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.

Collective Spotlight: Madruga

British born and London based, Hitty is part of a new wave of DJs shaping how house music connects with club culture today. His sound pulls from hip hop and dancehall, layered into house sets that lean raw and direct, with a focus on energy and crowd reaction rather than polish alone. It is a style that reflects both his musical influences and the environments he came up in.




Recognized for performing in his trademark gloves, Hitty has also built his own platforms through HITTY X and GLOVE SEAZON, where music, visuals, and concept come together to reflect his world more fully. Beyond the branding, his story is grounded in everyday life, balancing studio time, shows, and family, while staying rooted in the mindset that first pushed him forward.




In this conversation, Hitty speaks on the moments that shaped him, from stepping into a major label building for the first time to the records that still guide his sets today. He shares what drives him in the studio, why football remains his reset, and how he views growth, risk, and longevity in music.


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

I used to compete in track athletics (400m, 200m, 100m).




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

A stock trader who DJs and produces in his spare time.




What’s the most memorable moment of your career?

Walking into a major label building for the first time (Universal).




Who’s an artist that inspires you right now?

Jay-Z, for his hustler mentality and creative direction.




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

My remix of “Pump Up the Jam” — it never fails.




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

A banana. I need that energy.




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

London, as it’s my hometown, although the dream would be to play in Chicago, the real mecca for house music.




How would you describe your sound in three words?

Raw, street, energetic.




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

My family.




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?

Max B.




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

Football. I play every Friday — that’s my mental release and my cardio.




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

I’d travel to the early grime days, around 2002, and record all my favorite radio sets because I lost all my tapes.




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






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

Doing the school run, haha.




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

I’m disturbingly amazing at table tennis.




What is something simple that makes you smile?

The sound of my kids laughing.




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

Too many to pick from — I can’t choose one.




When do you feel most at peace?

Playing football. I forget all my responsibilities, problems, worries, and pressures. The only thing running through my mind is waiting for the ball and what I’m going to do after I receive it. Life outside goes on pause.




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

A beverage that I forgot I’d hidden at the bottom of the fridge, or seeing a track I haven’t played in a while when scrolling through my set list.




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

Box-fresh trainers.




What personal prison have you built out of fear?

I’ve broken out of them all. The only fear I have is not being willing to fail while trying to do something amazing.




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

Mayonnaise on everything.




If you could compliment yourself, what would you say?

Fearless.




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

They’ve all worked out, to be honest.




As someone who deals with technology and computers to write music, has there been a gut-wrenching moment where you lost your music or tracks you were working on?

Yep. If I lose my music, I accept it as fate, move on, and make better music.




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

The mixdown quality.




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

Every part of creating a track, but finding the right kick drum takes me forever.




What is your favorite set time and duration?

I love playing longer shows. Two hours is my sweet spot, but I’d love to play a 12-hour set.


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

I wouldn’t use that power, lol.

Hitty: Built From the Ground Up

Yazz’s path into music feels is instinctive. Growing up immersed in live instrumentation, she spent years playing drums and performing in jazz bands before discovering electronic music in her early twenties. That first rave marked a shift, turning a lifelong passion into a career.



Yazz’s DJ sets are immersive and rooted in rhythm and connection. Through her Dirty Techno platform and weekly streams, she’s built a space that champions emerging artists while steadily growing her own presence in the scene. We caught up with Yazz to find out more about her background, productions, sets, milestones and what she has lined up for the future.



Where did you grow up and where are you based?


Yazz: I grew up on Long Island, New York, and I’m currently based in Connecticut.



What were your early experiences with music?


Yazz: Music has been part of my life from a very early age. I started playing drums at nine and later picked up other instruments, including the saxophone and clarinet. Throughout middle and high school, I was actively involved in jazz band, which played a big role in shaping my musical foundation.



When and how did you get into electronic music?


Yazz: My love for electronic music started around 2015 when I went to my first rave at Webster Hall. That experience completely changed everything for me, and from that moment on, I was hooked.



What made you decide to learn to DJ and produce?


Yazz: I’ve always been passionate about music, and I’ve naturally been the one setting the vibe — my playlists were always the life of the party. I remember being in charge of the music at a friend’s party and seeing how much joy and energy it brought to everyone. That moment made me realize I wanted to create those experiences on a bigger scale. A week later, I bought my first DJ controller.

A few years later, I got into production. I’ve always wanted to stand out and create something unique. I believe in the idea of “create what you want to hear,” so I started making music that reflects my own vision and sound.



What were your ambitions when you were first starting out?


Yazz: Honestly, my goal hasn’t really changed since the beginning. I’ve always wanted to play big stages and use music to spread love and happiness. Music has a unique power — it brings people together, creates connection, and reminds us of joy. If I can help unite people through music, then I feel like I’m exactly where I’m meant to be.



Can you tell me about Dirty Techno and your weekly streams?


Yazz: Dirty Techno started with one of my close friends as a TikTok page reposting techno videos. I offered to help grow the brand, and soon we were uploading original content. I’ll never forget waking up one morning to see a video we posted had over a million views — it was a turning point that helped us grow our following fast.

As my presence in the scene grew, my friend let me take full control of Dirty Techno. I began streaming weekly, eventually inviting guest DJs to join. Every Tuesday is now Techno Tuesday, and the platform has become a space for emerging artists to showcase their talent. Today, we have over 50k followers on TikTok and keep growing. Looking ahead, the plan for Dirty Techno is to host our own parties and release original music. There’s a lot coming, so stay tuned!



What are the key milestones of your career so far?


Yazz: I’ve been fortunate to have so many incredible opportunities along the way. Supporting some of my favorite artists, like Luigi Madonna and Frankie Bones, has been surreal and truly full circle for me. One of my proudest moments came last year when I released my first official EP Sirens— it charted for several months and even hit number one on Beatport in the Raw/Deep/Hypnotic genre. That was a huge validation of all the hard work and passion I’ve poured into my music.


What can someone expect from a Yazz set?


Yazz:A Yazz set is all about the journey. You can expect to be immersed in my beats and rhythms, letting the music take over. My goal is to create a space where everyone feels free, loses themselves in the moment, and dances like no one’s watching.


What exciting events/releases do you have lined up in the next few months?


Yazz: I’ve got a lot of exciting things coming up! I’m gearing up for a live stream for “Support women DJs”, and I’ll be making my debut at 99 Scott on April 24th, setting the vibe for Juliet Fox and Joyhauser. What I’m most excited about, though, is my next EP — it’s going to be bigger than ever, and I can’t wait for everyone to hear it!


Where do you hope to be as an artist in 5 years?


Yazz: In five years, I hope to continue growing and gaining even more wisdom as an artist. My goal is to travel the world, sharing my love and passion for music with audiences everywhere, and to keep playing on the biggest stages while doing it.


Catch Yazz at 99 Scott on April 24th, and for all her latest news and events, follow Yazz on Instagram.

Artist spotlight: Yazz

Small festivals are seriously underrated. You don’t lose your friends, or spend all your time walking from one stage to another, you meet more people and you don’t get FOMO from line-up clashes. They carry their own special atmosphere, ecosystem and culture that you actively help create, and there’s tons of grassroots, DIY, intimate festivals across Europe that often get overlooked in mainstream media. So here are a few of our favourites, each striking a balance between location, line-up, experience and music discovery.



Waking Life - Crato, Portugal



Waking Life describes itself as “a midsummer festival, a landcare project, and a year-round dojo for creation, experimentation and play.” Set in the truly magical Alentejo region with a capacity of around 10,000, Waking Life blends electronic music, art, and ecological experimentation, all anchored in the summer solstice. Here, revellers can enjoy a week of techno, ambient, and experimental sounds alongside workshops, performances and collective rituals. But its impact extends way beyond that week. It’s a year-round landcare and cultural project focused on sustainability, re-wilding, and alternative ways of living. With its intimate scale, participatory ethos and emphasis on creativity and connection, Waking Life serves up a transformative, countercultural festival experience.




2. Field Maneuvers - Norfolk, UK


1600 people, 3 nights, 1 field. This is Field Maneuvers, a grassroots electronic music festival held annually in the Norfolk countryside. Beloved for its DIY ethos, intimate scale and independent spirit, the festival was founded in 2018 by a collective of London-based DJs and promoters as an alternative to large commercial festivals. Instead they champion community, accessibility and underground culture.

The site is so well-curated Marie Kondo would approve, with a line-up spanning house, techno, bass, breaks, experimental, ambient and more across multiple small stages, all run by collectives, labels and radio stations. They focus on emerging artists and cult names over headline acts, so it’s a fantastic festival for music discovery. You camp on-site, mix freely, attend talks, workshops, and community-led initiatives, and ticket prices are relatively affordable. Field Manoeuvres is a stand-out example of the new wave of boutique, anti-establishment, non-commercial boutique festivals in the UK and beyond.




3. Garbicz Festival - Torzym, Poland



Garbicz Festival is one of the most well-respected electronic music and arts festivals in the world, and a very well-kept secret. The 8,000-capacity event is held annually in a forested lake in western Poland near the German border. Founded in 2013 by members of Berlin’s underground club scene, it’s developed a reputation as a semi-utopian escape that blends music, nature, and community. Expect to hear techno, house, ambient and experimental music across multiple stages, one of which is floating on the lake.


By day, attendees swim, rest, and explore the natural surroundings; by night, the forest transforms into an immersive fairyland of light, sound, and art installations, with stages hidden amongst its folds. The festival incorporates workshops, wellness and sustainability, which is why some compare it to a small, European Burning Man. To summarise: it’s a vibe.




4. Kelburn Garden Party - Kelburn Castle, Scotland



Kelburn Garden Party is the jewel in Scotland’s cultural crown. Arguably the most loved music and arts festival in Scotland, it’s held on the historic Kelburn Estate in Ayrshire and never disappointed with its eclectic line‑up spanning electronic, indie, folk and world music.


Combining immersive art, scenic woodland stages and a strong community vibe, the festival champions sustainability, creativity and family‑friendly programming, so it feels more like a shared cultural escape than a typical festival. They usually host around 6,000 – 7,000 attendees per day, so it’s an intimate atmosphere and the perfect size to make new friends.




5. Nachti Festival - Olganitz, Germany


Operating since 1998, Nachtdigital is a legendary, intimate 3500 capacity festival in the heart of the German countryside, expertly curated with a mix of established and new names. It’s a tiny site, camping included, and by the time the weekend is over you’ll have a lot of new friends and favourite DJs. It’s impeccably well-organised and smoothly-run, with all food and drinks reasonably priced, and there’s a lake to cool down in if it gets too hot.

Nachti Festival runs every other year, so the next instalment is 2027, although they have a range of club events coming up in 2026 listed on their website. Arguably one of the best-curated line-ups in the world, this one’s for the heads who want to expand their taste.




6. Outlook Festival - Tisno, Croatia


With a capacity of around 15,000 people, Outlook Festival is one of the most well-respected and best produced music festivals in the world. Committed to championing sound system culture in all its forms, Outlook has become known as a hub for grime, bass, breaks, UKG, left-field techno and some of the most innovative, experimental bass-led music in the world.


Their line-ups are consistently jaw-dropping, and the bookers often create career-making opportunities for newcomers. They love a takeover, with Da Metal Messiah, Rupture, Subdub, HVYWGHT, Headset and many more collectives set to take over stages and boats over the course of the week.


But let’s not forget the real draw: the festival site. Situated on the sparkling azure shores of The Garden Resort in Tisno, Croatia you hire out nearby accommodation so you can actually get a good sleep making it the perfect summer getaway for the bass lovers.




7. Iota Festival, Île d’Oléron, France




Iota Festival takes place on Île d’Oléron, an island off the west coast of France, and it’s one of the most laid-back, music-focused gatherings you’ll ever experience. Nestled between pine forests and Atlantic shoreline, it blends house, techno, and downtempo sounds with a relaxed, sun-soaked vibe.

It’s intimate, carefully curated and champions underground artists and collectives over major headliners. Days are shaped by the rhythms of the island; you can cycle, swim, or chill beachside, while night time is all about immersive dance floor experiences with beautifully designed stages and light installations.

The festival intertwines music and landscape, capturing a distinctly French, coastal approach to festival culture: unhurried, thoughtful and rooted.

7 small-capacity European festivals you gotta experience

Collective Spotlight: The Collective Bae




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




Collective BAE (Balancing All Energies) is an NYC-based, women+ and BIPOC-led revolutionary arts, culture, and well-being movement. They describe themselves as a full-spectrum ecosystem of artists, educators, practitioners, and inter-disciplinary facilitators from across cultures. That includes DJs, designers, clinical herbalists, sound-healers, architects and activists working to co-create positive impact rooted in community care. Founded in 2016, they blend conscious music, holistic healing, and art activism to create intentional spaces that promote equity and transformation, and today we caught up with their founder DRĖĖĖMY to learn all about their ground-breaking community.




When was Collective Bae founded?

DRĖĖĖMY: The Collective BAE was founded in 2016 in Brooklyn, NY. It began as an intimate experiment born during a time of political crisis — a gathering rooted in music, embodiment, and liberation featuring primarily women-identifying artists across many genres and disciplines. We quickly evolved into something much larger than we anticipated.




Who are the founders of Collective Bae?

DRĖĖĖMY: BAE was founded by inter-disciplinary artist DRĖĖĖMY (Founder, vocalist/DJ/producer, facilitator) and was born from a desire to create spaces where music wasn’t just entertainment — it was medicine, memory, and movement.




How did the concept come about?

DRĖĖĖMY: The concept came from noticing what was missing in nightlife and in wellness spaces. Clubs often lacked intention and community. Wellness spaces often lacked rhythm and realness. We wanted to bridge that gap — to create unique environments where you could sweat, dance, release, pray, celebrate, and feel culturally met without it being rigid or performative. At the time, there were little to no spaces fusing these modalities - especially in the electronic music scene.




What is your mission?

DRĖĖĖMY: Our mission is to create culturally-rooted, intention-driven transformational spaces that invite liberation through music and movement. We center sound as a transformational technology — blending global rhythms, electronic production, live performance, and embodied guidance to reconnect people to their bodies and to each other.

At its core, The Collective BAE is about embodied expression and liberation.




What were your early events like?

DRĖĖĖMY: Our early events were intimate, raw, and experimental. They were smaller gatherings — underground, word-of-mouth, very community-oriented. People came ready to participate, not spectate, with open decks, open mics, and interactive art offerings that allowed participants to tap into their own creative energy. They were also more politically charged, building on an ethos of justice, equity, and activism. There was a scrappiness to it — and a purity.




What are your events like now?

DRĖĖĖMY: Now the scale has expanded and evolved out of site-specific events. The production has elevated and the primary work is to educate and connect our roster of artists to other aligned opportunities and communities.

But the essence remains: we create immersive experiences where DJs, live musicians, and facilitators guide the room through a journey rather than just a party. There’s an arc, storytelling, myth-making and ritual. There’s also a deeper emphasis on educational offerings, learning from and teaching one another via the transformational technologies of music, movement, and natural medicine.




How has your community grown?

DRĖĖĖMY: Our community has grown both locally and internationally. What started as an NYC-based roster has expanded into a cross-cultural and global audience — dancers, artists, wellness practitioners, nightlife lovers, curious newcomers across many other communities.

It’s grown not just in numbers but in depth. Many people who attended our first gatherings are now stewarding sister movements of their own.




What can people expect from your events?

DRĖĖĖMY: People can expect high-level sound, global rhythms, live immersive elements, and an experience of natural healing modalities rooted in cultural wisdom. There’s permission to move fully. To sweat. To release. To connect deeply.

They can also expect diversity — ethnically, musically, and energetically. We are intentional about who we platform and how the room feels.




How has your mission changed since you launched?

DRĖĖĖMY: In the beginning, we were focused on proving the concept. Now we’re focused on legacy.

We think more about sustainability, artist support, and how to build infrastructure that protects the culture we’re cultivating. We’ve become clearer about boundaries, about ownership, and sacred circular economy - valuing our work appropriately and distributing resources abundantly.

The mission hasn’t changed — but the maturity has.




You mentioned you’re in a powerful new chapter — what does that look like?

DRĖĖĖMY: This new chapter looks like intentional expansion with discernment. We’re refining our offerings, building stronger partnerships, and integrating more educational offerings that steward the next generation of intentional artists and community leaders. My own evolution as a producer and live artist is influencing the scale and vision of the events.

It feels less reactive, more strategic. Less hustle, more alignment.




What do you have lined up for the future?

DRĖĖĖMY: We’re developing larger-scale immersive events, international collaborations, and educational offerings that support emerging artists and DJs. There’s also a stronger live electronic component being integrated — blending DJ culture with original composition and performance.

We’re building something that can travel and last. Something that can truly meet these times.

The Collective BAE exists at the intersection of culture, rhythm, and community. We’re not trying to replicate nightlife or wellness culture — we’re building an entirely new world that empowers the next generation of creators and leaders.


For all their latest news and events, follow The Collective BAE on Instagram.

Collective Spotlight: The Collective Bae

Winter Music Conference will return to Miami from March 24 to March 26, 2026, marking the 36th edition of the longest running electronic music conference in the world. This year’s event will take place at the Kimpton EPIC Hotel in Downtown Miami, which will serve as the official Miami Music Week hotel.



Arriving just days before Ultra Music Festival’s 26th edition at Bayfront Park, the conference once again anchors the start of Miami Music Week, bringing together artists, executives, labels, brands, and creators from across the dance music industry.



First launched in 1985, Winter Music Conference has long served as a meeting point for the culture’s business and creative communities. The 2026 edition introduces a refreshed format built around two dedicated programming tracks: Industry and Creators, designed to connect professionals working across music, technology, media, and live events.



The Industry Track focuses on the business behind the music, offering panels, workshops, and networking sessions exploring topics such as event production, marketing strategies, emerging technologies, and the economics shaping dance culture. Executives, promoters, and industry leaders will share insights alongside voices from tech, media, and adjacent creative fields.



The Creators Track shifts the spotlight toward DJs, producers, and digital creators. Attendees can expect artist led workshops, gear demonstrations from leading audio brands, and career development sessions aimed at helping emerging artists navigate today’s music ecosystem.



Beyond its educational programming, the Kimpton EPIC Hotel will transform into a central gathering hub throughout the week. Beatport Live will present a three day rooftop pool party series, bringing daytime performances and label showcases to the hotel’s panoramic pool deck overlooking Biscayne Bay.



WMC 2026 will also introduce a new A&R Pop Up Lounge, offering artists the opportunity to connect directly with labels and industry representatives. Expanded gear exhibitions and brand activations will also take place throughout the venue, giving attendees hands on access to the latest tools shaping music production and performance.



The conference will conclude on Thursday evening with the Bridges for Music × International Dance Music Awards Gala, a collaboration that brings together two longstanding institutions in dance culture.



Bridges for Music is a global nonprofit organization dedicated to music education and community development, known for its academy in South Africa and support from artists including Richie Hawtin, Skrillex, Martin Garrix, and Black Coffee. The International Dance Music Awards, established in 1985, remain one of the scene’s longest running award platforms, honoring artists, producers, and industry leaders across the genre.



The gala will feature award presentations, live performances, and fundraising initiatives supporting Bridges for Music’s education programs.



Throughout the week, the Kimpton EPIC will host daily rooftop pool events, turning the property into a social meeting point for artists, executives, and fans before Ultra Music Festival begins the following day.



WMC 2026 will follow a three day schedule:



Tuesday, March 24


Badge pickup and opening pool party



Wednesday, March 25


Panels, workshops, exhibitor showcases, networking sessions, and pool party



Thursday, March 26


Final programming sessions, closing pool party, and the Bridges for Music × IDMA Gala



Two badge tiers will be available for attendees. The WMC Access badge includes entry to all conference programming such as panels, workshops, and exhibitor areas. The WMC Pro badge also includes admission to the rooftop pool parties and select sanctioned Miami Music Week events.



With its return to Downtown Miami and expanded programming structure, the 2026 edition places a renewed focus on connection between the industry’s business leaders and the next generation of artists. As Miami Music Week approaches, Winter Music Conference once again sets the stage for the conversations, collaborations, and celebrations that define the week.

Winter Music Conference Returns to Miami for Miami Music Week 2026

At Ultra Miami, the main stage draws the massive crowds and the fireworks. But for many fans, the real destination sits deeper inside Bayfront Park. RESISTANCE is where the festival shifts into a darker gear, built around house and techno, heavier sound systems, and production that turns the dancefloor into something closer to a European warehouse rave.

RESISTANCE returns for the festival’s 26th edition from March 27 to March 29, bringing a dense lineup of house and techno talent across its two stages. The experience centers around two environments that shape the weekend.



The Megastructure is the beating heart of RESISTANCE. The towering covered arena has become one of the most recognizable techno stages in the world. Inside, lasers slice through heavy haze while towering LED panels wrap the crowd in light and shadow. Once night falls, the space feels sealed off from the outside world. It is dark, loud, and relentless in the best way possible.

A short walk away sits The Cove, a waterfront stage that opens up toward Biscayne Bay and the Miami skyline. The sound here leans toward melodic house and progressive sounds while still maintaining the underground spirit that defines the brand. During sunset hours it becomes one of the most striking views anywhere at the festival.



This year’s RESISTANCE lineup reflects the brand’s focus on pairing established names with rising artists and rare back to back sessions.

One of the most anticipated sets is Adam Beyer b2b Joseph Capriati, making its U.S. debut. Both artists have long shaped the direction of modern techno, and seeing them share a booth inside the Megastructure is likely to be one of the weekend’s defining moments.

Another standout arrives with Amelie Lens b2b Sara Landry, a world debut that brings together two artists known for driving techno sets that keep crowds locked in from start to finish. Landry will also step up for a solo performance during her HEKATE label takeover, marking her first appearance at Ultra.

Elsewhere, the festival continues its tradition of carefully chosen back to backs. Dennis Cruz b2b Seth Troxler will make its Ultra debut, pairing the Spanish tech house standout with one of Detroit’s most recognizable underground voices. Other special pairings include Argy b2b Mind Against, Colyn b2b Innellea, and Joris Voorn b2b Korolova, each promising a different shade of house and techno across the weekend.



The solo headliners add just as much weight to the lineup. Carl Cox returns once again to a stage he helped turn into a festival institution. Eric Prydz will bring his towering audiovisual performance style, while Boris Brejcha arrives with his recognizable minimal sound. The bill also includes Adriatique, Cassian, Deep Dish, Eli Brown, Massano, Miss Monique, Vintage Culture, and the legendary duo Sasha and John Digweed.

RESISTANCE also leans into label culture this year with curated stage takeovers from Amnesia Ibiza, The Martinez Brothers’ Cuttin Headz, Sara Landry’s HEKATE, and M2 Miami, each bringing their own roster and atmosphere to the festival.

Beyond the headliners, the lineup digs deeper into the underground with names like Juliet Fox, Kasia, Black Fancy, JOA, Mar T, M.O.N.R.O.E., Scenarios, ALT8, and Rivo, giving plenty of early day and late night sets worth catching.

The RESISTANCE experience at Ultra does not end when the festival gates close. The brand continues throughout Miami Music Week with its residency at M2 Miami, where many of the same artists play extended club sets deep into the night.

Now celebrating its tenth year as a global brand, RESISTANCE has grown far beyond a single stage at Ultra. Events in cities like London and Warsaw have drawn massive crowds, while its Ibiza residency at Amnesia remains a cornerstone of the summer season. Still, Miami remains the flagship moment each year, where the brand brings its full vision to life.



For fans of house and techno, the message is simple. If you find yourself wandering through Ultra looking for the place where the music hits harder and the crowd stays fully locked into the rhythm, you will probably end up under the roof of the Megastructure or staring out over Biscayne Bay at The Cove. That is where RESISTANCE lives.

A Guide to the RESISTANCE Stage at Ultra Miami 2026

While the joys of working in music are powerful, the path has not always been easy.

In Part One of our Women’s History Month series, we asked 11 femme DJs to share the best part about being a woman in music, highlighting themes of connection, community, and inspiration. Now in Part Two, we asked the same artists to speak candidly about the challenges they have faced in the industry.

From navigating stereotypes to working harder to be taken seriously, their responses shed light on realities that still exist today.

But these stories are not just about obstacles. They are about resilience, growth, and the determination to continue creating space for future generations of women in music.

Below, these artists share their honest reflections on the hurdles they have encountered along the way.



Deer Jade



“In the beginning there were definitely some prejudices. People assumed that because we are women we cannot do it as well, or that our success is not because of our talent. I would just smile and know deep down that I had to keep working hard and pour all my love into what I do until it eventually becomes undeniable.”

 

Shubostar



“The challenge comes from the contrast. After the gig, that privilege fades quickly, and the difference in how Asian women are treated becomes clear. That is why I feel a responsibility to stand up for and support other women.”

 

EMJIE



“I have definitely had to work harder to be taken seriously and to secure better slots. As a woman, you are easily underestimated and overlooked on lineups.”

 

JOPLYN



“There is often an invisible pressure to be agreeable, grateful, and easy to work with, even when you need to set boundaries. Learning to take up space without apologizing has been a journey.”

 



Marieme



“In the beginning, I approached my life as a woman in the industry with a mindset shaped by the obstacles I had heard about. I knew about them in advance and internalized them, and that became my biggest challenge. I went into situations not valuing myself and letting people dictate the direction I went in. I gave my power away.



When I changed my perspective and told myself, ‘I am going to decide my fate. I am limitless. I am forging my own path,’ I ended up in places where I was valued, where my gender was not even considered. I think that is the goal: to build and move forward instead of always feeling like you have to fight against something. I have realized that the energy I put out and what I believe about myself matter more than any systems that came before me."



VNSSA



“Misogyny.”



Mona Matsuoka



“Everyone faces challenges as a woman in the industry, but I have noticed that sometimes I have to be louder than the boys or they will not listen. It is a constant lesson when I am in a room with my male producers, reminding myself that I need to speak up more.” 





 

airrica



“Being treated like a quota filler, hearing things like ‘Wow, you are so great for a girl,’ or being spoken to as if I have no idea what I am doing. Yes, it still happens sometimes.”

 

Fátima



“What feels most challenging for me is this moment in time in the United States as a woman, a Latina, and a first generation immigrant. That intersection shapes how I move through the world, how I feel, and what I create. My existence itself is a form of resistance.



Making and playing music allows me to process, represent my culture, and help others do the same. Angela Davis once said there is no change without hope, and music fuels that hope for me.”

 

baby-g



"As both an event organizer and a DJ, navigating interactions with less approachable male venue managers and promoters when trying to secure shows can sometimes feel intimidating, especially as someone who can struggle with imposter syndrome. There have been moments where that has led to feeling underestimated or needing to prove my skills and versatility.



Over time, those experiences have helped me grow into a more intentional and confident artist, and supportive femme communities have reminded me to focus on collaboration and creating more inclusive spaces.”

 

Sasha Atlas



“I think smaller female artists still tend to be overlooked for bigger opportunities, which is why we have had to create our own spaces. It is getting much better though, and I am glad to be part of the next wave of female artists appearing on festival lineups and signing with great labels.”

11 Femme DJs on the Challenges of Being a Woman in Music

Do you remember the moment you fell in love with dance music?



I do.



It happened at XOYO the summer of 2013. I was newly single, 23, living in London and absolutely on one. Jackmaster was headlining and dropped Fatima Yamaha’s What’s a Girl To Do at 2am to a packed, sweaty dance floor. It was evangelical. I felt sucked into the magic of this electronic world. At that moment, I understood that electronic music is about so much more than rhythm and beats. It taps into something at the very core of humanity.


Since then, I’ve been lucky enough to report on the culture I love for a living. But, as the years crept along, one aspect of my job has got bigger and bigger and bigger until, this year, it’s officially become the majority of it. The way people consume journalism has changed. I spend way less time reporting, and way more time holding a little black box, making tiny little videos and checking my notifications for validation every 10 minutes.


These days I am not just a journalist, I’m also a filmmaker and presenter, which, luckily, I actually quite enjoy. The part I struggle with is spending hours making something I’m really proud of only for it to get buried by the algorithm. That part bums me out.



And I am not the only one wearing multiple hats. Every single DJ, producer, promoter, marketer, agent and manager is fighting the same battle. We used to have very separate roles in the music industry, but now we all have one thing in common: we are content creators. And, if we aren’t, we better become one stat. It begs the question:



Is it possible to be successful in the music industry without social media presence?



Unless you’re an anomaly like Helena Hauff, a vinyl-only DJ with no manager, press campaigns, social media account or smartphone, the answer seems to be a resounding no. That’s why creating engaging content for social media has officially become a bigger part of the job than the job itself.



On February 12th, DJ, producer and BBC Radio 1 host Jaguar shared a post on Instagram titled “I QUIT.”



“I just feel like we should all get a life and stop staring at our phones????” She wrote. “Is anyone else tired?? How can we accept that our vids are reaching fewer people than ever? I actually refuse to accept this. I’m done playing the game. I’m not an influencer. I’m an artist. I’m a broadcaster. It’s time for a change.”



It’s a sentiment many people in the music industry can relate to. Social media began as a way to stay connected to friends and family, but it’s now become far less social and way more promotional. In fact, a Financial Times study indicated a 10% drop in overall social media activity in 2025, with Gen Z shifting towards posting nothing at all, and only scrolling.



It’s partially because young people want to escape the clutches of the algorithm, but it’s also because their feeds are dominated by influencers and adverts. Morning Consult reports that many people feel their content isn’t relevant or interesting enough, and social media has changed its purpose to become a place for passive scrolling rather than active sharing.


So, people in the creative industries are left to battle it out against the algorithm, creating content with a 3 second hook to grab attention, rewarded for spectacle over talent. It means that many outstanding producers and DJs are flying under the radar as they may not have the confidence, will or skills to showcase their work in a palatable way for social media.



Artists, many of whom are often introverts, must now be performers, presenters, promoters and filmmakers on top of the actual job of DJing and producing.



Nikki Nair just wrapped up a four week residency at Phonox in London. It’s a legendary and highly coveted residency across four weekends, but comes with a caveat: the artist has to promote it.



Nikki Nair went down an interesting route. Part sarcasm, part earnest, he wryly introduced himself as a world famous DJ, documented his journeys from one gig to another in an impossibly droll way. It was genuinely funny – but it also highlighted the world we live in where DJs now have to be TV personalities to succeed.



Nikki managed to create content that felt true to his own personality while allowing his audience to get to know him, but the subtext is clear: he’d really rather not have to do this.



But what about the shy artists? The ones without a team to bounce ideas off? The people who aren’t natural marketers or don’t feel confident showing up on camera? Do they get left behind? Is there only room in this industry for a certain type of personality to succeed?



And, more importantly, is music really the most important factor in success — or is it charisma on camera?



These are the questions circling every music industry professional right now, and the conversation isn’t going anywhere. I can’t help but wonder whether, like Jaguar, artists will eventually grow tired of it and build a new ecosystem for themselves; one that doesn’t perform for an algorithm, but for the fans who wanted to connect with them in the first place.

Notes On: Artists Becoming Content Creators

AIRRICA’s path into music was not linear. Before committing to DJing and production, she was studying oncology and later working in tech sales, building a life that looked very different from the one she leads now. The shift was not impulsive. It came from constantly questioning what felt aligned and having the self awareness to change direction when music became more than a side pursuit.



Today, she is known for long sets that stretch past three hours, often landing in peak festival moments or sunrise slots where energy and pacing matter most. Her selections reflect both curiosity and nostalgia. She still keeps Junior Jack’s “My Feeling” close, credits disco as the era she would time travel back to, and leans on edits like Airwolf Paradise’s take on “Smack My B*tch Up” when she wants to lift a room instantly. Ibiza remains a place she feels deeply connected to, both for its history and its atmosphere.



Outside of music, structure plays a major role in her life. Gym sessions, climbing, hiking, and a daily vanilla oat milk latte are constants. She speaks openly about faith, growth, and learning to accept the highs and lows that come with building a career in music. There is self reflection in how she talks about her early material, her mindset, and the reminder to step back and recognize progress.



In the conversation ahead, AIRRICA discusses changing career paths, the records that shaped her, what keeps her grounded, and the perspective that continues to shape how she moves forward.





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


I’m really good at picking up languages just from being around them often. Italian and Arabic, for example. Spanish is my second language, and I speak it fluently.



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


I think about this all the time. I was in school studying oncology, then moved into tech sales before becoming a DJ. But honestly, I think I’d own a few restaurants because I love dining experiences.



What’s the most memorable moment of your career?


I thought a lot about this question. I can’t choose just one moment because every show, conversation, and release has been a memorable building block on my journey.

Who’s an artist that inspires you right now?


Billie Eilish. I’m still obsessed with the Hit Me Hard and Soft album and the way it’s structured artistically.



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


I have a “Smack My B*tch Up” edit from Airwolf Paradise that I think I play more than he does. It always creates an insane surge of energy.



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


Always a vanilla oat milk latte because I need the caffeine, no matter what time of day. The Italians are probably cursing me. And some fruit, preferably mango or Sun Gold kiwis.



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


I’ll forever love playing on the magic island of Ibiza.



How would you describe your sound in three words?


Really good music.



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


A sunset and an açaí bowl. That’s the recipe for happiness.



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


Junior Jack – “My Feeling.” I will forever play this record. It’s full of nostalgia and happiness.



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


This is such a hard question, but I’d have to say Bob Marley.



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


The gym, climbing, hiking. I love sports.



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


Definitely the disco era. I yearn to be feral in Studio 54.



What’s a record that never leaves your crate or USB?
Junior Jack – “My Feeling.”



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


Probably at the gym.



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


I pick up languages quickly just by being immersed in them.



What is something simple that makes you smile?


My morning coffee. At night, I literally think about the coffee I’ll have in the morning. I guess I’m addicted.



When do you feel most at peace?


At the beach, somewhere isolated. Costa Rica, Goa, or somewhere in Mexico.



What are some things you forget but feel better when you’re reminded of them?


That the journey has highs and lows. You ride the highs, grow with the lows, and most importantly, enjoy the journey.



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


Having God in my life will always be the most meaningful thing to me.



What personal prison have you built out of fear?


I don’t know. I should probably ask my therapist that one.



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


I’m not sure.



If you could compliment yourself, what would you say?


Get out of your head and look at how far you’ve come.



As someone who works with technology to write music, have you ever had a gut-wrenching moment where you lost a track?


Ironically, as I was answering this question, my external hard drive stopped working and I went into panic mode. It turned out to be just the cable. Thankfully, I’ve never had a serious technology issue.



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


How obvious it is that I had no direction and was just trying everything while learning.



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


Every perspective of building a track.



What is your favorite set time and duration?


I love playing over three hours. If I had to choose, peak festival time or after-hours. I love sunrise energy.



If you had the power to erase one musical genre, which would it be?


Even if I don’t like a certain genre, I think all music relies on each other. You travel, you’re exposed to new sounds, and influence grows from that.

The Making of AIRRICA

Sébastien Léger and Roy Rosenfeld have spent years refining their place in melodic house, both individually and now together through Lost Miracle. What began as a label founded by Léger in 2019 has grown into a shared project that reflects their musical instincts and long standing respect for one another. Today, Lost Miracle represents more than a catalog of releases. It is a platform for extended sets, focused curation, and a deeper connection with dance floors around the world.



Léger’s career spans more than thirty years, with appearances at festivals like Coachella and Tomorrowland and a widely viewed Cercle performance at the Great Pyramids of Giza. Rosenfeld, based in Tel Aviv, has built his own reputation through releases on All Day I Dream, Lost and Found, Rumors, and Lost Miracle, earning support from artists such as Solomun, Dixon, and Black Coffee. 



Together, they have brought Lost Miracle showcases to cities including Buenos Aires, Medellin, Amsterdam, Montreal, and Colombo, building nights centered on musical flow rather than spectacle. For listeners in their twenties and thirties who value substance over hype, this is a grounded discussion about longevity, instinct, and the music that continues to matter years later.



What’s the most memorable moment of your careers?



Roy: We Are Lost Buenos Aires in 2020, right before the worldwide lockdowns.



Seb: Igloofest in Montreal in 2011, or more recently Loveland Festival with the entire crowd singing along to my track Hutchula.





Who’s an artist that inspires you right now?



Roy: Seb and Guy J.



Seb: Roy, and anyone who makes the good stuff themselves.



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



Roy: Panko Day or my Rainchecks In Montreal remix.





Seb: Hutchula and our upcoming track All Night Long.





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



Roy: Argentina, Colombo, Medellin, and Montreal, because there are a lot of real music lovers. The emotion levels are always high.



Seb: Medellin, Amsterdam, Colombo, or Barcelona for the exact same reasons as Roy.



How would you describe your sound in three words?



Roy: Hypnotic, deep, groove.



Seb: Happy, colorful, groovy.



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



Roy: Three Drives – Greece 2000.



Seb: Too many to mention. Not one specific track, anything old and funky, I guess.



What’s a record that never leaves your USB?



Roy: Epika by Guy Mantzur and Roy Rosenfeld.



Seb: Frankey & Sandrino – Acamar.





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



Roy: Sound design. I feel very uncomfortable if I know something can be better.



Seb: I’m stupidly obsessed with “it has to be different” every time… but I end up doing the same thing anyway.



What is your favorite set time and duration?

Roy: 8pm to 11pm. I also like extended sets, around five to six hours.



Seb: 6pm to 9pm. Three hours is perfect.



If you had the power to erase one musical genre forever, which one would you abolish?

Roy: Reggaeton.



Seb: Reggaeton.

Inside Lost Miracle with Sébastien Léger and Roy Rosenfeld

March is a time to recognize the women shaping culture across every industry, and dance music is no exception. From late-night club sets to festival main stages, women behind the decks continue to leave their mark on scenes around the world.

In honor of Women’s History Month, we asked 11 femme DJs a simple but powerful question: What’s the best part of being a woman in music?

Their answers reflect joy, community, creative freedom, representation, resilience, and the deeply personal connection they share with the dance floor. While the industry continues to evolve, one thing is clear: women are not just participating in the culture, they are actively shaping it.

Below, 11 artists share what makes this journey meaningful to them.



Deer Jade

“Being able to inspire other women to make and play music themselves is the best part. To give them the confidence to know it is absolutely possible and that they are good enough. Actually, way more than enough. They just need to trust themselves and go for it.”



Shubostar

“When I am at work, I experience a kind of privilege, a level of visibility and recognition I had never felt before as an Asian woman. Being at the center of attention and having people approach me first feels incredibly empowering.”



EMJIE

“Being able to share feminine energy with the crowd is the best part. When I play, I radiate love and higher vibrations, hoping it inspires the audience and connects us all.”



JOPLYN

“Honestly, the sisterhood. The women I have met in this industry are some of the most resilient, creative, and emotionally intelligent people I know. There is a quiet solidarity that feels very powerful.”


Mona Matsuoka

“I get to empower and inspire other women to speak their truth and live in their true feminine state. The deepest love comes from embracing that energy.”



Marieme

“I always say I do not work in the music industry, I work in the magic industry. As a woman, I get to turn my lived experience into art with a kind of honesty and intuition that feels like a superpower. I follow the signs and lead with love, and that always takes me to places that feel fulfilling for me and, in turn, magical for anyone experiencing the art.”



VNSSA

“The best part for me is helping create space for women to exist authentically in music. Every boundary we push makes it easier for the next wave of women. That is why the relationships with other women in this industry run so deep. We understand each other in a way no one else really can.”



airrica

“Being a role model for other women who want to step into music or other industries is very important to me. It is important that we always remember we are here to lift each other up.”



Fátima

“I truly love the spaces we create. There is a palpable feeling at femme, queer, and BIPOC events that feels joyful and expressive. When people feel safe and seen, they can be free, and that is refreshing for everyone, not just women. Many men compliment this energy when they attend our Sisters in Sound events. There is also a beautiful camaraderie when I meet or work with other women in music. So many of them carry a humility and graciousness that is deeply inspiring.”



baby-g

“Being part of a supportive network of femme artists who genuinely want to see each other thrive is the best part. I have been lucky to connect with many femme artists who are generous with their knowledge, open to sharing skills, and invested in one another’s creative journeys. Communities like Sisters in Sound have been especially meaningful, creating spaces where collaboration replaces competition and where artists can grow, connect, and feel supported within the scene.”



Sasha Atlas

"Always standing out on a lineup. Like any artist, the energy I bring will always be unique to me, but it is unquestionably a product of my experience as a woman."







This is just one side of the story.

In Part Two, these same artists speak candidly about the challenges they’ve faced, and how they continue to move forward in an industry that is still growing and shifting.

Stay tuned.

11 Femme DJs on the Best Part of Being a Woman in Music

In this series, we shine a light on up-and-coming collectives who are carving their own path while pushing underground culture forward.




At the centre of Lewisham, Catford, and the wider southeast London music scene is Sister Midnight, a community-driven venue, radio station and artist haven. More than just a space for music, this collective has created a cultural hub where inclusivity, experimentation, and grassroots creativity come first.




Community defines Sister Midnight’s ethos. A movement born from necessity during the pandemic when many local spaces shut down, it’s now become a blueprint for how underground culture can thrive outside the mainstream.




Origins and ethos




Founded in 2021 by Lenny Watson, Sophie Farrell, and Lottie Pendlebury, Sister Midnight started as a grassroots record shop and venue in Deptford before the pandemic forced its closure. The team quickly pivoted and re-established itself as a community benefit society, expanding into radio and using digital platforms to keep the scene alive. Their mission was, and remains, to create a home for emerging artists, DJs, and musicians, particularly those from underrepresented communities.




“For the last few years, the community down here has been blighted by the continual closures and losses of culturally important music venues,” Watson told Dazed in a 2021 interview.




Their initial plan was to save Lewisham’s Ravensbourne Arms by transforming it into a community-owned pub – however that fell through. Instead, Lewisham Council offered the Brookdale Club — a dilapidated social club dating back to the 1880s — on a ten-year rent-free lease. They’ve spent the last 5 years raising a target of £500,000 to revamp the space.




Their vision extends far beyond music. Sister Midnight plans to host breakfast clubs, children’s activities, and co-working facilities, alongside rehearsal and recording spaces. The yard will be used for record fairs and arts and crafts markets, while the kitchen will accommodate local food pop-ups.




Building a local and global family




What started as a single record shop has blossomed into a multifaceted collective. Sister Midnight FM just launched their programming for 2026, featuring shows that highlight emerging local talent, experiment with genre, and spotlight voices that often go unheard in mainstream media: “a genre-bending mix of sounds that reflect the breadth and spirit of musical output from Lewisham and beyond,” their press release reads.




Every decision — from programming to venue design to community partnerships — is filtered through a lens of integrity and accessibility to build a space where diversity is celebrated, experimentation encouraged, and music front-centre.




Their approach has fostered a sense of family. DJs, producers, and fans from across southeast London describe the collective as a place to connect, collaborate, and feel seen. The venue’s focus on inclusivity is reflected in the line-ups and in the planned design of the space itself.




The sound and the scene




Musically, Sister Midnight operates at the intersection of underground and avant-garde. The collective champions everything from house, techno, and drum & bass to experimental electronic and local grassroots sounds.




And this January, they finally did it. Sister Midnight announced they’ve reached their funding milestone and will begin construction on their space, due for completion in Autumn 2026. In February, Sister Midnight held a community meeting at Catford House to gather input from local residents on the development of the space.




“Now that work has started on site to renovate our building, we’re planning to host meetings like this more often so that everyone in our community has a chance to share their ideas for the venue and shape this space with us,” they shared on Instagram.




The vision includes live bands sharing a bill with DJs, spoken word performances intertwined with electronic sets, and community workshops running alongside late-night club nights.




Beyond the venue




The collective’s fundraising model — community shareholders contributing toward a shared goal — reflects its commitment to participation, empowerment and ownership. It’s all about creating something by and for the community.




Once completed, the space will serve multiple purposes: a professional rehearsal space, a community music hub, and a platform for experimental arts. The venue will democratize access to cultural infrastructure, allowing emerging artists to work, perform, and connect without the barriers often imposed by the mainstream music industry.




The future of community-led culture




As Sister Midnight prepares to open its doors in Catford, they’re determined to maintain authenticity while growing. “Everything we do is driven by our belief in the power of music to uplift, unite and affect positive change,” their website reads. “By working at a grassroots level and always democratically, we hope to make this a space for belonging, solidarity and experimentation.”




It’s fair to say Sister Midnight is setting a new standard for how grassroots collectives can operate sustainably, ethically, and with wide-reaching impact. It’s a reminder that music can be a tool for connection, empowerment, and joy. And with so many UK grassroots venues closing their doors, Sister Midnight is a true model for the future of community-led culture.




For updates on their venue, radio programming, and community initiatives check out sistermidnight.org.

Collective Spotlight: Sister Midnight

Trace has become one of the most prominent house producers to emerge from Uzbekistan, building his reputation through releases on Hot Creations, Catch and Release, Hellbent, Repopulate Mars, and Nervous. His record “Taka Doom” marked a major breakthrough, earning steady support from Solomun and entering the Beatport Dance Chart top ten within days. Support from Pete Tong, Fisher, Jamie Jones, Marco Carola, Diplo, John Summit, Andrea Oliva, Nic Fanciulli, Cloonee, and Sonny Fodera has reinforced his standing across the international club circuit.



Still, the story behind the records is just as important. Many listeners are surprised to learn where he is from, often confusing Uzbekistan with somewhere else entirely. A turning point came during a night at Jamie Jones’ Paradise party in Amsterdam, an experience that reshaped how he viewed dance music and clarified the direction he wanted to pursue. 



In the studio, Trace prioritizes focus above all else, shutting out distractions and working until he reaches a state where ideas unfold naturally. In this conversation, he opens up about his background, the moments that changed his perspective, and the discipline that drives his output today.



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


A lot of people don’t know that I’m from Uzbekistan. When they ask where I’m from and I tell them, they often respond with “Pakistan?” or say, “Oh cool, I’ve seen Borat,” even though that movie has nothing to do with my country at all.



2. What’s the most memorable moment of your career?


In 2019, I was in Amsterdam and went to Jamie Jones’ Paradise party. After that night, my entire perspective on dance music changed.



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


Definitely Marvin Gaye. I never get tired of listening to his album I Want You. I would honestly recommend it to everyone.



4. When do you feel most at peace?


When I’m feeling inspired and everything is flowing while I’m making music.



5. What do you find yourself focusing on most in the studio?


I try to stay fully focused and eliminate anything that could distract me. When you get into that flow state, it feels like the music writes itself. That’s the key to making great tracks.

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