Croatian-raised DJ and producer Matroda has been on fire in the house music scene for quite some time now, owing to his skill in producing chart-dominating tracks, dynamic energy, and mastery in rinsing some of the most tasteful edits of house tunes. With extensive classical training in violin, drums, and keyboard, Matroda's diverse influences and signature sound have set him apart and put his name in the spotlight.



Influenced by legends like Carl Cox and Justice, classical composers such as Mozart and Beethoven, and iconic bands like Led Zeppelin and The Beatles, Matroda has successfully blended these elements with his classical training to create a distinct sound. Establishing his label Terminal Underground has been a massive step up in elevating Matroda’s career, as he can showcase both his music and that of other gifted artists in the house scene.



Matroda's authentic talent and raw sound have not only earned him a devoted fan base but also garnered the attention of some of the most eminent record labels in the industry. His music has been signed to prestigious labels such as Insomniac Records, Cr2 Records, Repopulate Mars, Ultra Records, and HARD Records, among others. Moreover, he was ranked #19 in the world for Top 101 Producers in 2022 by 1001 Tracklists.



The impressive list of affiliations speaks volumes about Matroda's virtuosity as an artist and is further highlighted by his performances at several famed music festivals and clubs worldwide. He has graced the stages of renowned events such as EDC, Beyond and Nocturnal Wonderland, Amsterdam Dance Event, and Electric Zoo, to name a few. Additionally, he has executed memorable sets at big-league clubs like Club Space, Noa Beach Club, and Ushuaïa Ibiza. 





Matroda’s dedication to staying true to his musical vision is evident as he approaches each show with an open mind and a willingness to experiment, never playing the same set twice, and allowing the groove to take control of his creativity. The journey in the world of house music has been nothing short of remarkable for Matroda, and it’s exciting to hear from him that this is just the beginning.



Don't miss the opportunity to catch one of Matroda's dynamite sets on May 14th at Superior Ingredients in Brooklyn, New York, for an Open-Air Sunset Performance that promises to be unforgettable.



Throughout your incredible journey in the electronic music world, which artists or experiences have had the most significant impact on your unique Matroda sound? Can you share a pivotal moment that helped shape your artistic direction?

I've been influenced by a wide range of different genres, artists, and experiences throughout my journey in the electronic music world. In terms of specific artists, I've always been a big fan of Carl Cox and Justice. Their unique blend of electronic music has had an impact on my sound. I've also been inspired by classical composers like Mozart and Beethoven, as well as more contemporary artists like Led Zeppelin and The Beatles.





It’s hard to pin out one pivotal moment that helped shape my artistic direction. I think an artist/producer needs to develop all the time and look at how to be unique and different.



Your classical training in violin, drums, and keyboard has set you apart from other house music producers. How do you blend these classical elements with the influences of Led Zeppelin, Frank Sinatra, and The Beatles to create your distinct sound?

My classical training has had an impact on my sound. I think the key to blending these classical elements with my other influences like Led Zeppelin, Frank Sinatra, and The Beatles is to approach my productions with an open mind and a willingness to experiment.

Ultimately, the key is to stay true to my musical vision while also incorporating different influences and techniques to create something truly unique and innovative. It's a delicate balance, but one that I'm constantly striving to achieve with each new track.





With your label, Terminal Underground, you've been able to showcase your vision and talent even further. What inspired you to create your label, and how do you see it evolving in the coming years?

Creating Terminal Underground was an important step for me in terms of showcasing not only my music but also the music of other talented artists in the house music scene that I like. I wanted to create a platform that will help to support and promote the next generation of music producers.

In terms of how I see Terminal Underground evolving in the coming years, I think the key is to continue to stay true to our core values of supporting innovative, forward-thinking music and fostering a strong sense of community within the house/electronic music scene. We're always on the lookout for new talent to sign to the label and new ways to showcase our artists, whether that's through live events or other collaborations.





Your live performances have been praised for their electrifying energy and connection with the audience. How do you approach preparing for a show, and what elements do you believe are essential for creating an unforgettable experience for your fans?

I never prepare a full set-in advance. I need to see the fans and feel the energy, that's it. And I never played the same set twice. There’s so much new and dope music out there that I love being creative and selective. For me music is the key, everything else will follow.



As a trailblazer in the house music scene, what advice do you have for aspiring producers looking to make their mark on the industry? Are there any specific challenges you've faced in your career, and how did you overcome them?

My advice for you is to stay true to yourself and try to sound unique. Don't try to emulate others or follow trends just because they seem popular at the moment. Focus on creating something that resonates with you and be confident in it. Additionally, don't be afraid to take risks and push boundaries. The music industry is constantly evolving, so it's essential to stay ahead of the curve and try new things.





As for challenges, one of the biggest ones I've faced is staying motivated and persevering through difficult times. It's easy to get discouraged when things don't go as planned or when you face rejection. However, it's important to keep pushing forward and remain passionate about what you do. Surround yourself with positive and supportive people who will encourage and uplift you along the way. Remember, success is a journey, not a destination.





Your journey in the house music scene has been nothing short of remarkable. Can you share with us the story behind your first breakthrough moment and how it set the stage for your flourishing career as a producer and DJ?

My first breakthrough moment happened in 2015 when I released a “California” remix together with Chris Lake. The track ended up charting on Beatport's Top 100 for several weeks, and it put me on the map as an up-and-coming producer in the house music scene. It was a pivotal moment in my career and set the stage for everything that has come since.





The fusion of your classical training and diverse musical influences has given birth to the signature Matroda sound. How do you approach the creative process when producing a new track, and what are the key elements you prioritize to ensure that your music resonates with fans?

When I approach the creative process of producing a new track, I always try to let my intuition guide me. I start with a basic idea or concept and then build on it, experimenting with different sounds, melodies, and rhythms until it starts to take shape.

My goal is to create something unique and different, something that will stand out in the crowded electronic music scene. I believe that authenticity is key, and I always strive to stay true to my artistic vision while also pushing myself to innovate and evolve as a producer.





You've had the privilege of performing at some of the most prestigious music festivals and venues across the globe. Can you tell us about a particularly memorable performance that stands out and why it was so special to you?

It’s hard to pick one moment as every play is a special one. I like traveling the world, meeting new people, and doing what I love. I appreciate every moment of it.





As the founder of Terminal Underground, you've expanded your reach in the house music community. What motivated you to establish your label, and how do you envision its growth and impact on the scene in the future?

Terminal Underground was established to provide a platform for artists to showcase their unique sound and creativity. I wanted to create a space where upcoming talent could be nurtured and supported to reach their full potential. With Terminal Underground, we aim to discover and develop new talent, while also releasing tracks from established artists who share our passion for pushing the boundaries of house music.

As for the future, I see Terminal Underground continuing to grow and expand its reach while maintaining our commitment to quality and innovation. We want to continue to be a driving force in the house/tech music scene, introducing fresh sounds and unique perspectives to the industry. Ultimately, our goal is to contribute to the evolution of the genre and inspire the next generation of electronic music producers.





Having achieved significant success in the industry, what goals and aspirations do you have for the next phase of your career? Are there any dream collaborations or projects that you're eager to pursue as you continue to shape the future of house music?

I have a feeling that I haven't achieved anything yet. I just started. Every day is a new learning experience. For the next phase of my career, I am focused on continuing to evolve my sound and push boundaries in the music genre. I have some exciting collaborations in the works that I can't wait to share with my fans, as well as some new projects that will showcase different facets of my artistry.

Matroda: Blazing a Trail in House Music with Classical Roots and Mastery in Beats

TSHA, the London-based DJ and producer, has become a force to be reckoned with in the electronic music scene. Known for her exceptional skills on the decks and her authentic, personal approach to her craft, she has captured the hearts of fans across the globe. Here, we delve into five unforgettable moments from her life and career that have shaped her into the artist she is today.



1. The Bonobo Breakthrough



TSHA's career began to blossom when Bonobo, her idol, featured her track “Sacred” on his own "fabric Presents" mix. This moment not only brought her significant attention and awareness but also validated her hard work and dedication. It was a turning point that reinforced her belief in herself and her music, ultimately paving the way for the extraordinary journey that lay ahead.



2. BBC Radio 1's Future Artist Recognition



In 2021, TSHA was named BBC Radio 1's Future Artist, an accolade that solidified her position as one of the most promising talents in the electronic music scene. This recognition not only increased her fanbase but also helped her secure collaborations and gigs that would shape her career.


3. The Launch of Jackfruit Radio



Embracing her love for sharing music, TSHA started her own show, Jackfruit Radio, on Apple Music. This platform allowed her to showcase her diverse musical taste and introduce her fans to fresh, groundbreaking tracks from both emerging and established artists. Jackfruit Radio has become an extension of her artistry and a space for TSHA to connect with her audience on a deeper level.





4. TSHA's fabric Presents Release



TSHA's “fabric Presents” release demonstrated her unwavering dedication to the electronic music community. The compilation not only paid homage to the acid house era but also introduced a number of up-and-coming artists to the world. This carefully curated release reinforced her commitment to giving back to the scene that has given her so much.





5. Overcoming Anxiety and Sharing Her Journey



As a self-described introvert, TSHA has always been candid about her struggles with anxiety and the pressures of life in the limelight. By sharing her experiences on social media, she has connected with fans on a deeper level and created a sense of solidarity among those who face similar challenges. TSHA's openness about her mental health journey has made her an inspiration to many and has shown that it's possible to overcome obstacles and achieve success.





TSHA's meteoric rise in the electronic music scene can be attributed to her unyielding dedication, authenticity, and passion for her craft. The unforgettable moments mentioned above not only highlight her career achievements but also provide a glimpse into her personal journey. As she continues to break boundaries and inspire fans worldwide, we eagerly await what the future holds for this incredible artist.

TSHA: 5 Moments from an Inspiring Career

Stepping into Ibiza’s super clubs for the first time season will bring a rush of emotions for everyone attending opening weekend on the White Island the last week of April. Following the International Music Summit grand finale, the most essential venues kick off a new age with some exclusive events not to be missed!




IMS Grand Finale | Dalt Vila | Friday, April 28

On its fourteenth edition, the renowned music industry conference in Ibiza culminates with its traditional celebration at “Baluarte de Santa Lucía” this Friday after three days of thought-provoking talks and networking. The seven-hour open-air party within the ancient walls of Dalt Vila has established itself as the season’s official start. For its final spectacle, expect solo sets from CamelPhat, Anna, and back-to-back pairings from Pete Tong and Kölsch, Ida Engberg and Marshall Jefferson, among others. The official IMS after-party will carry on at Club Chinois from midnight.




Buy tickets for this one-off event on Friday at Dalt Vila.









Follow IMS on Facebook | Instagram | SoundCloud




Grand Opening Party with Solomun | Pacha | Friday, April 28




This year marks Pacha’s 50th anniversary, raising the curtains this Friday with a special extended set by its main man Solomun and a warm-up by Ibiza’s veteran DJ Angel Linde. The first party of the season under the Two Cherries roof, headlined by the Diynamic boss, has developed a reputation on the island for being one of the season’s best.
























Defected Opening Party | Eden | Friday, April 28




Defected is the first residency to kick off in Ibiza and will take place every Friday at San Antonio super club Eden till late September, bringing the very best of classic and modern house music under the banner of equality. 2023 marks the first full year of direction under Wez Saunders (although his career at Defected began in 2014). Have a taste of what is sure to be a special season ahead









Get tickets for the Defected Opening party at Eden.








Follow Defected on Twitter | Instagram | SoundCloud







Pyramid Special | Amnesia | Friday, April 28




Amnesia opens with its flagship party right after the IMS Grand Finale. The Pyramid warm-up party will offer a taste of what’s to come over the 18-week run (beginning on June 11). Lined up for this one on the Terraza, Luciano will play back-to-back with minimal powerhouse Arapu alongside Spanish legend Cuartero and New York-born rising star Layla Benitez. The Main Room welcomes Belgian techno queen Amelie Lens, the Berlin sounds of Klangkuenstler, and resident DJs Luca Donzelli and Mathias Kaden.

Get tickets to enjoy Pyramid’s first party at Amnesia on Friday.









Follow Pyramid on Instagram | SoundCloud




THE SIGNAL | Ushuaïa & Hï | Saturday, April 29

The Night League, the team behind the Platja D’en Bossa mega clubs, opens the season once again with a joint day and night launch show this Saturday called THE SIGNAL. Some of the world’s most prominent electronic music artists will perform during the doubleheader spread across both cutting-edge venues. 



At Ushuaïa by day, enjoy platinum-selling musician Eric Prydz will fuse well-crafted melodies with deep techno beats, Paul Kalkbrenner with his powerful live show, and Maceo Plex, among others. 



And when the night falls, it’s time to continue dancing across the street at Hï, where its impressive rooms (Theatre and the Club) will feature an incredible mix of resident DJs, crowd favorite, and emerging talents such as Indira Paganotto, Mochakk b2b Grammy winner Black Coffee, energetic duo The Martinez Brothers back-to-back Loco Dice, Damian Lazarus b2b Chloé Caillet, and solo sets from Honey Dijon, Adam Beyer, Anfisa Letyago, Patrick Mason, and many more.




Get combined or single tickets to attend THE SIGNAL.









Follow Hï Ibiza on Twitter | Instagram | SoundCloud




WhoMadeWho, Jan Blomqvist and Joplyn | Pacha | Friday, April 28

As part of Pacha’s unmissable pre-season parties this Sunday, the iconic club brings WhoMadeWho performing one of their avant-garde hybrid sets alongside Jan Blomqvist, who will perform with Malou, Dutch brothers Parallelle and the songwriter, producer, and vocalist​​​ from Berlin Joplyn. This event promises to be a unique musical journey for the senses.




Purchase tickets to enjoy this Pacha pre-season party on Sunday


















Circoloco Opening Party | DC10 | Monday, May 1

One of the most renowned parties on the planet is ready to begin its longest season to date this Monday, May 1, at DC10. If you want to focus just on the music and experience what a real Ibiza opening party is like, head over to Circoloco’s first celebration on the White Island and enjoy the best underground sounds by regulars like Seth Troxler, Sossa, Michael Bibi, and Maceo Plex alongside new players like Romanian artist Costin RP, Leafar Legov (part of the dual deep house project Kettenkarussell with Herr Koreander), and Chilean DJ Shanti Celeste.




Purchase tickets for Circoloco’s opening party.









Follow Circoloco on Twitter | Instagram | SoundCloud

This Week In Ibiza (April 28 – May 5)

Caprices Festival has transformed from a multi-genre event to one of Western Europe’s most popular destinations for electronic music, taking the profile of its Swiss homebase and resident DJs with it. We caught up with one of them, Giorgio Maulini, during the event’s 20th anniversary to learn more about the rich history of the mountain-top gathering and where it’s headed in the decades to come.



Getting a music festival off the ground is a lot of work. Keeping it there for 20 years is a much rarer feat, but Switzerland's Caprices Festival is one such success story (it also takes the phrase “off the ground” quite literally — after all, its mainstage sits some 2,200 meters high in the sky!)



But the mountaintop Modernity Stage that Caprices is best-known for these days wasn’t always the main attraction. Even electronic music served as somewhat of a side note back when the gathering first took shape two decades ago.



In the 70s and 80s, Crans-Montana — the stunning resort town that Caprices calls home — was popular among luxe travelers who favored ski-sports, Alpine spas, gourmet cuisine, and other high-end experiences. By the 90s those thrill seekers had moved on, taking a bit of the sparkle with them. That’s when Caprices’ founder, Maxime Léonard, got the wild idea to kill two birds with one badass party. His festival would not only satiate his desire to perform before a wide swath of discerning music lovers, but it could also be the gem that put Crans-Montana back on travelers’ must-visit lists.



In 2003, he brought the inaugural edition to life, right in the heart of town where visitors also had a front row seat to Swiss Alps’ jaw-dropping vistas. In the early years, Caprices welcomed seminal acts from across the musical spectrum including Radiohead, Cypress Hill, Lou Reed, and Bjork. With lineups as stunning as the surrounding landscapes, Leonard’s brainchild achieved its desired effect — people poured back into the vibrant mountain town in search of tunes and good times. 



To most, the event’s unique variety was a unique selling point. But it’s impossible to please everyone. “I fucking hate that techno shit,” the rockstar Iggy Pop spouted in a now famous news clip captured ahead of his performance at Caprices’ 2007 installment. He was less than stoked, sandwiched between two electronic acts. It’s safe to assume he has strong words about what the event looks like today, too. Despite defiant headliners, there was no stopping this cable car — Caprices stood destined to evolve.



You don’t see us complaining — we can respect The Godfather of Punk without sharing his hot take. It never became the popular opinion. By the time Iggy rocked out in Valais, Caprices had already cemented itself as a mecca for rare house and techno performances.



“About 12 years ago at 7 AM, we had a spontaneous idea with Sonja Moonear, Guillaume Coutu Dumont, and Luciano to take the speakers on to our shoulders into a gondola and organize an afterparty up the ski slopes for about 30 people,” Leonard shared in a 2020 interview with ND World. “The following year we did the same with Ricardo Villalobos playing back-to-back with Luciano for a couple of hundred people and after that we decided to build a proper stage for a few thousand people 2,200 meters up the Alps.”



And voila, the glass-enclosed greenhouse now known as the Modernity Stage was born. This April, the aforementioned duo returned on weekend two of the event (April 14-17th) to unleash their now annual b2b marathon. It’s a tradition and throughline that’s helped paint the picture of Caprices’ steady transformation (and one that would probably have Mr. Pop cursing loudly under his breath — this is techno at its finest.)



We didn’t experience that hallowed performance ourselves because we went all in on weekend one (April 7th - 10th.) Still, we witnessed how Caprices’ organizers take clear steps to pay homage to the festival’s rich roots. Sure, we caught bpm-ripping sets from acts like Adriatique, BLOND:ISH, and Arodes whose soundprints veer between melodic and positively pumping, but acts like German vocalist and multi-instrumentalist Monolink, as well as Satori and WhoMadeWho, the Copenhagen-based trio that brought their club-adjacent hybrid-live set, integrated plenty of analog elements in their playa tech-tinted performances. We even had a chance to catch Leonard’s electro jazz-leaning band, F.O.E. (Live) ahead of Jamie xx’s garage-fueled stylings on Saturday night, a slot progression that rather poetically linked Caprice’s past with the present.



The Festival’s residents do a good job of telling Caprice’s growth story, too — take house producer Giorgio Maulini, for example, who’s been on board with the event for more than half its history. He arrived in Crans-Montana 12 years ago while playing in the 2nd division Danish football league, and after receiving a better offer from a local team, decided to stay. Today, he’s living his best life as a ski instructor and one of Modernity’s familiar faces.



“My life has always been very linked to sports at a high level of performance, and I have always been crazy about music,” he shares of the duality of his career. “I never thought I would find a place where both activities melted together as well as here in Crans-Montana. It’s like Yin and Yang, I suppose.”



What started as a job constructing the Modernity Stage (“hard manual work” as he puts it) eventually paved the way for Maulini to become one of the company’s beloved residents. “Everything felt very natural as it was supposed to happen,” he says with gratitude.



He closed out this year’s Sunday night “after glow” party in the intimate club stage that sat tucked away behind the main daytime venue, adorned with disco balls and filled with beats, offering a more relaxed alternative to the always packed main stage where acts like Black Coffee, Bedouin, and YokoO unleashed a mix of soulful and introspective grooves.



“Many things have changed — styles of music, location inside Crans-Montana, size of the events, staff members… but somehow the feeling that it evokes [among] its attendees never has changed,” Maulini shares of Caprices’ inspiring energy. “People here are happy, excited to be together in such a breathtaking part of the world and being able to share moments in a collective state of mind.” He says this shared consciousness is what makes Caprices improve year after year.



“Something that I always admire is the architectural configuration of the festival which allows the attendee to find zones or spaces where they feel safe and comfortable,” he continues. “The same thing happens with the artistic direction and hand picking the right artists to create the perfect musical journey and vibe that will fill up these spaces with the right sound.”



He’s certainly right about that — by day, fashionable friends sip drinks amongst the clouds. At night, they take the gondola to the bottom of the slope for a proper multi-stage rave. There they can immerse themselves in melody, live stylings, or psychedelic journeys that names like DJ Tennis or Ryan Crosson and Shaun Reeves of Visionquest are uniquely equipped to deliver. Caprices has all the bases covered. It’s adopted the same choose-your-own-adventure mentality of its hometown, it seems.



Maulini also recommends checking out slopes like The Glacier of the Plain Morte, Le Grand et Petit Mont Bonvin, Les Faverges, and all of the Aminona backcountry upon a visit for a deep dive into Switzerland’s most picturesque points.



Thank God Caprices’ participants are fully committed to a “never stop exploring” mindset, because next month there’s a new edition kicking off in Marrakech, Morocco (May 12-14, 2023) featuring performances from techno and house stalwarts like Archie Hamilton, Âme, and Cassy. Stephan Bodzin and Mathew Jonson, will bring their live sets to keep that long-time offering center stage.



When we ask Maulini what’s in store for the next 20 years, he answers without hesitation. “I have no doubt that it will still look great — we’ll probably be trying to expand this ‘know-how’ and good vibes all around the globe but always in breathtaking locations very close to natural wonders — we will have to stick around to discover what’s coming up.” In that case, count us in.



Follow Caprices on Instagram | Twitter | Facebook

Still on Top: Caprices Festival Brings 20 Years of Style to Crans-Montana

Ahead of his exclusive 3-hour set coming up in June on the rooftop of Superior Ingredients NYC, we sat down with London based DJ/Producer Archie Hamilton to delve a little deeper into his musical influences, pivotal career moments, and the future of dance music. 

How did your passion for dance music begin, and what were your earliest influences in the genre?


My mum and aunt were ravers in the 80s and 90s, so I used to go to a few free parties, raves, and festivals as a kid. I was into the culture from a young age and used to hear a lot of acid house and jungle from my mum’s tape packs she’d play in the car. Then I got more into UK Brit pop and rock like Oasis and Blur in my early teens—probably trying to be rebellious! Then when films like Blade and The Matrix came out, I got right back into electronic music.




Can you share a pivotal moment in your life or career that significantly shaped your sound and artistic direction?



There have been a few for sure, but the one that always sticks in my mind was being at fabric room 1 at 6 am and hearing Octave One “Blackwater.” I remember thinking there was nothing else on earth I wanted to do other than play music like that.

What is your creative process like when producing a new track, and how do you stay inspired?




I get inspired when I hear other great music, so I would say that referencing is a really important part of the process for me. It could be any genre, instrument, or vocal—that always seems to be my starting point. From there, I generally let tracks take on a life of their own (within reason). So, they often start in one style and end up in another.




How have your personal growth and experiences influenced the evolution of your music over time?




My experiences have really shaped my music. I have been lucky enough to have traveled to so many places that have really informed my style. And I like to play all kinds of styles, so I enjoy switching things up for different crowds. With regards to the studio, I guess you could say the same, although the common denominator always has to be the groove. Artistic evolution is important, and I have been lucky that mine was well received.




What challenges have you faced in the music industry, and how have you overcome them to build a successful career?




I find it tough to stay on top of the marketing side of things. It’s not something that comes naturally to me; some artists are amazing at it. I wish I could just make and play music, but fans want more than that. And I get it. I like knowing about artists’ stories too!




Can you tell us about a memorable collaboration or project that pushed your artistic boundaries and had a lasting impact on your work?




My new record on Defected is something really different for me. It’s a classic vocal house record which I have always wanted to make. The moment I heard HQA’s voice, I knew exactly what I wanted to do, and I am so happy with how it turned out. The vocal she delivered was so amazing that I felt like I had to do more than just the original version, so I chopped it up and made the dub which is a more stripped-back garage rework.




What role do you think dance music plays in connecting people and fostering a sense of community?




It’s been incredible for me personally. I would say that 90% of my closest friends are people I know from clubbing. I think we’re all lost souls, and we find each other and connect through music. It’s especially important in this day and age. The world is a pretty scary place right now, and we need community.










What advice would you give aspiring dance music artists looking to make a name for themselves in the industry?




Just be yourself in every sense. Authenticity is so important. If people don’t like you or your music, so be it. And I would also say be kind to everyone you come across. From the driver to the promoter to the glass collector, you never know what they may end up doing in years to come!




How do you envision the future of dance music, and what trends or innovations do you think will shape the genre in the coming years?




I think AI is going to change everything! It will make music production accessible to anyone. It may also mean that less people will actually learn music theory or production because they won’t need to, which would mean that more music would be written by algorithms and less by actual humans. It’s going to be interesting, for sure.

From Childhood Raves to Global Grooves: An Inspiring Journey of Archie Hamilton

The world has once again fallen in love with raving.




Given the general conglomeration of what a “rave” is, it might seem like the world has always loved raving as dance-forward festivals and club culture explode around the globe.




Beyond the typical forums, every sushi restaurant and grocery store plays house music these days (not to mention the co-opting of the genre by major pop stars like Beyonce and Drake), so how could raving get any bigger?




Well, it comes down to the music. In the same way cultural gatekeepers are feral in attacking any comparison between house music and EDM, certain forms of dance music, comparatively, have more or less of a “rave” quality to them, and that distinction stems from the energy they bring to the dance floor.




When raving first exploded in the 1990s, it was a new phenomenon built around marginalized people like those in Black and gay communities coming to a safe space where they could freely express themselves and release the energy of oppression.




In the last couple of years, especially since pandemic-era restrictions faded, the music has reflected that era as the world brings those years of pent-up energy to the dancefloor.




Those who discovered dance music via Twitch streams are finally engaging in their first dance music experience and putting some wear and tear on their dancing shoes. Old(er) ravers have been ecstatic to return where they truly belong. This energy and desire have led to a coinciding effect in the music that’s resonating with the community. An effect that’s made the music far more ravey based on certain qualities.




One strong indicator of “ravey-ness,” as it were, is tempo.




High-tempo genres like UK garage dominate the zeitgeist as seen in hits like “B.O.T.A. (Baddest Of Them All)” from Interplanetary Criminal and Eliza Rose, which is sitting at over 199 million on-demand streams on Spotify at the time of writing.




Another indicator is the type of synths that are driving the tracks. Rave music synths are like the flashy and coruscating bleeps of the 1999 classic “We Like To Party” by the Venga Boys.

“We Like To Party” is undoubtedly one of the most famous rave tracks of all time, and one that harbors a similar quality to the breakout single from Schak, “Moving All Around (Jumpin’),” featuring Kim English, released on the UK stalwart Patrick Topping’s record label, Trick.




Since its inception, Trick has pushed these ravier sounds. High tempos. Hype synths. Music that celebrates the ravenous release found on the dancefloor.




Another hit from the label is Ewan McVicar's soulful yet ecstatic interpolation, “Tell Me Something Good.”




Following the reignited trend of sampling vocals from a past era, McVicar literally just took Rufus and Chaka Khan’s vocals from the 1974 classic of the same name, threw it over a four-on-the-floor kick, a storming bassline, and made it ravey as hell.




It’s almost as if the larger-than-life synths (laid out in a call-and-response-fashion) are the “something good” that Khan wanted to be told.




More than these tracks being hitters at the club, the high streaming numbers (“Tell Me Something Good” has over 60 million on Spotify) indicate that people listen to them casually. In the car. On their headphones.




People are sending these tracks to their friends to spread the word of the rave, and not too long ago, ravers were afraid to spread that word. There were quite a few years in dance music history when the word “rave” was straight-up taboo.




There’s always been some stigma around raving—hence the introduction of the RAVE Act in January of 2003 by Joe Biden—but the tragic death of a 15-year-old attendee from a drug overdose at EDC 2010 in Los Angeles made the word “rave” even more divisive.




Telling someone you were into raving took a certain amount of trust, as those outside the culture often sneered upon hearing the term. No matter how you presented yourself day-to-day, all skeptics could see was someone out of their mind on substances in a fluorescent, scanty outfit.



Often, people would keep their raving inclinations secret to avoid the ire of judgemental people whose only reference was what they heard on the news. Good thing ravers had the dancefloor. Caging one’s true self uses up a lot of energy. A place to release it is required.




The industry was distancing itself from the term as well as event promoters were facing their version of the stigma through uninspiring ticket sales and restrictions from the authorities. For example, following EDC 2010, large-scale electronic events, like those of major promoters such as HARD and Insomniac, were banned from Los Angeles.




In the trailer for HARD Summer 2015, the event’s founder, Gary Richards (a.k.a. Destructo), says:




“HARD Summer’s not a rave. It’s a music festival.”




Whether that particular event was or wasn’t a rave is debatable (although having headliners like Jack Ü, Zeds Dead, Dillon Francis, and Porter Robinson is pretty darn ravey), but the fact that a prominent member of the rave scene like Richards would make that distinction is demonstrative of how the public perceived the term.




Yet another, and the most prominent, way the stigma towards the word “rave” manifested was through the music.




EDM, the music that opened the floodgates to clubs and festivals in the United States, is rave music. What it lacked in tempo, it made up for in having the biggest synth sounds known to man (hence the subgenre most associated with EDM is called “Big Room”).




The current wave of rave music, came in response to a massive release of energy. America finally understood the power of dance music, and they were throwing themselves at it with full force.




But eventually, the stigma against the “rave” caused the fall of EDM.




EDM is one of the most stigmatized terms in music, and perhaps popular culture. Something about that sound and the massive parties that came with it has never sat right with those who prefer gentler genres.




Anthony Gonzalez of M83 just reignited the stigma in a recent interview with Consequence stating:




“EDM is probably one of the styles of music that I hate the most. All of a sudden, I have these bro EDM DJs playing my music, and I just can’t even care less. Sometimes I wish that I could erase that fan base but I don’t think it’s possible to do that.”




While EDM was at its peak around 2012-13, most ravers shrugged off the stigma (as they should because that music is still so much fun), but eventually, the sneering took its toll.




People started looking for music that belonged in their newly christened environments of clubs and festivals but wouldn’t carry with it any judgment from the outside.




This intention brought about the rise of pop-friendly and more reserved dance acts like Disclosure and Gorgon City. Likewise, the oh-so-chill subgenre of tropical house and its purveyors like Kygo emerged from this era.




All those artists and their cohorts are certainly talented artists who earned their place in the ranks of dance music (especially Disclosure since Settle is a masterpiece), but their music is not at all ravey.




Big songs from this era, like Disclosure’s “Latch” and Gorgon City’s “Ready For Your Love,” are light, groovy, and chill. They carry a different energy altogether.




This era of music was not about a release. This music was about widespread appeal. Welcoming those alienated by the ravey-ness of EDM into the dance music fold, and these segue artists reaped the benefits.




Sam Smith was nobody before Disclosure featured him on “Latch,” and now he’s one of the biggest pop artists in the world. Such success can only come from universal appeal. Hence why Sirah, the vocalist featured on some of Skirllex’s biggest tracks in the EDM era, never made it big on her own.



The same artists emphasized their disconnection from the rave via their live sets. Raving relies on DJing. The constant flow of music that comes as a response to the crowd’s energy is essential to the experience.




In the first wave of their success, Disclosure, Gorgon City, and Kygo all opted away from DJing and implemented a live set.




Gorgon City brought a whole band on the road, featuring a drummer and vocalists. Disclosure and Kygo had hardware setups that featured beat pads and live instruments like bass and piano.




This was the furthest dance music ever went from the rave.




What brought about the change once again comes down to energy. Many who dipped their toes in the dance music waters with Disclosure were welcomed into the community with open arms by the ravers (because the ravers were also down for Disclosure, too).




Suddenly these new people realized the dancefloor was a place to release their energy. They saw that maybe those ravers were on to something before.




Then came key artists like tech house mavens FISHER and John Summit, who ushered in this transition.




Just like Disclosure was the segue from pop to the dancefloor, FISHER and John Summit were, to the dismay of the underground, segues from the dancefloor to the rave. Their music isn’t super fast or overly hype, but it has a more party-driven sound than Disclosure and the like.




Now intoxicated by the release of energy, everyone stopped caring about pop features from artists like Sam Smith. This is demonstrated by Calvin Harris’s new album, Funk Wav Bounces Vol. 2, in which none of the tracks have more Spotify streams than “B.O.T.A.” despite featuring superstars like Dua Lipa, Justin Timberlake, and Pharrell.




No, what people care about when it comes to dance music in 2023 is the former word of the title: dancing.




Showing up in a place where the music is loud as hell, they can dance however they see fit. It is a place where they can release all their energy pent up from a default world that’s increasingly anixiety inducing and stricken with turmoil, where the music reflects that release.




The name of that place is called the rave, and after raves were taken away from the world for almost two whole years, in some places even longer, any sort of stigma is irrelevant.

The World Has Once Again Fallen in Love with Raving

Underground dance music was built on the back of bootlegs. Cheeky remixes of notable hits bring an air of imagination and welcome surprise to the dance floor, especially when they are unofficial and unreleased. Commonly crowd favorites and commonly unapproved, these rewrites tap back into the counter-cultural and anti-establishment roots of the underground. While many bootlegs remain in the private stashes of those who created them, some occasionally cause such a stir that their delivery is inevitable. Enter Odd Mob’s “LEFT TO RIGHT.”





Like many artists, Australian producer, Odd Mob, turned to Twitch streaming during the Covid-19 shutdown. While these streams commonly provided artists with a no-pressure space for performance and experimentation, one of Odd Mob’s experiments would take a life of its own.


“LEFT TO RIGHT” started as a silly bootleg that I made on a Twitch stream,” the Aussie shares. “It was floating around the internet for a few weeks, then out of nowhere a clip of Dom Dolla playing it at Red Rocks in the snow appeared. Next thing you know, Disclosure is in my DMs, Diplo’s giving the track a spin, and Dom’s sharing requests for it from heaps of the biggest DJs in the world.”


Chris Lake, John Summit, Dillon Francis, ACRAZE, CID, DJ Boring, and many others join Dom Dolla, Diplo, and Disclosure on the long list of artists featuring this golden nugget in their sets. While it proved to be one of the most coveted IDs on the circuit, the official release of “LEFT TO RIGHT” did not come easily.


When your track bootlegs one of the most popular songs of the 00s (Soulja Boy’s “Crank That”), it’s bound to run up against some red tape. Soulja Boy, however, proved to be an ally of the underground as he gave his stamp of approval, clearing the way for Odd Mob’s “LEFT TO RIGHT” to find its way into playlists and flash drives—big up’s Draco.

We’re Bouncing 'LEFT TO RIGHT' with Odd Mob’s Anthemic Banger

Franky Rizardo has captivated the electronic music world with his unique sound and immersive experiences. In this article, we're sharing five short stories that offer a glimpse into the life and career of this talented artist, to deepen the connection between Franky Rizardo and his fans. 



The Spark of Passion: A First Encounter with Music Production

Franky Rizardo's love for electronic music was ignited during a visit to a friend's house as a teenager. He was fascinated by the music software program on his friend's computer, which allowed them to create their sounds. This encounter sparked Rizardo's interest in music production and marked the beginning of his journey into the world of electronic music.

From Trance to House: The Evolution of Rizardo's Sound

At 15 years old - Rizardo's initial interest in electronic music was rooted in trance, with artists like Tiësto fueling his passion for the genre. However, as he became more involved in the music community and shared tracks with friends, Rizardo discovered house music and was captivated by a DJ Roog set from Mysteryland 2000. This moment led him to embrace house music as his signature sound.

A Serendipitous Start: The Birth of FLOW

The creation of Rizardo's events brand, FLOW, began when Dutch radio station SLAM! invited him to host a weekly show. What started as a simple radio show quickly evolved into a full-fledged events brand, as Rizardo and his team began producing live events that centered around the FLOW state of mind. Today, FLOW has grown into a major force in the electronic music scene, producing nearly 25 shows annually and hosting stage takeovers at renowned festivals like Tomorrowland and Mysteryland, whilst organizing its own FLOW Festival as well.



A Special Day at Thuishaven: An Unforgettable 10-hour set

One of the most memorable moments in Rizardo's career was his first performance at Amsterdam’s iconic Thuishaven Venue. There he played a 10-hour set - the energy in the room was electric, and Rizardo was able to connect with the crowd in a way he had never experienced before. The memorable day reaffirmed his love for performing and his dedication to creating immersive experiences for his fans.

The Power of Remixing: A Track with a Lasting Impact

Rizardo's remix for Blue Boy’s classic "Remember Me" is a testament to the power of remixing in music. Upon receiving the request to remix, Rizardo was blown away by the track's potential and immediately went to work in the studio. The positive reception from audiences made it a standout project in Rizardo's career.

These five short stories provide a glimpse into the life and career of Franky Rizardo, revealing the moments and experiences that have shaped him as an artist. By sharing these stories, we hope to deepen the connection between Rizardo and his fans, allowing them to better understand and appreciate the person behind the music. Moreover, Gray Area's mission is to build a stronger, more united house music community!

Beyond the Beats: 5 Short Stories That Showcase the Depth of Franky Rizardo

Dutch-Carribean brother-sister duo Shermanology, continue to impress house heads with a sound that beautifully marries stylish soul, low-end forward beats, and just a touch of that garage groove. Dorothy and Andy Sherman, whose individual musical backgrounds run the breadth of modern music, have found a sonic sweet spot that's let them drift in their own lane. And while this isn't their first foray into dance music, it is their most authentic.



Ahead of their New York show at Superior Ingredients, we chatted with Andy about career milestones, setting trends, and how their lifelong family connection to music continues to this day.

What ignited your love for dance music, and who were the early artists or influences that captivated you?


I think our earliest memories that we had was like Soul II Soul. That was one of the groups when we were kids. When those guys came out it was still electronic, but soulful and that was a sound that just stuck with us.





Can you recall a transformative experience or milestone in your life or career that profoundly influenced your musical style and direction?


Something that really changed everything for me, Andy, as a producer, was when I moved to the UK and I saw this UK garage feel where they still used full vocal tracks, but still had a lot of energy in the baselines, in the drums.



There were some guys like Todd Edwards, Karl "Tuff Enuff" Brown, Artful Dodger. I really like that sound, and I think a lot of things, and that we do right now with Shermanology is based on the same concept of a full vocal, but still solid sound-wise in the clubs.



Describe your creative approach when crafting a new track, and how do you maintain a constant source of inspiration?


We never have a similar approach with any track that we do. Sometimes we start from a vocal that Dorothy has in her phone. Sometimes it's from a beat that I create and Dorothy writes on top. Sometimes I hear a sample or Dorothy hears a sample somewhere and she's like, okay, we should try something like this.



Every track we make is different. Even when I start a production, I don't have a template that I open. I never use the same kick, the same clap. I always start from scratch. And I think that's what keeps it fresh for us. You know, I never like repeating so people tell me like, yeah, why don't you do a follow up for, for example, "Boyz N Da Club" And I'm like, no, I never do follow ups. We just do whatever the heart feels. And that's the source that we dig in every time.





What obstacles have you encountered within the music industry, and what strategies have you employed to forge a thriving career?


A lot of people are for hypes and every time a hype comes around, you see DJs jumping on a hype. Early in my career I used to do that, like see what everybody's doing and then create something in that sound. But for us, when everything started moving for us was when we let that go and the moment that we just did whatever felt right, the rest just fell in place.

And I think that's the strategy that kept us in the game for quite a long time. I mean, we had a period of five years before everything that's happening now where we had a really long dip where we didn't know what to do and where we wanted to go. But we just said, you know what? Let's just follow our heart. And from that point, everything started moving again.



Can you recount a significant collaboration or project that expanded your artistic horizons and left an enduring impression on your work?



A significant collaboration or project that expanded our horizon was the track "Bon Bini" that we made for Jamie Jones and Hot Creations. We always had this vision where we wanted to use vocals that people would normally not use in an electronic track. And Dorothy found this track, the acapella, from a Bulgarian choir and we were like, "you know what? Let's remake that choir and do that in house music." 

When we started with the track, we didn't know what direction we were going with the production. So, when that one landed, we were like, "you know what? Challenge accepted." Every track that we do let's just see how crazy we can go with, with the vocals, how unexpected. And I think that was a track that really showed myself as a producer that you can create electronic music or house music with any type of vocal.






Do you engage in any rituals or pre-show routines to mentally and emotionally prepare for performances?


Yes, we do have a ritual pre-show. We always like to just take a step back and go into a quiet zone. It's sort of a meditation just to, you know, go into yourself.



Just get the feeling of gratefulness that every step that we are making has a deeper meaning than just doing a show. It's something where me and Dorothy come together. We just chill for the bigger shows. You know, a lot of times there's praying involved too.



So we do have a ritual where Dorothy and I just take a step back from all the madness. And just stand still with the blessings and everything that's happening.



What guidance would you offer to emerging dance music artists seeking to establish themselves in the industry?


Don't look around too much at what everybody else is doing, because everything that you're seeing is already there. Dig deep into yourself and really understand what you stand for. I think that, is the winner, you know? And maybe it will take a lot of time before you find the formula that works for you, but once you have it, no one can take it away. Nobody can copy it because it comes from a deeper place within yourself. 





How do you foresee the evolution of dance music, and what emerging trends do you believe will define the genre in the near future?


You have a lot of sub genres getting the chance to shine again. I can see the UK garage, I can see the drum and bass, I can see the more soulful side. I think that's really healthy, for the scene to give the people the chance to do whatever they do, whatever they feel. And it was a couple of years that disappeared. You know, you have less boxes, you can get a techno guy in the lineup with a soulful guy and also with an afro act. So I just really like how everything is blending.





Describe one of the most unforgettable gigs of your career and what made it so memorable.


We had a booking in Curaçao, on our island where we were from, and our whole family was backstage and standing with us on stage. And we have a big family! So we had, I think 30 or 40 aunts and cousins and everyone on stage. And then my dad just grabbed the mic and started singing. And that was the first time that we heard our dad sing on house. To share that moment with him on stage, I think that was one of the most memorable things for us personally. You know, we have like other big gigs that were good for the vision of where we wanted to go, but I think this was the most memorable one.



Which three cities top your list for exceptional restaurants and culinary experiences?


There is one in Rotterdam, that's called La Bandera. It's a Dominican kitchen, and it's just amazing. In Curaçao, you have the Fish's Corner. That's where they just get the fish straight out of the sea. You sit next to the beach and you just eat the fish just right there. I think that one is a really, really good one too. In Suriname you have a place called Roopram Roti, and you get Roti. It's a dish where you have a big pancake and you have all your meat, vegetables, potatoes in there. 



If you were to play a professional sport, which would you choose and why?


I would be an MMA fighter for sure. When I was a kid, I was really good at martial arts and at the age of 12 I was the Dutch champion. So it was a really good passion of mine and I need it, you know, I have a lot of energy, and sometimes I have mood swings. So this was the perfect way for me to just have an outlet to let it all out. I still do my kickboxing once or twice a week just for the exercise. 





If you had the opportunity to join the cast of any existing movie, which film would you select and why?



Coming to America, every time I watched that movie, I just thought Eddie Murphy and the whole cast was so good. And it just hits home, you know? When you move to a different country, we've moved around a lot in our lives. We went to Holland, we went to Curaçao, Dorothy moved to Greece. I moved to the UK. We moved back to Holland. So we can really relate.




What type of cuisine resonates most with your palate?


We have a lot of different kinds of food that we really like. I mean, we love sushi, we love Japanese, but we also love our Thai food. Caribbean cuisine is something that, everywhere we go around the world, especially in South America, we just go around just eating the whole day, just trying stuff. So it's a combination of different cuisines.





When it comes to performing, do you prefer indoor venues or open-air settings? Why?



When it comes to performing we both like both, because with the indoor places there a lot of times where you feel the energy. I like the underground dark kind of clubs where you don't have a lot of lighting and it becomes more of a vibe kind of thing. But then again when you're at an open-air festival, where the energy is so high that you can still feel people screaming and jumping, they both have their own charms. So I cannot say which one I prefer, but yeah both are good.




How do you balance the demands of touring with your personal life, and what strategies do you use to stay grounded?


We've had years that we were touring and everything was just about chasing gigs. At a certain point we got to a place where it became work. And this time around we just said, no, we want to tour, but we're not gonna kill ourselves doing 20 bookings a month. At the moment we balance it out where we do a couple of gigs, we fly back home, we spend time with our people, we spend time with each other. We try to get as much exercise as possible on the road. We don't go to the junk food places like we used to. We just take more time and eat healthy.



So I think with that balance, it's possible to tour and still have a good time because, we've seen a lot of people around us chasing money and in the end they were left with nothing because their health was so bad you know? And it's all about feeling good mentally because if you are on stage and you're not at a good place, you cannot give 100% and the crowd will also feel you're not in a good place. It all ties in together so if the balance is right, life is good.



What role does technology play in your music production process, and how do you think advancements will impact the dance music scene?


Not really. We're still in a place where we come together and we write the song just with a keyboard or a guitar, or sometimes it's instrumental that inspires us from someone else online, and then we flip it. When I see what's happening with the AI and all the people using it to create chords and to create beats, it's an evolution that we can't ignore, you know? Everybody has to do what feels good but I just like the song to get there organically. Yeah that's the part that you hear back in our music. And who knows what the future holds? I will never say that I won't do it because if something inspires you, you should use it. I'm not a keyboard player, I’m not a guitar player so, maybe AI can help me to get some chord progressions that I wouldn’t think of.



Can you share an experience where fan interaction or feedback profoundly affected your perspective as an artist?



An experience that changed a lot for us was we had a tour in Asia, and this girl, she was sick and she was telling us, "yo, I want to come to your concert next time. This time I can't make it." And at the start, we were really in touch with her for a couple of weeks, you know, talking to her and suddenly it went silent. And we never knew what happened with this girl. And that really had a big impact for us. 

As an artist sometimes you don't understand how big the impact of your music can be on someone, and how it can help them through difficult times. I mean we really try to reply to everyone who speaks to us on social media because we really know that without the fans we wouldn't even be playing you know? Sometimes it's hard to keep track to talk to everyone but I think the fans are really important with every step that we take along the way.




How do you approach the process of remixing a track, and what elements do you consider when reinterpreting another artist's work?



Yeah, I mean we don't remix a lot but I just recently did two remixes, one for Fat Boy Slim, and one for Todd Edwards. When we remix a track, I just pick out my favorite elements, for example, the elements with Fat Boy Slim Remix. I just took the vocal and in the Todd Edwards track, he had chopped up vocals with chords and some tracks. With the Fat Boy Slim remix, I had a lot of inspiration to change the whole instrumental underneath and I just didn't want to touch some elements because the production was so perfect that I just took his parts and changed up the drums. I added a spoken word to it, so I made a whole new interpretation but still based it upon his work. So with every remix, I approach it differently.




What message or emotion do you aim to convey through your music, and how does it evolve as your career progresses?


Lately I was producing quite, the club bangers, you know, peak moments in the set. And the last few months we felt like, okay, we have the peak moments. Now, I still miss a couple of moments in my set. I miss the musical part where we really go soulful. A part that I really missed was my Latin drums and my more soulful kind of vibe, like the Kenny Dope and the Masters At Work kind of feel. So I've been doing that the last couple of months. 

Our set consists of almost all original music. We don't play a lot of other people's stuff, and that's not because we don't like their stuff, but we just like to keep the energy as close as to ourselves. Our set has to be a representation of who we are. So that's how it evolves through our career. You know, I just fill in the gaps where I feel like, okay, we need a deeper moment in the set than I go in and create something that suits my sound or the set. And that's how me and Dorothy go back and forth the whole time trying to create a whole journey in the set. So we can go from funky to deep to Latin, to banging. 



How do you stay connected to your fan base, and what methods do you use to engage and communicate with them?



Yeah, we really like to stay as connected as possible with the fans. Like we reply to every DM, we reply to almost everything that they send on Facebook or whatever platform. I think it's really important to just communicate with them because it's important to know what they think, and the more they understand us, the more they understand the steps that we're taking along the way. So yeah,I see it as if someone talks to me like in real-life and I don't reply, it's rude. And the same method I use on social media. If someone asks me something, I always try to give a meaningful answer for them to get a reply like it's a normal conversation.

Unlocking the Beat: Shermanology's Passion, Evolution, and the Future of Dance Music

The Atari Lullaby 

Growing up with a musical family, Andy and Dorothy Sherman were exposed to a constant stream of music. Their father worked on songs day and night, and the siblings even recall the metronome from the Atari being their lullaby. This early immersion in music helped shape their passion and love for the art form, which would later define their career as the duo Shermanology.

Dorothy's First Gig

At just 13 years old, Dorothy was offered her first professional opportunity by her father. He placed a stack of money on the table and told her it was hers if she provided backing vocals for one of his songs. Dorothy accepted the challenge, and this experience ignited her passion for singing, eventually leading her to form Shermanology with her brother Andy.

Andy's Artful Dodger Adventure

Before forming Shermanology, Andy had an opportunity to replace Craig David as the front man for the iconic UK garage outfit Artful Dodger. As he traveled the world performing, Dorothy discovered her love for dance music. When Andy returned to Holland, he invited Dorothy to join him on stage, which ultimately led to the creation of their duo.

Pivoting from EDM

Shermanology started their journey in house music before shifting to the EDM scene. Although they experienced success there, they realized that their true passion lay elsewhere. So they decided to take a risk and pivot their sound, focusing on a unique blend of tech house and their Dutch-Caribbean roots. This decision ultimately led to a more authentic and fulfilling musical journey for the siblings.

Bon Bini's Emotional Tribute

When creating their EP "Bon Bini" with Hot Creations, Andy and Dorothy faced a challenge when the rights holder for a sample they used wouldn't clear it. They decided to rewrite the lyrics in their native language, Papiamentu, as a tribute to a friend who had recently passed away. This emotional and personal touch transformed the track into a poignant representation of Shermanology's authentic sound and musical style.

From Atari Lullabies to Soulful Grooves: 5 Unforgettable Stories Behind Shermanology's Rise to Stardom

Drawing from a diverse drumming background in jazz, soul, funk, and metal, years spent playing in bands, writing, and recording his own music, Spencer Brown's steadfast dedication to his childhood fascination was instrumental in sculpting his triumphant career as an artist. Knowing that the live experience could only solidify his emotional connection to music, a young Spencer slipped into a concert at 13—an early sign of the kind of cheeky and intrepid nature it takes to innovate in the ever-changing world of dance music.




The DJ has the power to control the heart rate and movement on the dance floor. Think about it. The BPM slows as the track slowly fades away, leading the entire room to adjust its pace and groove. The bass rises, and the BPM stays steady, causing your body to move with more intensity. It's as if we are all under a spell, with the DJ at the helm of our rhythmic flow, effortlessly controlling it with just the touch of their fingers. Brown’s early intuitive knowledge of reading a room worked in his favor by allowing him to channel his crowds' energy and sense of desire.

He remarkably embarked on his journey in dance music, opening for the iconic Avicii at the Hollywood Bowl. His debut EP, Chalice/Double Down came out on the late producer’s LE7ELS imprint shortly thereafter. Brown was only 18 and was juggling his Duke University studies and maintaining an active social life.




That was a defining moment in his perception of turning this lifestyle into a lifetime career. After releasing his first album, Illusion of Perfection, in 2018 via Above & Beyond’s Anjunabeats, Brown dipped his feet into the dark side when his brooding techno thumper, “Windows 95 on Acid,” was signed by one of his idols - deadmau5 and hit #1 on Beatport. Brown’s sojourn outside of progressive proved he could conquer any dancefloor.

In 2021 he unveiled the minimal, emotive “18 Min Loop” on his imprint, diviine. It clocked in at 18 minutes of floating melody and magnetic bass. Maintaining a limit during the creative process presented the idea that artists can embrace constraint and create engaging music, even with limited elements. Too many options sometimes dilute focus.



Spencer Brown's approach to his career embodies the essence of the saying, "If you love what you do, you'll never work a day in your life." The unwavering energy he directs toward his art, without allowing the music industry’s competitive nature to interfere, illustrates the utter fulfillment and joy found while pursuing one's true calling.






How did your passion for dance music begin, and what were your earliest influences in the genre?




I came from a drumming background, everywhere from jazz to soul and funk to metal. I was always playing in bands, writing, and recording my own stuff growing up. I found electronic music in 2007 or so on the internet. I was fascinated by how you could make music entirely using your computer. After sneaking into local shows as a 13-14-year-old, I fell in love with the community and knew it had to be my life. I had actually been DJing since I was about 10 or 11 at small birthday parties and small events for friends, but I shifted to DJing electronic music when I was 13-14. I think this early education of reading the room greatly helped my skills today. It also helped put things in perspective. I don’t do this for fashion or to be the center of attention. It comes purely from the heart, continuing a childhood fascination that has never stopped!

Can you share a pivotal moment in your life or career that significantly shaped your sound and artistic direction?




There were many pivotal moments off the top of my head, and each step shaped who I am and how I play. Going from an 18-year-old, DJing high school proms and making music on earbuds to doing an EP on Avicii’s label and opening for him in stadiums was quite a shift. I think that was the moment when I realized this could be something I do as a “job.” The next shift, was signing my first album in 2017-2018 and touring with Above & Beyond on a bus, and collaborating with them. What an honor! At the time I was making a very melodic progressive, and around this time was when I could first sustain a comfortable living only off my music. So grateful for that period of life.

Shortly after the album, in 2018, another one of my idols — deadmau5 — signed one of my techno tracks called “Windows 95 on Acid” which ended up hitting #1 on techno and opened many doors. After releasing #1s in techno, progressive house, deep house, and trance, it solidified that I can make whatever I feel. A genre is limiting. The fun begins when you cross-pollinate.

The next shift was around 2020-2021—the pandemic. I felt like pushing my creative boundaries into more experimental progressive and techno, aligned with my taste. Stuff that’s a little off the beaten path. My inspirations like John Digweed, Sasha, Hernan Cattaneo, and Dubfire started playing my music, which led to another wave of creative confirmation and gratitude.

The lesson here, after reflecting, is always trusting my heart and taste. Always look forward, not sideways or backwards. If I ever chased something trendy that wasn’t aligned with my taste, I wouldn’t be able to keep doing what I’m doing.




What is your creative process like when producing a new track, and how do you stay inspired?




Output requires input. If I’m not inspired, I do other things. I used to try to force myself to make music all the time. That’s not what I do anymore. If I desperately feel like making music, I capture that moment, which can usually last anywhere from one day to one week, sometimes two weeks. I enter some strange flowstate where I can’t stop writing. By the end, maybe I’ll have written ten new tracks. Once that is over, I just do other things. If I spend enough time away from producing, I feel the pull again.

What challenges have you faced in the music industry, and how have you overcome them to build a successful career?




People can treat this industry, like many industries, as a big competition. Who can be the biggest? What sells more? What I realized, is that chasing being “the best” is a never-ending battle—there is always someone “ahead” of you. The solution is simply not letting any of that energy affect me. It doesn’t matter. Focusing on my craft, having fun, and delivering something I’m passionate about is what matters.




Can you tell us about a memorable collaboration or project that pushed your artistic boundaries and had a lasting impact on your work?



One of my favorite EPs I’ve put out is Silver Linings EP on Last Night on Earth. I made it during the pandemic. It was the first release that I made something abstract but also emotional and groovy. “Cumulonimbus Incus" was an introspective piece and one of the most pivotal tracks of my career. It’s easy to rely on more obvious melodies and chords, but this project was entirely manipulated audio recordings. Being able to take loads of audio files and turn it into something cool without touching a piano or MIDI note was a challenge.

Another track called “18 Min Loop” (with which I launched my label diviine) was one simple melody and one bass sound that I tried keeping interesting for 18 minutes. A single eight-bar loop. It’s all automation and manipulation of only six or seven channels. Limitation is one of the most important concepts in my creative process. Too many choices, corrupts creative energy.




How do you approach performing live, and do you have any rituals or preparations to get into the right mindset?



I never plan my sets, but I heavily organize. I don’t know the first track until seconds before I play. I separate my music into playlists for the night, so I can remain in flow. Feeling the energy of the crowd steers the set. As someone who plays quite diverse, I can’t come in with a preconceived notion of how the night should be.

What advice would you give to aspiring dance music artists looking to make a name for themselves in the industry?




Figure out who you are. You are different from everyone else. What makes you unique? Be in touch with the flow of your evolution, capture it in sound. For DJing, my advice is don’t play the charts. Don’t play what’s hot (unless it’s your track). Spend that time digging for undiscovered yet hot stuff. Anyone can stand up smashing out the hits. If you can make a crowd go equally crazy playing stuff they’ve never heard, that will turn heads.




How do you envision the future of dance music, and what trends do you think will shape the genre in the coming years?

I wish I knew the next trend, so I could steer away from it.

Spencer Brown: Trusting the Heartbeat of the Dance Floor & Igniting the Flow

The Acid House Revival

Archie Hamilton was raised in a household with rave-loving parents who immersed him in the dance culture of the 80s and 90s. One day, while listening to his mum's old acid house and jungle tapes, Archie decided to pay homage to his roots by blending classic rave sounds with modern electronic elements. 

The result was a new sub-genre that brought the rebellious spirit of acid house back to life, sparking a massive revival and connecting a new generation with the sounds of the past.

Fabric Room 1

Archie's life changed forever when he found himself in Fabric's Room 1 at 6am, listening to Octave One's "Blackwater". The experience ignited a burning desire to pursue a career as a DJ and producer. Years later, Archie played the same iconic track at the club that had inspired him, and in that moment, he knew he had achieved his dream.

The Groove-Driven Journey

Through his travels, Archie Hamilton was exposed to a wide array of music styles, which he eagerly incorporated into his own productions. However, his constant pursuit of the perfect groove remained the common thread that tied his diverse sounds together. 

As his career progressed, Archie continued to evolve as an artist, experimenting with new styles while never straying far from the groove that defined his music.

The Making of a Vocal House Classic

When Archie collaborated with singer HQA, he finally had the opportunity to create the classic vocal house record he had always dreamed of. As they worked together, the chemistry between them was undeniable, resulting in a track that exceeded their wildest expectations. 

The success of their collaboration not only pushed Archie's artistic boundaries but also solidified his place in the dance music world.

AI's Impact on the Dance Floor

As AI began to revolutionize music production, Archie Hamilton contemplated the potential consequences of this new technology. Despite the opportunities it presented, he worried that AI-generated music might eventually overshadow the work of human musicians. 

Determined to preserve the authenticity of the genre he loved, Archie spearheaded a movement to preserve the human touch in electronic music, ensuring that the future of dance music remained rooted in the passion and creativity of its artists.

Five Inspiring Moments in Archie Hamilton's Journey

The Record Store 

Kerri Chandler reminisced about his first experience in a record store, guided by his father. He recalled his excitement as he picked up a few 45's and ran home to play them on his turntable. 

The first record that captivated him was John Coltrane's "My Favorite Things," which remains a benchmark for him to this day. This formative moment sparked Kerri's lifelong love for music and set him on his path to become a world-renowned DJ and producer.

The Welder 

Before embarking on his music career, Kerri Chandler had a job as a welder, even though he was underage. Despite the dangers, he loved the camaraderie and skills he gained at the job. However, an incident with his shirt catching fire convinced him that it was time to move on. He later became a travel agent and took on various odd jobs before ultimately focusing on his true passion: music.

The Porsche 

When Kerri Chandler first started making money as an artist, he indulged his fascination with Porsches and bought one for himself. However, within a week, he flipped the car in an accident. Although he emerged unscathed, he took it as a sign that he shouldn't have the car and gave it to his uncle. The experience taught him to be more thoughtful about his purchases and priorities.

The Sub Club 

Inspiration while creating his album "Spaces and Places," Kerri Chandler found inspiration in the unique characteristics of the clubs he visited. At Sub Club, he was captivated by the sounds of a bingo hall outside and the vibrations from a nearby train terminal. By incorporating these elements into his music, he was able to capture the essence of each location and make them an integral part of his work.

The Sound Guru 

Kerri Chandler's dedication to sound quality stems from his family's involvement in sound systems and lighting. As a result, he often repairs and adjusts sound systems at the clubs he plays at. His passion for sound even led him to recreate the Ministry of Sound system in his studio. Kerri's commitment to delivering the best sound experience has earned him a reputation as a true audiophile in the music industry.

Kerri Chandler: 5 Captivating Moments in One-Minute Tales You Can't Miss

Every Tuesday night in the summer of 2022, The Martinez Brothers punctuated their inaugural Ibiza residency at Hï with their season slumper, "KILO." Featuring the melodic flow of Dominican rapper, Tokischa, it was easily their hit of the residency. After finally releasing the slinky simmering banger late in 2022, the boys recently dropped a remix from Brazillian badman Beltran.






Keeping Tokischa's vocals and that smooth marimba-esque synth line front and center, Beltran does what he does best, amping up the energy by giving it a more forward drum rework and a bassline with a spitfire groove.




Beltran hit the top of the Beatport Tech House charts in 2022 with his #1 hit, "Smack Yo.'" Released on Michael Bibi's genre-defining (and defying) label, Solid Grooves, the track picked up widespread support from across the house spectrum with everyone from Gordo and Marco Carola to Solardo, Pete Tong, and fellow Brazillian brethren Vintage Culture, Classmatic, and Mochakk, all dropping it in their sets.




Beltran told Beatport that he grew up almost completely unaware of the massively influential scene in his native country. "I'm from a small town in the south side of Brazil, and because of that, the only contact I had with electronic music was because of my brother and cousins," he said in a 2022 interview. "As I grew up, I started attending local events/clubs and saw that we have a big and amazing scene here in Brazil, the people really get into the story you're telling within your set, and that is the best feeling for a DJ."




Even before having the honor of remixing the Martinez Brothers, the young producer's catalog was a rich offering. He debuted on Cuff in 2022 and later in the year also dropped his follow-up to his Beatport chart-topper, "Warning," on Revival New York.




With only a year of releases under his belt, he's impressively aligned himself with some of the best in the business. We can't wait to see what other tricks Beltran has up his sleeve.

Beltran Amps Up the Energy With His Remix of 'Kilo'

It's been nearly two years since I last spoke to New York DJ and producer Westend, né Tyler Morris. And while the setting of our hour-long conversation is the same, he speaks to me from his light-filled New York apartment, the circumstances of his constantly evolving career have shifted. He's just returned from playing EDC Mexico's mainstage and dropping his first collab with longtime friend Noizu, "Push To Start." Currently ranked the seventh best-selling tech house artist on Beatport and number 23 in all genres, it's safe to say that he has evolved beyond emerging.



Morris ascended to the top of the game, pushing the then-rising sound of new tech house. Once an underground staple, the playful subgenre is now the sound of the mainstage, yet when we last spoke, he intended to find new ways to push beyond its impish bounce and inject more emotion into his music. Over the last two years, it's gone well. Tracks like "Moderation (At Night)" and "Running" express a newly discovered sonic range and a deft handle on the importance of balancing heart-swelling vocals with soaring melodics that stretch the limits of the massive sound systems he's now finding himself playing on.



"I pretty much only made music that evoked a certain emotion, which was party time—weird, wonky house music for the club. I realized that my interests as an artist, a listener, and fan of electronic music expanded outside that," he tells me. "I've always loved more vocal housey stuff and more melodic stuff."



He goes on to explain that not only was this a matter of desire to create a deeper, more visceral connection to his music, he also started to understand there was a ceiling on the power of party tech.



"It's very limiting to play a certain genre of music in all the rooms and places that you play. Once I started to like play in bigger rooms and bigger stages, I found that I needed my own productions to match some of the energy changes that I want. That's why I think you see people like Dom Dolla, John [Summit] playing techno in sets where they maybe weren't playing it before. I think it's also a product of house music artists getting to these bigger stages. We need different tools. We can't just do what would work in a 300 cap club all the time."



His creative expansion has led to collaborative work with various artists, from French-born Latin house stalwart HUGEL to Grammy Award winner (and fellow New Yorker) CID and, most recently, Noizu on "Push To Start."

The latter came after the pair spent a few years passing projects back and forth to no avail. Finally, in late 2022, they hacked their release schedule to force them to make it happen. "It was funny, for 'Push To Start,' we almost started the process backwards, where we committed to finishing a song by a certain day and having it put out. The release was already there."



Having a release date set for a song that didn't yet exist put a fire under them. And when their manager (they are both on the same management team) shared the spicy vocal from No/Me, they knew they could write a ravey anthem perfect for peak hour on any dancefloor.



Noizu has also become a mentor for Morris, advising him on touring, business, and mental health. "It's really good to have someone that's already a few steps ahead of you to [ask] what should I do in this circumstance? He's an awesome person, and we're really good friends."

Morris appreciates the benefit of having a mentor and seeks to pay it forward. After giving some production lessons during the pandemic, he realized that he enjoyed teaching and wanted to find another way to connect with the producer community. He started Kick and Bass, a Discord community where, alongside a small group of coaches, he shares his vast production knowledge with several hundred budding producers. Expanding beyond the stage has been gratifying, "it's such a big part of what I do now, music education and community building," he says.



He recently took this one step further by partnering with Scraps, a new music tech company. If you've ever wanted to take a peek under the hood and see what goes into making one of Westend's hit tracks, you can purchase the entire project file for "Get This Party Started" and "Running" directly from their website.



Morris tells me he doesn't feel production should be a coveted medium. Instead, his production "secrets" are a shared resource. Kick and Bass and Scraps are his way of repaying a debt to a group of trailblazing creators who helped him learn his craft.



Some producers feel that sharing the secret sauce devalues their brand and dilutes the art. Morris disagrees, saying, "It's not a zero-sum game. If I were to share some information that doesn't take away from the space. It took me a bit to realize this. I learned on the internet ten years ago from the people that were the few doing YouTube tutorials at the time. So I owe everything to the people that decided to put resources on how to make music on the internet. I feel indebted to the space to return that favor."



Another institution he feels indebted to? New York's legendary venue, Output. Open from 2013 to 2018. It helped turn a once sleepy stretch of Williamsburg into an international nightlife destination. It's where Morris says he got his house music education. Now under new management and renamed Superior Ingredients, Westend will make his New York headline debut on The Roof this May 5. It's a full-circle moment for him.



"Just the amount of times I went there, the amount of artists I would go to see. That's where I got super into house music in New York. And to do my first proper headline show back there is awesome. I'm sure when I walk into the building I'll feel a little bit emotional because I've just been in that building so much, but it's gonna be really fun. I'm very excited for it. It's probably going to be the most important show I've done so far."



In the two years since we last spoke, Westend made an art out of staying in his lane. He created an entirely new one, setting himself apart from many of his contemporaries and finding new ways to evolve. We can't wait to see what the next two years hold.

Pushing Beyond Tech House: How Westend Continues to Evolve

Walking through Bayfront Park and into the Ultra Music Festival grounds was indescribable. Like a kid walking through a candy store, an immediate sense of being gripped by a symphony of visuals and sounds rushed through our souls, and it was difficult to focus on any one thing.




As we passed by the Resistance stage, the pulsing bass of Anfisa Letyago's set resonated deep within us, beckoning us to come closer and experience the techno side of Ultra Music Festival. The urge to join the crowd and dance like no one was watching was irresistible.




As we continued exploring, attendees drowned in a sea of LED lights flickering and dancing in sync with the beat, every one a symbol of their own unique personal style and expression. Ravers bustled by, wrists adorned with kandee, each bead holding a meaning or cherished memory. The atmosphere is as thick as the Florida humidity as swarms of festival attendees make their way past fellow ravers engulfed in shimmering glitter and joy.






Amidst the throngs of dancers making their way towards the mainstage to catch the performances from top acts like Dom Dolla, Hardwell, and Vintage Culture, a crowd of Ultra Angels formed a shuffling circle at the center of the festivities. The sight of a group of ladies moving in perfect harmony, gliding across the floor with such fluidity that it appears wet, ignites a fire within. Ultra's meticulous attention to detail when it comes to the dancers' outfits is truly noteworthy, as it elevates their presence and perfectly aligns with the festival's energy and theme.




Ultra's Live Stage put us in the mood to break some neck and ride the rail while hiding beneath a pashmina with the stinkiest stank face. We're still basking in the adrenaline-pumping euphoria of Kayzo's debut Unleashed XL live performance a week later. The hybrid DJ and live set featured Kayzo throwing down on the decks, backed by a live guitarist and drummer. The fiery flames, eerie visuals, and the massive cage housing two imposing, glowing-eyed prop Dobermans all contributed to a spellbinding experience that left necks sore.




When it comes to production and set design, Black Tiger Sex Machine consistently delivers a flawless experience that seamlessly weaves together stunning visuals and a compelling narrative, all while unleashing some of the most jaw-dropping bass music you'll ever encounter. They created a mesmerizing multisensory spectacle.




Franky Wah delivered an emotionally charged performance on Saturday, electrifying the crowd with his SHÈN presents energy and dropping his latest single, "Alive," - a collaboration with Vintage Culture. Hearing the song in person was an even more serene experience.




The weather can often make or break a music festival experience, but fortunately, the sun shone bright, and the skies remained clear for three days. The immaculate weather elevated the liberating environment, allowing festivalgoers fully let loose and take in all the outdoor stages and activities without any weather-related interruptions. Miami's warm and balmy climate, paired with the breathtaking waterfront location of the festival, shaped a picture-perfect backdrop for a weekend punctuated by incredible music, friends, and fun.


Beyond the music, Ultra makes impressive use of Bayside Park's space, dotting it with gorgeous art installations and plenty of room to chill away from the crowds. Near the main stage, dancers could recharge in the shade while still enjoying the music and catching a glimpse of Ultra's iconic flower symbol or the truly mindbending Sentient by sculptor Daniel Popper.




For an urban festival, it still felt truly immersive and communal. And despite the din of the surrounding city, Ultra gave everyone a chance to pause the chaos of life for three days, replacing the disorder of the everyday with a sense of togetherness that celebrates life, music, and loving one another.




On Sunday, techno and house took over, with attendees either losing themselves in the pulsating rhythms at the Resistance Megastructure or relaxing on the grass at Resistance Cove. The wonky and fun electric grooves of Dirtybird soundtracked the later's bayside locale amidst a grove of palm trees. Watching everyone melt into the grass while VNSSA was ripping up the decks was the cherry on top of a successful weekend. Having the option to kick back and bop your head to tasteful house or dance on a grassy field surrounded by loved ones is a truly gratifying experience.




The Megastructure is another world entirely. As the King of Ibiza, Carl Cox, closed out Resistance on Sunday, with a set that will be talked about for years to come, I was awestruck by the lights on the Megastructure ceiling as they rose and fell seamlessly with the funky techno rhythms.




Ultra-Miami Music Festival is one of those events to check off the bucket list if you're into diverse lineups, world-renowned artists, visually appealing art installations, and getting a break from reality for three days. If you've already ticked it off your bucket list, it's undoubtedly an event worth revisiting. From the sexy techno beats at the Resistance stage to the neck-breaking rhythms at the Live Stage, to the blissful performances at Main Stage, and everything in between, Ultra Miami Music Festival offers something for everyone.

Putting Reality on Pause at Ultra Music Festival

With the opening of Musica New York, the clubbing scene in Manhattan is experiencing a revival. Occupying a historic location in Hell's Kitchen, Musica is a modern, multi-level venue offering an immersive and diverse experience for clubgoers.

Musica's Origins: From Italy to New York Giuseppe Cipriani, the creators of Musica New York, expanded their successful Italian club concept to Manhattan. Their goal is to revitalize the once-prolific club scene in the city's core, which had largely migrated to Brooklyn and Queens.

A Diverse Musical Experience With a lineup featuring legendary artists like Green Velvet, Victor Calderone, Nore en Pure, Louie Vega, and David Morales, Musica aims to cater to a wide range of musical tastes. From deep techno to soulful house, the club provides an eclectic mix of genres and performances.


The Unique Ambiance of Musica New York Musica's industrial, brick-walled design creates an underground, warehouse-like atmosphere, complete with LED screens and a state-of-the-art sound system. The venue aims to blend the anonymity of a warehouse with the premium club experience.



Three Distinct Floors for Different Vibes Musica offers a versatile experience across its three levels:

The ground floor's Whisper Room features an intimate, old-school vibe with open-format and hip-hop DJs.

The main floor offers a dark, sultry, and sprawling space reminiscent of Manhattan's mega-club era.

The third-floor rooftop, opening in summer 2023, will provide an open-air space for clubgoers to enjoy world-class talent.


A Connection to the Past and a Vision for the Future Musica occupies a space that once housed iconic clubs Space Ibiza New York and FREQ. With its nostalgic atmosphere and modern offerings, the venue aims to become a cultural destination that pays homage to its past while paving the way for the future of Manhattan nightlife.

A New Era of Manhattan Nightlife: A Look Inside Musica New York

“BOOM. The ID you’ve all been waiting on.” That might be the most accurate statement we’ve heard all week, and it comes straight from up-and-coming DJ/producer, Joshwa on his new track, “Bass Go Boom.”





Based in London, Joshwa first stepped onto the scene in 2016. His library and reach have grown with each passing year while fine-tuning his sound with the label Glasgow Underground. Persistence pays off, and in 2021 Joshwa started cracking the code. Beginning with “My Humps,” the Beatport number one that found a home with Lee Foss’ acclaimed Repopulate Mars. Next, he linked with fellow Londoner, Sammy Porter, on the slinky banger, “Eastern Dub,” which was right as rain for FISHER’s Catch & Release records. Joshwa closed out 2022 strong with a string of releases on heavy-hitting outlets Black Book Records, Insomniac, and Ultra.


Joshwa seems primed to continue his breakout in 2023 with the release of his highly coveted ID, “Bass Go Boom.” While only just now seeing official release, the tune has experienced widespread support from dance music movers and shakers like John Summit, FISHER, Danny Howard, Jamie Jones, Solardo, and more. Playing it out in your set is one thing, but signing it is another, and that’s exactly what Jamie Jones and Lee Foss did by nabbing it for Hot Creations.


"Anyone that knows me or has heard a set recently knows this is a staple and marks the next stage of evolution of my sound,” Joshwa shared. “Ecstatic for it be dropping on Jamie’s Hot Creations.”


Hot Creations landed a sizzler with “Bass Go Boom.” This is a bone-rattling, foot-stomping tech house at its finest. The undulating low end is fit for peak UK Bass, but toss in a skittering kit and the vocal punch, and you have a track that will tear up any club. No wonder Summit, Fish, and Jones have rinsed this one out.

The 'Bass Go Boom' On Joshwa’s Highly Anticipated ID

Miami is a year-round hotspot for dance music lovers. Its 24-hour party culture makes it the perfect place for marathon DJ sets stretching for hours. Yet, each year in March, the Magic City cranks the heat up to ten for Miami Music Week. As the dance music community descends on the city’s clubs, hotel pools, and massive venues, Miami comes alive with an endless array of events that touch on every musical taste in the diverse electronic music spectrum.




From the seemingly never closing bacchanal of Club Space to the global festival offerings of Ultra and Factory Town’s laundry list of incredible label shows and one-offs, Miami Music Week is the ultimate endurance test for DJs and dancers.




If you’re heading down this week and still trying to make heads or tails of the hundreds of offerings, we’ve broken down our favorite parties by day and night. Remember, MMW is more like a triathlon than the 50-yard dash. So be sure you’re taking care of yourself while you bender. Check out Guide to Miami Music Week from 2022 for recommendations on what else to do while you’re in town.




Wednesday, March 22nd




DAY

EPIC POOL PARTIES pres. DJ MAG

The Sagamore 

Lineup - ACRAZE, Cassy, Dom Dolla, Dombresky, Heidi Lawden, Jaden Thompson, Kasia, LP Giobbi, Mau P, Purple Disco Machine





NIGHT

Club Space

Lineup - Korolova, Meduza, Miss Monique, Max Stern, + Secret Guest




Thursday, March 23rd




DAY

Heldeep Pool Party

Nautilus Hotel

Lineup - Anabel Englund, Hugel, Kaleena Zanders, Martin Ikin, Miss Monique, Oliver Heldens, Space 92, The Magician, Warner Case





NIGHT

elrow: Miami Music Week Edition 2023

Factory Town

Lineup - Bastian Bux, Chelina Manuhutu, Chris Lake, Daizy, Deeper Purpose, Joshwa, Kerri Chandler, Lee Foss, Mau P, LP Giobbi, MK, Sonny Fodera, Tini Gessler




Friday, March 24th

DAY

All Gone Pete Tong

Surfcomber Hotel

Lineup - Airrica, Chloe Caillet, Damian Lazarus, Golfos (Dennis Cruz B2B Pawsa), Idris Elba, O.Bee, Malone, Pete Tong, Seth Troxler, Tomas Station






NIGHT

Cloonee Presents: Hellbent

Floyd

Lineup - Cloonee, Detlef, Luuk Van Dijk, Seb Zito, Secondcity, Sosa




Saturday, March 25th

DAY

Green Velvet presents LaLaLand Pool Party

Nautilus Hotel

Lineup - DJ E-Clyps, Eats Everything, Green Velvet, John Summit, Miss Dre, Real B2B Rubūke, Shermanology





NIGHT

Anjunadeep Open Air Miami 2023

MAPS Backlot

Lineup - CRi, Eli & Fur, Jody Wisternoff, Luttrell, Marsh, Nils Hoffmann, Sinca





Sunday, March 26th

DAY

EPIC POOL PARTIES pres GLITTERBOX

Sagamore Hotel 

Lineup - Anna Collecta, Catz ‘n Dogz, DJ Holographic, DJ Minx, Eats Everything, Jellybean Benitez, Louie Vega, Musclecars, The Shapeshifters




NIGHT

Carl Cox Official Music Week Closing Party

M2

Lineup - Anifsa Letyago, Bontan, Carl Cox, Enrico Sangiuliano, Guti, Julia Govor, Solardo

Gray Area Guide to Miami Music Week 2023

As Women’s History Month continues, we want to feature the distinguished women in dance music who are causing a commotion in the best way possible and inspiring the next generation of female artists. With Miami Music Week just days away, we’ve compiled a list of talented women who are not only part of the Gray Area family but also guaranteed to deliver mind-blowing sets that will get you and your friends moving and grooving. High energy, lethal USBs, and remarkable crowd control are only a few of the myriad things these ladies bring to the table.




1. Chloé Caillet

Chloé is at the top of her game. She never fails to surprise us with her tasteful choices as a selector and her deep house releases. The DJ, producer, multi-instrumentalist, and record label founder of PVBLIC XCESS hit #13 on Beatport with her infamous track, “NYWTF.” Moreover, her 2023 remix of Tensnake’s “Coma Cat,” hit #1 on Beatport’s house chart only three days after the release! If you haven’t seen her yet, you have three opportunities this upcoming week as she will play: Paradise at Factory Town, Pete Tong’s All Gone pool party at Surfcomber on Friday, and at the He.She.They. party at ToeJam Backlot on Sunday.




2. Jenn Getz & Alfie

The leading dynamic female DJ-duo for the underground music scene in Dubai is coming in hot to Miami to bring their funky tech house spice and kinetic style to the 305. It took them a couple of years to establish a career in a male-dominated environment, but persistence and a grind helped them succeed. Jenn Getz & Alfie’s song “Let’s Rave,” released via Toolroom topped several charts including house, melodic house & techno, progressive house, and was #2 in the top 100 releases on Beatport. You can catch the UK natives at Toolroom’s party on Sunday at the National Hotel.




3. Arielle Free

In January 2022, we spoke with Arielle Free, and she emphasized her admiration and gratitude for powerful women in the music scene. She is a bright light for the next generation of females in dance music. Her leadership qualities have made her one of the leading presenters on BBC Radio 1. “Release I Need” was her latest release that we needed - no pun intended. Get your most excellent pair of shades and dancing shoes because she’ll be spinning at the Defected Record Pool Party on Thursday at the Sagamore Pool.




4. Hannah Wants

Also at the Defected Pool Party on Thursday is DJ, producer, and label boss of Etiquette Records, Hannah Wants. Before music, Wants was a striker for a women’s national football team for close to a decade. After hanging up her cleats, she decided she would strike the ears of dance music lovers. Her dynamic range of rhythms and basslines has raked in close to 600,000 monthly Spotify listeners, 46 charted Beatport tracks, and close to two million track list views via 1001 Tracklists. What Hannah wants, Hannah gets.




5. Layla Benitez

It shouldn’t be surprising to hear this name playing at a massive event like Paradise on Friday. Layla Benitez has long been a staple in the techno, melodic, and deep house world. Not only has she turned heads with her flavorful style in fashion and stage presence, but she is also making a splash with her unique soundscaping sets, and releases. In 2022 she teamed up with Max Milner, for “Fizzy Pop,” via All Day I Dream. The two busted Beatport’s charts, holding the #1 spot in organic house and #2 in overall top 100 releases.




6. Natalia Roth

Space resident Natalia Roth will unleash her minimal house and techno demons at Music On at Factory Town on Thursday. Miami heads are in for a treat as the emerging DJ, producer, and vocalist always deliver a memorable set enriched with textured grooves and stimulating transitions. In addition to being a fierce redhead, she is also a guitarist and pianist and a writer of songs and poems. The world is Natalia’s oyster.




7. Maya Jane Coles

Excelling in every aspect of creativity and music, Maya Jane Coles does it all. A prime example of having a boundless attitude toward her art, Coles has been streamed on Soundcloud nearly 27 million times, featured on over three thousand DJ charts on Beatport, and acquired over 500 thousand Spotify monthly listeners. Her impressive skill set encompassing engineering, producing, and mixing led her to release her debut album, Comfort, via her record label I/AM/Me. Her UK bass alter-ego Nocturnal Sunshine, also does very well, as she swept into over 400,000 playlists on Spotify, and has been streamed over one million times via SoundCloud. Immerse yourself into Maya Jane Cole’s world at the He.She.They. party at ToeJam Backlot on Sunday.




8. Miane


Miane was born in Spain and made for superstardom. Many celebrated labels have released her music, including Black Book, Saved, Knee Deep in Sound, REALM, Rawthentic, and Moon Harbour. Being nominated by DJ Mag in 2012 for best tech-house artist of the year means you consistently serve the music industry with knockout bangers. There is no doubt Miane does as her music has appeared in over 800 DJ charts on Beatport. Even her latest release, “All The Night,” reached the top 15 in techno. Miane’s diversity in sound is worth checking out at the Black Book party on Friday at Oasis Wynwood.




9. Kaleena Zanders

For a month dedicated to women and their incredible talents, it is appropriate to celebrate a woman who has been steady slaying since elementary school. Kaleena Zanders is the definition of zealous and a master at her art. The queer icon lent her angelic vocals to the 2018 Winter Olympics and SNBRN’s 2016 summer hit track “California,” which Chris Lake and Matroda remixed and skyrocketed to #1 on the house music charts. Kaleena’s charisma is undoubtedly honorable, and her sound is pure magic. Her latest, “Vibration” with Shift K3Y, is #4 on Beatport’s Hype: Mainstage chart. Check her out at Thursday’s Heldeep pool party at the Nautilus Hotel.




10. Melanie Ribbe

One of Germany’s born and Jamaica’s finest, Melanie Ribbe, is scheduled to send listeners into a lovesome groove with her magnetic performance and electrifying energy at Drumcode’s party on Thursday at M2. Her music (and her eyes) pierce through your soul. A model and a London Academy Music production graduate, Ribbe has had an epic amount of success over the years, releasing on prominent imprints such as Drumcode, Saved, Toolroom, Moon Harbour, Rawsome, TBX Limited, Woodland, and more. After lending her name to so many label’s releases, she decided to start her own. In 2020, she launched Agape Muzik, an underground imprint that kickstarted in Brazil but was derived from her German roots. Additionally, she founded her event series Unlocked, a home for underground parties. Miss Melanie is killing the game!

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