In our City Beats series, we explore underground scenes in cities around the world, and this week we’re spotlighting Bristol, the UK city in the South West of England




Bristol’s sound-system culture helped shape jungle, drum & bass and the wider UK bass movement. The city’s musical identity comes from the collision of reggae, dub, hip-hop, funk, punk, soul and electronic music, amplified through sound systems, pirate radio, free parties and a distinctly DIY approach to nightlife.




The city’s influence is global. From The Wild Bunch and Massive Attack to Smith & Mighty, Roni Size, Krust, DJ Die, to Bakey, Breaka, Addison Groove and Sam Binga, Bristol is home to some of the most important artists in British electronic music, and has influenced hundreds of major artists worldwide. But its story begins before drum & bass even had a name.




A Brief History of Bristol’s Underground




Bristol’s musical culture is deeply connected to its African-Caribbean communities and its history as a port city. In the late 1970s, reggae sound systems were fixtures of local life, while DJs played funk, disco and soul across the city.




In St Paul’s, sound systems modelled on Jamaican traditions became central to the community. Crews built their own speaker stacks, selected records and competed in soundclashes, creating a culture where the physical power of the sound was almost as important as the music itself.




The 1980 St Paul’s riot were an important turning point. Tensions between the police and the Black community had been building for years, intensified by discriminatory stop-and-search practices. After this major confrontation, the relationship between authorities and the community changed, and sound systems could operate with considerably more freedom.




Empty buildings and warehouses provided spaces for parties, and as Bristol musician and journalist John King told The Guardian, the result was an unusually organic all-night-long culture: “the soundsystems were then free to continue all night, with rolling bass lines undulating through to daybreak.”




Out of this environment came The Wild Bunch, one of Bristol’s most influential sound-system crews. Active during the 1980s, the collective included figures who would later form Massive Attack, while its sets pulled together reggae, R&B, punk, hip-hop and electronic music.




It was precisely this refusal to stay within genre boundaries that would come to define Bristol.




Roni Size, who grew up in the city and would later become one of drum & bass’s most influential producers, put it simply: “you can’t do the Bristol sound justice by saying that it’s one thing. It’s many things – a party vibe, a deep vibe – it changes.”




From Sound Systems to Drum & Bass




By the late 1980s and early 1990s, Bristol’s sound-system culture was colliding with the rapidly developing UK rave movement.




Smith & Mighty were among the first Bristol artists to experiment with the combination of breakbeats, sub-bass and samples that would become fundamental to jungle and drum & bass. Dazee has described them as “the forefathers of the jungle sound,” while Roni Size has credits them as an important influence on his own development.




Roni Size, Krust, DJ Die and SUV took the breakbeats and speed of rave and combined them with Bristol’s existing love of deep bass, reggae, hip-hop and soul. These artists and their sound became central to the Full Cycle collective and label.







Roni Size recalls that period as a musical free-for-all. “Drum & bass was not even a term when I started making music,” he explained in a recent interview with UKF. He remembers hearing reggae basslines, MCs, techno and house all existing alongside one another at early raves and wanting to recreate that collision in his own productions.




That became one of Bristol’s defining characteristics: bass first, genre second.




When Roni Size released New Forms in 1997, the album won the Mercury Prize, bringing Bristol’s particular interpretation of drum & bass into the mainstream.




Venues and Sound Systems




From St Paul’s Carnival and early sound-system parties to warehouses and underground clubs, the city’s sound systems developed a culture where DJs, producers, MCs, promoters and ravers could move between different musical worlds.




Lakotaopened in 1992 in Stokes Croft, became one of the city's enduring club institutions. Its programme encompassed everything from jungle and drum & bass to dubstep, techno, reggae and house.




The Full Moonwas an important early hub for Bristol’s jungle and drum & bass scene, particularly in the 1990s.




Trinity Centre was an important community venue, hosting jungle and drum & bass alongside a much wider programme of music and performance.




St Pauls Carnival was a major celebration of Bristol’s Afro-Caribbean culture and community, bringing music, sound systems and street culture to the city each summer.




And while the city’s venues continue to change repeatedly, the principle has remained consistent: build the infrastructure yourself when the existing infrastructure isn't there.




The Bristol Sound




At almost exactly the same time as Full Cycle and Reprazent (Roni Size) were developing their specific brand of breakbeat music, Massive Attack, Tricky and Portishead were producing music that would become internationally associated with the so-called ‘Bristol Sound.’




Those connections weren't accidental. They emerged from overlapping communities, clubs, record collections and sound systems.




The Wild Bunch provided a particularly important bridge. Members went on to form Massive Attack, while other musicians connected to the same ecosystem moved between hip-hop, reggae, electronic music and soul.




What emerged was more a philosophy than a genre: heavy bass, unconventional structures, musical experimentation and an instinct to combine things that weren't supposed to belong.




As Roni Size once put it, Bristol's music was capable of giving people from the local community a sense of possibility. “When people see people like me from our community… they start to get hope.”




The Challenges




Bristol's independence has always been both its strength and its vulnerability.




The city has faced the same pressures affecting nightlife across the UK: rising costs, venue closures, changing licensing environments and the difficulty of maintaining spaces where underground music can exist without being swallowed by commercial interests.




But the culture that defines Bristol makes it difficult to extinguish. Its artists continue to establish labels, radio stations, collectives and independent venues, and the city's relationship with bass music continues to thrive.




Looking to the Future




Today, Bristol is one of the UK's most important centres for underground music.




Alongside the old institutions there’s a new generation of promoters, producers and ravers. Lakota continues to programme jungle and drum & bass, while Trinity hosts everything from old-school hardcore to futuristic jungle. Newer venues such as Strange Brew and Electric Bristol have helped carry the city’s bass music culture into a new generation, building on the city's longstanding appetite for experimentation.




And Bristol continues to spawn artists who refuse to stay in one lane.




Perhaps that’s the most enduring part of Bristol's musical legacy. Its sound was never really about drum & bass alone, it was about the space where culture, sounds and communities collide.




More than four decades after those early St Paul’s sound systems began shaking the neighbourhood, the bass ain’t going anywhere. And, as Roni Size recently put it to UKF, “what is happening in Bristol right now is beautiful”. Bristol’s legacy isn’t a genre at all, but the restless, rebellious communities that keep reinventing it.

City Beats: Bristol

19:26 has become one of the most closely watched names in melodic techno, building his profile through releases on Afterlife, Siamese, Zamna, and standout performances from Ibiza to New York.

Behind the project is Raffaele Sorrentini, an Italian producer whose music draws heavily from atmosphere, emotion, and visual references, while still staying rooted in the club. His rise has brought him to major stages around the world, but his connection to cities like Naples and New York continues to play an important role in how he thinks about music and performance.

We caught up with 19:26 to talk about touring, collaboration, inspiration, longevity in melodic techno, and a few things outside of music that fans may not expect.



Your sets often feel cinematic without losing their edge on the dance floor. What’s the balance you look for when building tension in a track or a set?


There’s no fixed balance. It’s a moving target, and that’s exactly what keeps me interested. What I know for sure is that I need constant emotional tension. In the studio, behind the decks, always.



You’ve played everywhere from Hï Ibiza to the Pyramids of Giza. Has there been a moment recently where you stopped and thought, “This is really happening”?


Definitely my sold out show at 99 Scott in New York. I’d played the city before, but it was my first real headline show in one of the most iconic cities in the world. Over 250 people were left outside without a ticket. The party was insane, and I’ve thought about it more than once since then.



Your music carries a strong emotional weight without sounding overly sentimental. Where do you think that instinct comes from?


Honestly, I can’t fully explain it. It probably comes from everything I’ve absorbed over the years: music, films, moments, emotions. Some things you build, and some things you just are.



You’ve mentioned drawing inspiration from outside electronic music. What’s something you’ve been listening to lately that might surprise people?


Classical music, especially Bach. And film scores by Clint Mansell, Hans Zimmer, Vangelis, and Ennio Morricone.



How different is the version of yourself in the studio compared to the one behind the decks?


Not that much. The studio version is more reflective, while the one behind the decks is more instinctive.



The melodic techno scene has exploded over the last few years. What do you think separates artists who last from artists who come and go quickly?


Credibility. Building your sound is a long process. It’s the result of who you are, what you have done, and what you have lived. It’s your story. The artists who last are the ones who have an identity that goes beyond the moment. The ones who disappear are those who build around a trend instead of themselves.



A lot of your tracks feel spacious and atmospheric. Do visuals or places ever inspire the direction of your music?


Always. Places are my first source of inspiration. Colors, scents, and images can stay with me for years. As you know, my entire project is based on a place: Napoli, the city where I come from. When I produce or listen to music, I think in images. My entire live show, THE PASSAGE, is built around that.



Beirut seems to be a place that’s inspired you creatively. What is it about the city that keeps pulling you back?


Beirut has this energy I’ve never found anywhere else. I’ve written music there and spent long periods there. The situation has been brutal for years, but the people are luminous. That contradiction is what pulls you in. I haven’t been able to go back because of the war. I hope to return soon.



You’ve collaborated with artists like Anyma and MRAK. What do you enjoy most about collaborating versus working alone?


Collaborating is one of the things I enjoy most, and every collaboration is different. Artistically and technically, you always come out of it with something new, both in your music and in yourself.

Working alone is a different process. It gives you the freedom to make your own choices without compromise. Artistically, I believe it’s more authentic.



You’ve said you still have a huge amount of unreleased music sitting on hard drives. What usually determines whether a track gets released or stays private?


Timing. A track can be good and still not be ready for me, for the moment, or for where I want to go. I’m very selective. The ones that come out are the ones I’d still be proud of in ten years. And to understand that, I need to listen to them literally thousands of times.



If you could play one venue again tomorrow with zero pressure or expectations, where would it be?
Oh, many of them. But if I had to pick one right now, I’d choose the Royal Palace in Brussels. The vibe, the location, the crowd. It was all perfect.



What’s the weirdest or funniest thing that’s happened to you right before a set?
The driver took me to the wrong club. It happened recently in Cyprus.



You’re stuck playing one track for the rest of your life at every afterparty. What track are you choosing?
“XX.”



Gray Area Food Series



1. What’s your favorite cuisine, and why does it connect with you personally or culturally?
I’m Italian, so the answer should be obvious. But I particularly love Asian and Middle Eastern cuisines.



2. Is there a childhood dish or meal that instantly brings you back home?
Pizza.



3. What city do you think has the best food culture, and what makes it stand out to you?
Naples. No competition. The ingredients, the tradition, and the passion they put into it.



4. After a long flight, what’s your ultimate comfort meal?
Mmm, I love ramen when I land.



5. If you had to plan the perfect dinner with three artists, dead or alive, who’s sitting at the table, and what are you eating?
Freddie Mercury, Ennio Morricone, and Pino Daniele. And we’re eating pizza on the seafront in Naples.

19:26 on Identity, New York, and What Comes Next

From Hong Kong to Paris to international dancefloors, Kashovski’s journey has been shaped by digging, instinct and a refusal to chase the pressure of the next big hit.




Kashovski's career in electronic music has always been defined by evolution. More than 25 years after first stepping behind the decks, the Paris-based DJ and producer continues to push the culture forward, releasing at an increasingly prolific pace while staying focused on the music rather than the numbers.




His relationship with music began long before production entered the picture. Growing up in Montpellier, South France, Kashovski was surrounded by a family that loved to dance. “I grew up with uncles, aunties, grandparents who were all fans of funky music like disco,” he says. “A lot of them went out to nightclubs so my family like to party and like to dance.”




By 14, he was sneaking into said clubs, discovering the sounds that would eventually shape his career. “I started very young, at 14 years old,” he laughs. “I was not allowed actually to be there.”




The late ’90s exposed him to disco, funk, R&B and the emerging sounds of hip hop. Later, as he began exploring Montpellier’s electronic music scene, his musical world expanded further. A local DJ became an important influence, introducing him to underground R&B and hip hop while Kashovski was simultaneously building a vinyl collection spanning house and bass, a blend that continues to inform his productions today.




Vinyl Digging and International Dancefloors




Kashovski began DJing at home at 16, initially playing private parties and birthdays for friends before making the leap into clubs. His first major opportunity came when his mentor invited him to warm up with an R&B set inside an electronic club — a significant moment at a time when the two cultures were still somewhat divided.




“This is where I understood,” Kashovski says. “I need to perfect my style.”




That process of developing his sound meant spending countless hours digging for music. “I was spending all of my time in music stores, I was digging a lot. Until today, I'm still digging a lot. This is part of the process.”




The dedication eventually took him far beyond France. In 2006, after receiving invitations from DJs who’d discovered his vinyl releases in Hong Kong, he made a dramatic decision: leave his career behind and move across the world.




“I decided to stop everything, and I went to live in Hong Kong,” he says. “Within two months, I closed everything, and I left.”




His arrival was almost immediately rewarded. “The first day when I arrived, I remember they asked me, "Can you come and play for us in this club? I’d just arrived that night, and I said: ”Okay, no problem. I'm tired, but I will do it for you. And so I played in this club, and the first night, I got a residency.”




Learning Production From Scratch




Kashovski’s evolution from DJ to producer came later. He never attended production school, instead teaching himself the craft and gradually developing a sound informed by his years of digging and DJing.




A pivotal moment arrived around 2017, when a remix he had made of Agoria’s “Scalar” found its way to Black Coffee. Although the track was never officially released, Black Coffee supported it for several years.




“This is where something happened,” Kashovski says. “ If a guy like Black Coffee is playing my music, that means my music can be played by a lot of people, so let's continue doing it.”




But his growth’s been gradual rather than explosive. Tracks including “Hingo,” made with Space Motion and “Poison” have steadily expanded his profile, with support from major DJs along the way.




“My name grew slowly, not with a big boom,” he explains. “I didn't have like a huge hit one time, but it's cool slowly going up and up.”




Beyond the studio and dancefloor, Kashovski connects with fellow artists through his KONFUSED Talks Podcast, where he opens up conversations around their careers, creative processes and the wider electronic music scene.




More Music, Less Pressure




Today, Kashovski has embraced a much more prolific release schedule, with collaborations and remixes arriving throughout the coming months. For him, the changing music industry has made consistency increasingly important.




“Now the market is completely different,” he says. “You have to release a lot. You always have to be present.”




But despite the pressure to remain visible, he refuses to let numbers dictate what he releases.




“I just release what I like,” he muses. “When I see a track working well on the dance floor, I release it. You know, I don't check the numbers or anything.”




That mindset may be central to his longevity. After more than two decades behind the decks, Kashovski says his motivation remains tied to the constant possibility of something new.




“Every three or four years, something new happens,” he says. “A kind of circle or cycle, and I'm always motivated to follow it. If one day I get bored or something, I will stop.”




With a packed release schedule, continued support from major DJs and a September return to The Bunker at UNVRS in Ibiza, that moment clearly won’t come any time soon.




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

Producer Spotlight: Kashovski

MoBlack has spent years helping bring Afro House to a wider global audience, both behind the decks and through MoBlack Records. The Italian DJ, producer, and label founder has earned support from Black Coffee, &ME, Rampa, Solomun, and Pete Tong, while his years living in Ghana have had a lasting influence on his relationship with African music and culture. His work has also extended beyond his own releases, including a period as A&R Manager for Traxsource’s Afro House division.

For our quick Q&A series, we’re getting straight to the point with artists we think you should know beyond the booth. MoBlack talks about the record that changed his career, why Berlin remains one of his favorite places to play, the song that reconnects him with his roots, and the artists still on his collaboration list.



What’s the most memorable moment of your career?

When “Yamore” became a worldwide hit.



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

I would have just continued with my previous job as a commercial manager in a food processing company.



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

Usually fruits and water.



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

Berlin, because the crowd is there for the music only, not for the DJ and not for the girls.



How would you describe your sound in three words?

Hybrid, innovative, and organic.



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

Peace.



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

“Madan” by Salif Keita.



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

Dixon, Bedouin, Black Coffee, and Rampa.



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

Traveling.

Quick Q&A: MoBlack

This year, one of the world’s most iconic street parties and celebrations of Caribbean culture turns 60. Taking over the streets of west London on Sunday 30 and Monday 31 August 2026, Notting Hill Carnival is a celebration of Caribbean music, community and culture. So let’s take a look at some of its most iconic sound systems and what to look out for at this year’s Carnival.




A brief history of Notting Hill Carnival




The Notting Hill Carnival has two key starting points: the indoor precursor events, organised by Trinidadian activist Claudia Jones on 30 January 1959, and the first official outdoor street festival in Notting Hill, which took place in September 1966.




Rooted in Caribbean culture and music, particularly Jamaican reggae, sound systems were officially introduced to the Carnival in 1973. Created by the Caribbean communities that settled in west London during the Windrush era, Carnival was a powerful act of resistance and reclamation in the face of the racism and violence experienced by the community, including the 1958 Notting Hill riots.




Today, more than 30 static sound systems span the streets, reflecting the breadth of London’s musical culture, from dub, rare groove and house to jungle, samba, blues and hip hop.




Channel One Sound System




Founded by brothers Michael and Trevor Bailey in the late 1970s, Channel One Sound System grew out of London’s Caribbean blues-party and Shebeen culture, taking its name from Jamaica’s legendary Channel One studio.




This sound system first played Notting Hill Carnival in 1982 and have returned almost every year since, becoming one of its most iconic sound systems. Led by original selector Mikey Dread, Channel One is known for heavyweight hand-built sound, roots reggae, dubplates and steppers, alongside conscious Rastafarian vocals and chanting.




Their mission to “break down barriers via reggae music” has led them to perform at festivals and clubs around the world.









Saxon Sound System




This is a legendary reggae and dancehall powerhouse founded by Lloyd ‘Musclehead’ Francis and Denis Rowe in 1976. Emerging from southeast London’s house parties and blues dances,they’re now one of the UK’s most internationally recognised sound systems. Saxon helped shape British reggae culture through its exclusive Jamaican imports, custom-built sound system and pioneering “fast chat” MC style.




The sound became a launchpad for artists including Maxi Priest, Tippa Irie and Smiley Culture, while its influence extended into the development of later UK genres including jungle, drum & bass, UK garage and grime. Saxon made history as the first UK sound system to win Jamaica’s World Clash in 1994 and remains a major presence at Notting Hill Carnival with a stage that attracts thousands of people each year.




Rampage Sound




This massive hip-hop and dancehall stage holds takes up an entire dedicated street. Rampage Sound System, founded by Mike Anthony in 1992, is a legendary London sound system with roots in Notting Hill. Rampage is the largest of Carnival’s 38 static sound systems, attracting more than 15,000 people and uniquely occupying an entire street across both Carnival days. Known for pioneering multi-genre and multi-deck mixing, the crew has built a career spanning club culture, broadcasting and touring, including 15 years with the BBC and DJing for artists such as Kanye West, Jay-Z, Nas and Usher. Their Carnival stage has provided a platform for major and emerging UK and international artists, from Stormzy, Wiley and Dizzee Rascal to Sean Paul, Shaggy and Buju Banton.









Different Strokes




This crew delivers heavy doses of jungle, drum and bass, and hip-hop. South London-based,Different Strokes is a family-run sound system that emerged in the early 1990s and made its Notting Hill Carnival debut in 1993. Founded by Daddy Noddy, the sound has since been passed down to his son Riper Don, who now leads the next generation of the family operation.




Reflecting the diverse musical tastes of London’s sound system culture, Different Strokes moves across reggae, dancehall, R&B, hip hop, house, garage and jungle, uniting sounds from across Caribbean and British music traditions. Their longevity at Carnival is also a testament to the role of family, community and intergenerational knowledge in keeping London’s sound system culture alive.




A topline for Notting Hill Carnival 2026




Saturday 29th August – UK National Panorama Steelband Competition (ticketed event)




Sunday 30th August – Families & Children’s Day: J’Ouvert, Children’s Parade & Carnival (free to all)




Monday 31st August – Adults’ Day: Adults’ Parade & Carnival (free to all)




What to expect

70+ sound systems serving up reggae, soca, afrobeat, jungle, drum & bass and more

Parade floats exploding with feathers, sequins, and high-energy dancing

Steel pan bands competing in Panorama on Sunday night

Street performers turning corners into stages

Crowds, colour, and community energy that lights up the streets




And don’t forget the food

Jerk chicken cooked over smoking oil drums

Sweet fried plantain and spicy doubles

Hot, flaky patties and soft roti wraps

Ice-cold coconut water and fruity rum punch (for the adults!) to cool you down




Key events




As well as those aforementioned sound systems, make sure you check out the following:




Panorama - the UK's biggest steel pan competition takes over Emslie Horniman Pleasance Park on Saturday August 29.




J'ouvert. A pre-dawn celebration where participants cover each other in paint, powder and chocolate, soundtracked by steel bands. Sunday August 30, 6am to 9pm.




Opening Ceremony. Local residents, participants, carnival officials and friends of the event gather for the official opening ceremony at 10am Sunday, August 30.




Children’s Parade. This family-friendly morning event sees kids dancing in the streets in their homemade Carnival costumes. Sunday August 30.




Dutty/Fun Mas. Soak up the colours of carnival literally at this event, where spectators are splashed with paints, powder and more. Sunday August 30.

Notting Hill Carnival’s Most Iconic Soundsystems

For Classmatic, one of the moments that still stands out most happened in 2022, when he stepped into the booth at Amnesia Ibiza for the first time. It was a milestone that felt especially significant after years spent DJing, producing, and building his name far beyond his hometown of Tubarão, Brazil. Since then, his career has continued to expand through major releases, international bookings, and a growing presence across the house music circuit.

But there is a lot more to Classmatic than the records and club dates. His influences stretch from 90s hip hop to Brazilian rap, his time off often involves Counter Strike, Flamengo, and his dogs, and he still considers unpredictability an important part of what he brings to a set.

In this interview, Classmatic talks about the moments that shaped him, the artists inspiring him now, life on tour, studio habits, and the interests that keep him grounded outside of music.



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

I used to be a soccer player. I tried to go pro until I was 19 years old.



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

I love esports and fashion, so I’d probably be a streamer or work in the fashion industry.



What’s the most memorable moment of your career?

The first time I played in Ibiza at Amnesia in 2022. It was a dream of mine as a kid.



Who’s an artist that inspires you right now?

Mochakk. He’s one of my best friends in music and also a big inspiration to me because of how intelligently he handles every step of his career.



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

“Baile In Braza” by Freenzy & Ric Jay.



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

Grapes and a Fitzgerald or gin and tonic.



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

This one is so hard for me, but I’d choose Ibiza because of what it represents. It’s the Champions League of electronic music. Everyone dreams of going to Ibiza at least once. I also really love playing in Miami, NYC, LA, and Chicago. I feel at home in those cities.



How would you describe your sound in three words?

Authentic, groovy, unpredictable.



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

Watching Flamengo games.



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

Racionais MC’s, “Eu Sou 157.”



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

The Notorious B.I.G.



What’s your favorite non music related hobby?

Playing CS2. I normally play around three hours a day from Monday through Thursday.



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

The ’90s, for sure. I’m a huge fan of hip hop, and in my opinion, that was the golden era of the genre.



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

Ilario Alicante, “Vacaciones En Chile.”



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

Probably playing CS with my friends, haha.



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

I play CS at a pretty high level.



What’s something simple that makes you smile?

Spending time with my dogs.



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

Flamengo winning the Libertadores in 2019 against River Plate.



When do you feel most at peace?

When I’m at home with my wife and my dogs.



What’s something you forget but feel better when you’re reminded about?

To play my new tracks. I forget all the time!



What’s something meaningful to you that might not be meaningful to others?

Getting a comfortable seat on a flight.



What personal prison have you built out of fear?

When I first started traveling a lot outside Brazil, I felt very lonely on tour, and that made me scared to travel again. Over time, I got used to my own company and learned how to make new friends in the countries I visit, which helped me overcome that fear.



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

Ketchup on pizza. Don’t judge me! It’s good.



If you could compliment yourself, what would you say?

You’re very brave and hardworking. I’m so proud of you.



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

When I accidentally pressed cue while playing at Space for the first time. I was so sad!



As someone who works with technology and computers to make music, have you ever had a gut wrenching moment where you lost a track or project you were working on?

Thank God, that’s never happened to me!



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

The mixdown quality, for sure.



What do you find yourself obsessing over most in the studio when creating a track?

The vocal, for sure. When I’m not working with a vocalist, it takes me forever!



What is your favorite set time and duration?

From 5 PM until 10 PM, especially when I can watch the sunset.



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

I wouldn’t use that power. I feel like music is for everyone, and I respect all genres.

Classmatic on Ibiza, Inspiration, and What Keeps Him Moving

Alchemystica sees the dance floor as more than a place to escape. For the Ecuador-born, Miami-evolved record label and event concept, it can also be a space for connection, reflection, and a deeper relationship with sound.

Founded by Ecuadorian DJ and producer Sebastian Ponce, better known as, Bastiansé, Alchemystica began as a personal artistic vision before growing into a wider platform for releases, hybrid performances, curated events, international collaborations, and immersive storytelling. 



Developed between Quito and Miami, the project brings together underground electronic music, original artwork, and thoughtfully designed environments.

Music has been central to Bastiansé’s life since childhood. His father taught him to DJ with vinyl when he was 11, and by 13, he was already playing extended sets. Those early experiences taught him how to pace a room, build tension, and let a musical story unfold over time.



A pivotal moment arrived in 2016 at Coachella’s Yuma Tent, where sets from artists including Jamie Jones, Patrick Topping, Josh Butler, Carl Cox, and Nina Kraviz drew him further into underground house and minimal music. Since then, Bastiansé has spent more than 15 years behind the decks, performing across Miami, Quito, Ibiza, Prague, and Nepal while developing his own production style.

His music moves through organic and progressive house, minimal, rominimal, dub techno, indie dance, and hypnotic techno. Analog textures, deep grooves, and Phrygian tonalities form a recurring thread, but the label is not designed around one tightly defined genre. The connection lies in the mood, pacing, and emotional weight of each release.



That philosophy carries into Bastiansé’s hybrid performances, which can bring together vinyl, analog effects, live instrumentation, and modular textures. Rather than separating live performance from DJing, he treats each element as part of the same continuous experience.



The catalog has already produced notable results. The Quad EP reached No. 1 on Beatport’s Minimal / Deep Tech chart, while “Tu Corazón,” featuring Ponce, climbed to No. 2 in Afro House. 



The Anima & Animus EP, featuring Michela, reached No. 3 in Minimal / Deep Tech. Bastiansé’s work has also received support from Black Coffee, The Martinez Brothers, John Summit, Nicola Cruz, and other leading selectors.



Yet Alchemystica is not defined only by its releases. Its larger identity came into focus at Garbicz Festival in Poland in 2023. Surrounded by music, nature, art, and a closely connected community, Bastiansé saw how each part of an environment could work together without the experience feeling forced.

That realization helped establish the guiding idea behind the project: integrate and elevate. Instead of building isolated events, Alchemystica is conceived as a takeover concept that can live within existing festivals, venues, and cultural gatherings. Each edition can combine selectors, live performers, visual art, lighting, spatial design, and careful attention to how people move through a setting.





The intention is not simply to place a logo above a stage. It is to shape the feeling of the space from the inside, creating an experience in which the music, artwork, and surroundings feel closely connected. Long term, the concept is interested in cultural settings associated with projects such as Garbicz Festival, Cercle, Gates of Agartha, Café del Mar Ibiza, Burning Man, and GOAT Community.





One of Alchemystica’s most personal elements is its visual identity. All of the label’s artwork is created by Art by Muni, the work of Bastiansé’s mother. Her art gives its releases and events a shared visual language while grounding the project in a family relationship that predates the label itself.

Even the Alchemystica symbol reflects that sense of connection. Its circle represents the environment in which an experience takes place. The geometry within it points to alignment between internal and external states, while the eye suggests perception and awareness. At the center sits a single dot: a point of focus and realization.



As the label enters its next chapter, Bastiansé is putting greater focus on consistency. More than 130 unreleased tracks currently sit in his archive, with plans to release one project each month. It marks a move away from endless refinement and toward letting the catalog develop through regular output.



That period also includes SADU, a reimagining of an earlier collaboration featuring Michela’s vocals. The new version takes the original emotional idea into darker, more driving techno territory, connecting Alchemystica’s past with the sound it is pursuing next. Look out for the upcoming release at the end of July. 

A new remix series further expands that direction through trusted collaborators from several corners of the international underground. Contributors include London-based Dimitris Karellos, Séance Sounds founder Gianni Cerri, Dutch-Miami artist and sound engineer Mick Jerome, DJ and engineer Erik Viera, Miami vocalist and sound artist Lilyana, Alchemystica co-founder Juan Fernando Ponce, and artist Rodrigo Bianchi.



Together, the series reflects what Alchemystica has gradually become: a meeting point for musicians, engineers, vocalists, and visual artists linked by shared creative instincts.



Alchemystica may have begun with one artist’s relationship to music, but its story now reaches far beyond the booth. Rooted in Ecuador, shaped between Quito and Miami, and connected to a growing international circle, the label is building a world where underground music is not simply heard. It is felt, interpreted, and carried forward.

Collective Spotlight: Alchemystica

In our City Beats series, we explore underground dance music communities around the world and this week, we're heading to Seoul, South Korea.




Seoul is often associated with K-pop, glossy nightlife and Gangnam superclubs, but beneath the surface lies one of Asia's most exciting underground dance music scenes. Built around intimate venues, forward-thinking DJs and an adventurous audience, the city's electronic community has fast become an international destination over the last decade.




And at the heart of that magnetism is Itaewon.




Seoul's cultural melting pot




Yuzo is a DJ, producer and 1/2 of DJ duo Scissor Salad. She recently relocated from Seoul to Glasgow after spending nearly a decade immersed in Korea's underground.




"I was based in Itaewon, which is a cultural melting pot in Korea,” she says. “You can go to tons of different kinds of club in one night. There’s techno, club, house, disco. It’s in one bubble, very accessible, and all walking distance.”




Historically shaped by its international population, Itaewon became the natural home for Seoul's underground dance music movement. While Gangnam developed a reputation for large-scale commercial clubs, Itaewon evolved into a neighbourhood of intimate basements, independent venues and adventurous programming.




The opening of Cakeshop in 2012 was a turning point. The basement venue became synonymous with underground electronic music, regularly welcoming international artists while championing local talent across UK bass, house, techno, ballroom, footwork, jungle and countless other sounds. Its success helped establish Seoul as a legitimate stop on the global touring circuit.




Alongside venues like Faust, Volnost and Pistil, Itaewon developed an ecosystem where different genres and communities could exist side by side.




A passionate dancefloor




What surprises many visitors isn't just the quality of the music, but the energy of the crowd. "When Koreans get loose, they lose themselves,” Yuzo explains. “They just give everything when they’re ready to party. It's one of the most passionate crowds ever.”




And although she sees Seoul as unique, Yuzo also believes underground communities around the world often share similar culture. "When you really like underground electricity music, you're all kind of connected,” she says. “We all appreciate music and the values within it.”




Like many scenes globally, Yuzo believes a healthy, happy scene should be reflected by younger communities getting involved and sharing their passion and sounds. "We always need new, fresh crowds bringing something to night clubs or event venues and just the music scene in general,” she says.




Beyond the beat




Although Seoul has developed an international reputation for techno, the city's selectors increasingly resist genre boundaries. Yuzo herself is a multi-genre DJing, blending club music with global rhythms, Afro, Latin, amapiano, pop, hip-hop, and R&B edits. She also runs the collective Pasa Passa, dedicated to Afro and Latin sounds.




"We focus on Afro Latin music exclusively,” she says. “We try to cater to the queer community, so we play a lot of ballroom house... anything to make queer people dance.”




That openness reflects a broader shift within underground dance music. "I don't need to be serious all the time, I like playing chart music so it works in an underground setup.”




Rather than treating commercial and underground music as opposing worlds, Yuzo sees them as connected. "I think any music should be appreciated,” she says.




Learning to read the room




Like any mature underground scene, Seoul's dancefloors have taught DJs the importance of adaptability. Early in her career, Yuzo approached sets with a rigid mindset.




"I focused too much on what I wanted to play,” she says, but experience changed that and she became much more fluid. "A lot of DJs have to change their sets and adapt to what the crowd wants and the vibe of the general venue."




Now, success is measured less by technical perfection than by reading the room. "I always try to put the balance between what they like and what I like.”




And one of her favourite indicators isn't even the dance floor. "If you make people in the corner or at the bar do little dances, that means the set is really good,” she says.




Community first




Perhaps Seoul's greatest strength is its collaborative spirit. After relocating to Scotland, Yuzo was struck by how familiar Glasgow's sense of community felt. "We're all friends and colleagues, and then we need each other,” she says. "I just want to be connected with people with true, authentic energy.”




It's an ethos that reflects Seoul's underground too; a relatively small ecosystem built on cooperation rather than competition. This is best reflected in Seoul Community Radio, a station Yuzo was heavily involved with and gives grassroots artists and collectives their first residencies and shows.




Seoul's dance music scene today




Today, Seoul's underground continues to grow through independent collectives, internationally respected clubs and adventurous local artists. While Itaewon remains its beating heart, the city's reputation now extends far beyond South Korea, attracting touring DJs and curious clubbers from around the world.




Big names include Peggy Gou and DJ Soda. Underground heroes include BRLLNT, DJ co.kr, Closet Yi, Yetsuby and Unjin.




Venues such as Cakeshop and Faust have become institutions, while local crews continue to push bass music, techno, ballroom, Afro diasporic sounds and genre-defying club music into new territory.




In Seoul, fluidity and connection has become the foundation of one of Asia's most welcoming and forward-thinking dance music communities in the world.




For all her latest shows and events, follow Yuzo on Instagram.

City Beats: Seoul

In this series, we spotlight global collectives who are paving their own way while driving underground culture forward.




Draaimolen likes to do things differently. The Netherlands-rooted, 100% independent, non-profit, commercial-rejecting festival is one of the best in the world. Today, we take a closer look at what makes it excel, and why it’s survival is under threat.




The roots of Draaimolen




It all started in 2013. Milo van Buijtene was tired of traveling the length and breadth of Europe to see his favourite artists and he yearned for something closer to home. Born and raised in Tilburg, Netherlands, he wondered if he could build something himself.




So he teamed up with three friends, secured a venue, and booked his favourite underground artists, all while juggling a day job. The first incarnation of the festival launched in 2014 and attracted 3000 dancers. It went so well, they decided to do it again.




The next event was in a forested estate on the north-west edge of Tilburg. This time, 9000 people turned up.




The ethos




From the very beginning, Draaimolen’s mission was crystal clear: to share world class music onunparalleled sound systems with no sponsorship and no profit.




The unexpected is part of the experience and fundamental to the festival's identity. The team choose curation over hype, ensuring even the headsiest of heads will find something new. Unannounced performances, immersive art and lighting installations, and secret, surprising back-to-backs all amplify the explorative energy.




So it’s fair to say Draaimolen challenges the conventions of electronic music festivals. They’ve never seen the point in another event built around headline names, instead creating a space where audiences can trust the curation and artists are encouraged to take risks. Discovery sits at its core.




In a 2025 feature called ‘Why Is Draaimolen So Special?’ Resident Advisor wrote that the festival has "always asked people to trust its curation,” inviting them to wander rather than chase a timetable.




That philosophy runs through every aspect of the weekend, from one-off artist collaborations and bespoke performances to stages hidden among the trees. Rather than chasing scale or spectacle, Draaimolen has built its reputation on thoughtful programming, artistic freedom and the belief that the most memorable moments are usually the ones you never saw coming.




Relocating to The MOB Complex




In 2019, Draaimolen relocated to its current home, and it’s become a defining feature. The MOB Complex is hidden within a former military complex on the edge of Tilburg. The woodland landscape has become inseparable from the festival's ethos of discovery, artistic freedom and immersion.




Stages sit organically between the trees, light installations bounce off the natural surroundings and winding forest paths encourage visitors to slow down, explore and embrace the unexpected.




The best experiences come from following curiosity over timetables, which is why the forest is part of the artistic experience, not just a backdrop.




Why its future is under threat




Ironically, the very landscape that’s shaped Draaimolen is placing its future in jeopardy.




In 2025, organisers revealed that permission to continue using the MOB Complex had been withdrawn, warning supporters that "without the MOB-Complex, the festival will cease to exist.”




The site sits within a protected woodland area, and uncertainty surrounding environmental permissions has left the team without an alternative home.




More than 26,000 people signed a petition calling for the festival to remain in its home, prompting local authorities to reopen discussions and ultimately grant permission for the festival to return in 2026.




While the immediate crisis has passed, organisers have made it clear that the long-term future of the festival's home remains unresolved, which means this year’s edition will feel particularly significant.




What to expect in 2026




If previous editions are anything to go by, expect a weekend where discovery takes precedence over spectacle.




Draaimolen has built its reputation on commissioning unlikely artists and pairing them up for extended B2B performances. Their bespoke live shows and hidden stages will reveal themselves only to those willing to wander off the beaten path.




The 2026 edition returns to the forest on 4–5 September, with stage hosts including TraTraTrax, Timedance and Eris Drew & Octo Octa, continuing the festival's tradition of placing trust in adventurous curation over headline billing.




More than anything, visitors should expect the unexpected: a festival where the environment, production, art and music are designed to blur into one immersive experience, proving once again that Draaimolen's greatest attraction is not a single act, but the world it creates around them.




You can buy Draaimolen 2026 tickets here.

Collective spotlight: Draaimolen

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

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



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

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



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



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



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



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



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



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



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



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



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

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



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

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



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



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

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



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



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



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



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



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



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



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



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



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



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



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



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



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



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



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



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



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



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



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



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

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



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



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

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



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

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

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

Bastian Bux and the Idea Behind Petit Comité of House

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



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



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



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

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



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

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



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

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



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

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



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

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



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

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

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



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

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



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

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



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

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



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

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



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

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



GRAY AREA FOOD SERIES

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

My mom's London broil.

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

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

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

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




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




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




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




The queen of Berlin's underground




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




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




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




A pillar of dance music




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




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




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




Enter “New Life”




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




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




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




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




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




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




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




Forever looking forward




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




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




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




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

Producer spotlight: Ellen Allien

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


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



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



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



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




From Western Australia to Global Dancefloors




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




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




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




Building on the World of HUMANiSE




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




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




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




Enter DIGITiSE




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




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




The Return of Long-Form Storytelling




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




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




Looking Ahead




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




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




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




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

Producer spotlight: HAAi

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

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

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



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



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



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



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



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



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



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



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

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



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



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



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



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



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



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



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



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



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



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



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



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

GUDFELLA: The Recalibration

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




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

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



The late ‘70s



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

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



The late ‘80s



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





The ‘90s



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

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



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

Crackdowns on nightlife

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

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

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







Going international



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

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



Dublin’s dance music scene today



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



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

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

City Beats: Dublin

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

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

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



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



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



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



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



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



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



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



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



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



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



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

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



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



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



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

Meet N2N: The Mind Behind Dance Therapy

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




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




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




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




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




Where it all began




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




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




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




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




Building Something Different




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




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




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




That first event immediately felt different.




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




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




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




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




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




Community First




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




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




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




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




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




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




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




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




Creating Safe Spaces




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




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




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




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




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




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




The event remains one of Sisterhood's defining moments.




Looking Forward




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




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




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

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




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




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




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




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




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




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

Collective Spotlight: Sisterhood Birmingham

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



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

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



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

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



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

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

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

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

Twin Diplomacy Are Just Getting Started

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


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


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


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



From Ballet to Boat Parties



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



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


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



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



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


Beyond the Dancefloor


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



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


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



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



The experience transformed how she thinks about music.


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



The Science Behind the Beat



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

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



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



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



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



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


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



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



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




Music With Intention


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



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



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



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

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

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



A New Solo Chapter


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


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


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



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



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



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


Exactly what that looks like remains under wraps for now.



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



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



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

Ones to Watch: Jenn Getz

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

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



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

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



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



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



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

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