectionism. Sometimes it slows you down creatively.



If you could compliment yourself, what would you say?


I’m persistent. I don’t give up easily.



What is your favorite set time and duration?


Late-night sets that go two to three hours or longer. That’s when you can really tell a story.

Getting to Know Maxi Meraki

Nico de Andrea has spent more than two decades building a catalog that sits at the intersection of club music and songwriting. The French producer has become a steady presence across the global circuit, with over 40 million streams, radio support from Sirius XM to BBC1, and backing from artists like Black Coffee, Keinemusik, Solomun, and MK. His debut album Love Therapy marked a turning point, pairing emotive vocals with afro house and techno influences, while tracks like Ethnica and Disappear continue to find their way into sets worldwide.



Offstage, his perspective is more measured than his résumé might suggest. Now based in Canada, he balances a demanding touring schedule with family life, often stepping away from the noise to reset. That contrast carries into his music, where attention to detail, especially in the low end and vocal presence, shapes how his records translate on a dance floor.

In this conversation, Nico reflects on the milestones that shaped his career, from early club shows in the south of France to playing Pacha Ibiza alongside Bob Sinclar, as well as the habits and mindset that keep him grounded as his profile continues to grow.



What’s one thing most people don’t know about you?


I’m actually pretty introverted. People see the shows and assume I’m always “on,” but I recharge alone. Long walks, no phone, no music sometimes. Either that or spending time with my son are really the main ways I prefer to spend my time away from music



If you weren’t a DJ/Producer, what would you be?


Probably something with architecture or design. I’m obsessed with space and atmosphere and how a room feels when you walk into it. That’s kind of what I do with music anyway, just with sound instead of walls.



What’s the most memorable moment of your career?


To play at Pacha Ibiza. Bob Sinclar invited to play with him several times and it definitely change my all life as a DJ. 



Who’s an artist that inspires you right now?


RÜFÜS DU SOL. They’ve built an identity people really gravitate towards and I admire that. Emotional, cinematic, but still powerful in a club or on the dancefloor. It’s honest and real.



What’s a track you play when you want to get the crowd hyped?


Love Desire by Cassimm. You can’t miss with that one.



What’s your go-to snack or drink before a show?


Water - gotta stay hydrated!



What’s your favorite city to play in, and why?


It’s gotta be Montreal. It’s home now. The crowd is educated but emotional. They’re always really attentive to my sets and always seem to want more.



How would you describe your sound in three words?


Fun, Loose, Groovy



What’s one non-music-related thing that makes you happy?


Spending time with my family is #1.



What’s a track that always brings you back to your roots?




If you could collaborate with any artist, dead or alive, who would it be?


Daft Punk. For obvious reasons. They changed everything for electronic music but also for the scene in France in general. I think you would have a hard time finding any French musician who wasn’t affected by them.



What’s a record that never leaves your crate or USB?




What’s your favorite non-music-related hobby?


I’m a huge fan of the NBA. I love to go to the games with my son.



If you could time travel to any era of music history, when would it be and why?


It’s ironic because I grew up in it but the late 90s / early 2000s French house scene. The energy around Paris when artists like Laurent Garnier and Daft Punk were pushing boundaries. It was such an amazing time.



If you weren’t touring or in the studio, where would we find you?


Somewhere near water. Ocean, lake, beach - doesn’t really matter.



What’s a fun fact or hidden talent that has nothing to do with music?


I’m living in a bowling alley.



What is simple that makes you smile?


To see my friends win.



What’s a memory you never want to let go of?


My first small club show in the south of France. Maybe 80 people. But it felt like the world.



When do you feel at most peace?


In my new country - Canada.



What are some things you forget but feel better when you are reminded about?


That the journey is long, you don’t have to rush it :)



What’s something meaningful to you, but not to others?


The smell of the flowers. Jasmine is extraordinary for example especially in Thailand. 



What personal prison have you built out of fear?


Perfectionism. Sometimes you hide behind “it’s not ready yet,” but this is a trap a lot of artists and musicians specifically fall into. Have to remind yourself that if you like something, so will someone else.



What’s something normal to you that other people find weird?


I love spending all my time with my wife, we even work and go on tour together.



If you could compliment yourself, what would you say?


Super emphatic and loyal.



From a production perspective, what’s the most expensive mistake you’ve ever made in an effort to put on a kick ass show?


Overbuilding a custom visual setup for a show that didn’t have the proper technical support. It looked amazing in theory… in reality, lesson learned.



As someone who deals with technology and computers to write music, has there been a gut-wrenching story where you lost your music?


Yes. Hard drive failure. No backup and lost months of work. Again, another lesson learned lol!



What makes you cringe when you listen to your early material?


Not sure I cringe at anything honestly, I appreciate all of it because it all contributed to where I am today.



What do you find yourself obsessing about most in the studio?


Low end. Always. The relationship between kick and bass. If that’s wrong, nothing works. Also vocal emotion, it has to feel human, even when it’s a club driven song. The audience needs something to latch onto, whether a full vocal, lead melody, or a catchy hook.



What is your favorite set time and duration?


Late night for 2–3 hours. When people are locked in and you can really take the crowd on a journey.



If you had the power to erase one musical genre for eternity — which one would you abolish?


This is so tough I’m not sure I can actually answer haha. There is something to appreciate in all genres but I guess generally I don’t listen to some of the American.

“It Has to Feel Human” — Nico de Andrea on Music and Meaning

In our City Beats series, we explore underground scenes in cities all around the world, and this week we’re spotlighting the dubstep scene in Bombay, India.



Bombay. There’s no place quite like it. It’s a melting pot of smells, people, sounds. Fruit sellers crowd the sidewalks, rickshaws fill the roads, the air is full of delectable spices. It’s chaos, but somehow it makes sense.



And bubbling under the surface of all this mayhem is a music genre that’s simultaneously stripped back yet full of life. Bombay is fast becoming one of the most forward-thinking hubs for dubstep in the world - and today we’re breaking down some of the best producers, labels and club nights in the city.



Low End Therapy (club night)


This club night, held in Anti-Social Club in Lower Parel, champions 140 and dubstep sounds. Fuelled by the crew behind Swadesi Movement, their aim is to make dubstep and grime more accessible to folk from lower-castes in India. People with low income often aren’t allowed into night clubs, so Swadesi launched Low End Therapy to rectify that. They match the price of tickets to the BPM, so people pay 140 Rupee for their dubstep night, creating an open and inclusive space for everybody in Bombay.



RaaKshaS Sound (producer)


A core member of Swadesi Movement and a prolific dubstep producer from Bombay, RaaKshaS Sound is spearheading the fresh, minimalist, dubstep sound unique to the city. He describes his music as a vibrant tapestry of dubstep, halftime, hip hop, and experimental bass, heavily influenced by the sights, sounds and scenes of his hometown. He once sampled a fight between two rickshaw drivers. RaaKshaS most recent EP Impulsive is a totally air-tight example of his style: fresh, forward-thinking, stripped back and heavy on the bass.


Kaali Duniya (producer)



The alias of rapper BamBoy, Kaali Duniya makes reggae and dubstep rooted in the energy and frequency of Bombay. Born and raised in Lower Parel, Kaali Duniya’s music is steeped in the culture of his youth: most notably roadshows – public street parties which are one of the few places people from lower castes can access culture. His recent self-released album BABYLONis 10 tracks of pure dubstep activism, and confronts the quiet power structures, subtle exclusions, and gatekeeping mechanisms that dictate who gets space in the music world. Kaali Duniya is one of India’s most liberated voices.




Skip-A-Beat (label and collective)


Skip-a-Beat Mumbai is an underground music and event collective known for curating experimental electronic nights that merge sound and visual art into a single immersive experience. Based in Mumbai, the platform sits at the intersection of club culture, digital art, and alternative nightlife, often hosting events that go beyond traditional DJ sets. Their nights regularly platform 140, bass and dubstep paired with live visual performances from VJs and multimedia artists.




Working across intimate venues and underground spaces, Skip-a-Beat is part of a growing creative scene that values experimentation and sensory storytelling over commercial clubbing.




KRUNK (collective)


KRUNK is a Mumbai-based electronic music collective and artist management company that’s played a key role in shaping India’s underground and alternative music scene. Founded in Mumbai, it operates across booking, curation, touring, and talent development, bringing global bass, techno, and club music acts to Indian audiences while supporting homegrown producers through events, showcases, and festivals.




Beyond live shows, it’s made its mark on India’s electronic ecosystem through label work, collaborations, and cultural programming that bridges underground club culture with larger festival circuits, often booking dubstep artists for their India debuts. KRUNK is responsible and or/heavily involved with Hot Box India, Bass Camp Festival, Krunk Kulture, Echoes of Earth Festival, Grasslands Festival and the weekly club night Dance OK Please.



NaaR (producer)



NaaR is India’s first grime producer, although you wouldn’t guess it from his setup. He produces on a laptop with two small speakers and a sub-woofer, and he doesn’t shout about his music online. Instead you’ll hear about NaaR through word of mouth and other people sharing his tracks. NaaR is a founding member of Swadesi Movement. “Before Swadesi, club culture was run by rich kids for rich kids,” NaaR says. “We broke through that and made clubs understand that’s not gonna work and we have something else to offer.”



He releases his music on YouTube, often with accompanying visuals. His latest, “Matrix Keymaker Ritual”, is a slow-moving dub track combining spoken-word with experimental bass. Check out his Bandcamp for all his latest tracks and EPs.

City Beats: Bombay dubstep

For years, the DJ booth was treated like a necessary evil. Tucked away, raised above the crowd, packed with gear and cables, functional, but rarely something you actually thought about. That is changing fast.

In 2026, the booth is no longer just where the DJ stands. It is becoming part of the experience itself. Not in a flashy, over the top way, but in a way that subtly shifts how the night feels, how the crowd moves, and how connected everything becomes.



You are starting to see it everywhere. Booths designed like sculptures. Curved setups that blend into the dancefloor. DJs no longer towering above everyone, but standing right in the middle of it. It is less about separation and more about presence.

One of the biggest changes is visual. Booths are now being designed with intention, color, shape, and material all playing a role. Think bold structures, unexpected finishes, and layouts that feel closer to art installations than equipment stands. This is not about showing off. It is about creating an environment that feels considered from every angle.

At the same time, what is happening behind the decks is more complex than ever. DJs are not just mixing tracks, they are layering stems, triggering loops, blending vocals, and building something that changes in real time. That shift has forced booth design to evolve. There is more gear, more movement, and a real need for space that actually works with the performer instead of against them.

So instead of fixed setups, flexibility is becoming key. The same booth might need to support a solo set one night, a back to back the next, and a 360 degree setup the weekend after. Modular designs are popping up that can be reconfigured depending on the room, the artist, or even the vibe of the party. It is a practical change, but it also opens the door for more creative setups.



The bigger story, though, is what is happening between the DJ and the crowd.

There is a clear move away from the old “DJ on a pedestal” setup. More venues are lowering booths to floor level or placing them right in the middle of the room. Instead of looking up at the DJ, you are standing next to them, moving with them, catching every small moment as it happens.

That shift changes everything. The energy becomes more immediate. The connection feels more real. You are not watching a performance, you are part of it.



It also reflects something deeper about where dance music is right now. After years of massive stages and phone heavy crowds, there is a growing desire to bring things back to something more human. Less distance. Less spectacle. More shared experience.

Lighting plays into this too. Instead of being something that just hits the DJ from above, lighting is now being built directly into the booth itself. Screens, LEDs, and reactive elements turn the booth into a living part of the room. It moves with the music, not just around it.

And yes, it looks great on camera, but more importantly, it feels different in person. The booth is not just where the DJ stands. It becomes the center of gravity for the entire space.

What is interesting is that none of this feels forced. It is not a trend chasing attention. It is more like a natural response to how people want to experience music right now.



Closer. More immersive. Less divided.

The DJ booth used to be something you barely noticed. Now, it is quietly becoming one of the most important parts of the night.

Are DJ Booths Finally Getting It Right?

Julia Sandstorm is part of a new wave of artists bringing personality and range back into dance music. Originally from Stockholm and now based in Los Angeles, she has built a global presence through a steady run of performances and a sound that pulls from multiple influences without feeling forced. From major stages to more intimate settings, her sets are shaped by a clear sense of timing, energy, and connection with the crowd.



What stands out is how intentional she is, both on and off the stage. Whether it is drawing inspiration from artists like Carl Cox, testing unreleased edits in front of a crowd, or sticking to personal routines that keep her grounded while touring, everything feeds back into how she performs.



In this conversation, she speaks openly about the moments that shaped her, from early career milestones to personal experiences that continue to influence her outlook. She also touches on the balance between growth and staying true to herself, and how that mindset carries into her music, her sets, and the way she moves through the industry today.



What’s one thing most people don’t know about you?


I fall asleep to Harry Potter almost every night. It’s basically my emotional support movie and makes me feel calm and safe.



If you weren’t a DJ/producer, what would you be?


I would definitely be an actress or an accountant.



What’s the most memorable moment of your career?


One of the most memorable moments of my career was the first time I played for a large crowd of about 5,000 people, very early on. I was originally scheduled to play a daytime pool set, but at the last minute I was asked to open the main stage. 



I rushed over while the space was still empty and started playing before the doors opened. When they did, thousands of people flooded in all at once, and suddenly I was playing to a massive crowd. Experiencing that energy for the first time was one of the coolest feelings I’ve ever had.



Who inspires you, and what defines your sets?


An artist who inspires me, and always has, is Carl Cox. The way he genuinely loves playing music comes through in his energy and his smile every time he’s on stage. He also moves across genres so naturally, which is something I enjoy doing in my own sets. It reminds me that it’s okay to mix things up and not stay in one lane.



What’s a track you play when you want to get the crowd hyped? 



It depends a lot on the vibe of the room, the crowd, and where the party is at. But if I’m being honest, one of my go-to hype moments is my remix of Led Zeppelin’s Whole Lotta Love. When I play it at the right time, the crowd goes off every time.



What’s your favorite city to play in, and why?



It’s hard to pick one favorite city, but if I had to choose, I’d say Black Rock City. Being off the grid forces you to stay present, and it changes the way you connect with the crowd.



How would you describe your sound in three words?



I’d describe my sound as playful, soulful, and high energy.



What’s your go-to snack or drink before a show?



Before a show, I usually eat a full bar of dark chocolate and have a matcha or a single espresso. It helps me get into a good headspace, and I always travel with both so I can keep that routine.



What’s one non music related thing that makes you happy?


Food. I love food, especially sweets.



What track brings you back to your roots?






Dream collaboration and favorite hobby?


I would love to collaborate with Led Zeppelin. Creating an electronic rock project with them and doing live sessions would be incredible.

Skiing is my favorite hobby, especially backcountry. I started when I was two years old. It also taught me how to push through fear, which is something I carry with me in everyday life.



Favorite era of music and go to record?


The classic rock era, late 60s to 70s.

A record that never leaves my USB is “Four to the Floor” by Starsailor.



Where are you when you’re not working?


On the beach, at the gym, or in bed watching a fantasy movie and eating chocolate.



Hidden talent and simple joy?


I love math, especially solving equations.

Something simple that makes me smile is feeling the sun on my skin.



A memory you hold onto?


The last time I hugged my dad before he passed away. We didn’t know it would be the last time, but we held onto each other for a while. I’ll never forget that feeling.



When do you feel most at peace?


When I’m hugging my husband or spending time at my mom’s house in Sweden.



Something you forget but need to remember?


That other people’s opinions don’t matter. Staying true to who I am is what allows me to live fully instead of worrying about being judged.



Something meaningful to you?


My custom USB necklace that my husband gave me. It was handmade by my friend Esteban, who taught me how to DJ. It’s shaped like Thor’s hammer and has my dad’s name and mine carved into it. I wear it at every show.



A fear you’ve overcome?


Trying to be liked by everyone. I used to be a people pleaser, but over time I’ve learned to trust myself and follow my own path.



Something people find weird about you?


I like licking my plate clean at home, and I have a weakness for sauces. I might even eat them straight from the jar when no one’s watching.



What would you compliment yourself on?


My courage. I’m proud of taking risks and trusting my instincts.



A genre you’d erase?


None. Every genre exists for a reason and means something to someone. That variety is what keeps music interesting.

Getting to Know Julia Sandstorm

In this series we spotlight up-and-coming collectives who are paving their own way while driving the culture forward.


Madruga is mostly known as a festival, but that framing doesn’t quite capture what’s really going on. At its core, Madruga is a group of friends still in their twenties who decided to build the party they felt was missing. In doing so, they’ve created one of the most exciting events in the UK cultural calendar and a tightly woven community that expands year on year.



The group of friends behind Madruga met while studying event production and music at university in Bristol. All of them were obsessed with music and spoiled for choice with club culture in the city, but when it came to festivals they noticed a gap in the market.



“Every prominent festival at the time, like Houghton, We Out Here, Outlook, had their sound and their audience,” says Sammi Aljak, creative director and programmer for Madruga. “No one had ever plucked the best artists from those scenes and put them together knowing where they cross over.”


That’s how bridging scenes became the foundation of Madruga Festival.



The crew started devising the concept at university, and they soon felt compelled to make it a reality. They hunted for the perfect venue, and when they came across Baskerville Hall in the Black Mountains of Wales they made the leap and put down a deposit for a three-day event. The year was 2022. They had no blueprint, no financial backing, and very little margin for error.


“Two weeks before the festival, we were alone, without any resources, and heading into a catastrophe,” Sammi says. “We’d meet in 'Spoons every day after work and sit there until 11 pm trying to get this show together, looking at the numbers, the money we didn’t have. We’d sold 80 tickets. We thought we’d have to cancel and probably declare bankruptcy at 23 years old. But we looked at each other and decided to just fucking do it. Let’s just see what happens.”


At the last minute they sold more tickets, and even though they lost some money, the festival itself was awesome.




Baskerville Hall is part of the magic. This Grade II listed mansion is where the Hound of the Baskervilles is set. Madruga takes full advantage, with two stages in the beautifully manicured grounds outside creating a day festival energy, then at night everything moves indoors to become a debaucherous mansion party across two club rooms. There’s also a chill-out area, a living room with karaoke, two pubs and (if you look hard enough) after-parties in the luxurious bedrooms where the DJs stay.


Most people camp outside but there’s the option to sleep in dorm rooms in the mansion too. But apart from the mansion, Madruga’s USP was in the musical curation.



“I went in on the line-up because we had to turn heads,” Sammi says. “It was ropey as fuck, we were 23 years old, 8 of us running the show like headless chickens, I don’t know how we did it, but something just clicked. We were onto something.”




From that point on, Madruga stopped being just an event and started becoming a network; a growing, interconnected group of artists, friends and attendees who all contribute to its identity.




DJs don’t just arrive, play their set and leave. They stay for the entire weekend. They invite their mates and dance in the crowd, supporting one another, and becoming part of the social fabric. It creates an environment where the line between artist and audience starts to blur.


“You play better when your best mates are dancing in the front row,” Sammi says.



This energy radiates outward, shaping the atmosphere of the whole event, and as the festival enters it’s fourth year, that sense of intimacy has only grown stronger.



The Madruga team shape it by investing in the in-between moments: wellness areas, hot tubs, cold plunges, yoga, meditation, arts and crafts and communal spaces.



It reflects a wider shift in how younger collectives are approaching nightlife. Community isn’t built solely through high-energy moments, but through balance. People need space to get to know one another, and that uplifts the dance floor later on.



The collective has achieved a huge amount in a short space of time. In just a few years, they’ve gone from a near-collapse in a pub to building one of the most talked-about grassroots festivals in the UK underground.

But their success isn’t built on scale, or hype, or even the line-ups alone. It’s built on friendship, blind faith and self-belief.


Madruga is still evolving and expanding, but its core remains unchanged. It’s a group of friends with sick taste in music building something together and bringing everyone else along for the ride.

Madruga is a 1000-capacity, 3-day mansion party & music festival set amongst the Black Mountains of Wales from July24th - 27th 2026 at Baskerville Hall, Hay-On-Wye, HR3 5LE. Buy your tickets here.

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