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




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




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




Origins and ethos




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




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




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




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




Building a local and global family




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




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




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




The sound and the scene




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




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




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




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




Beyond the venue




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




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




The future of community-led culture




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




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




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

Collective Spotlight: Sister Midnight

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



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



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



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


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



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


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



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


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



4. When do you feel most at peace?


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



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


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

Trace Breaks It Down in Five

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




LA-based AK Sports has been making waves that hit way beyond California’s coastline. Their hard, fast, fun techno sets and productions are heavily influenced by rave culture, and with an upcoming EP release on 240 Alles kM/H in March, AK Sports is a force in both live performance and production.




From Bondi to London




AK Sport’s journey into music began in Bondi, Australia, where she threw events and DJed. “I really learned how to read a crowd and get a dance floor going,” they tell Gray Area. “However musically it wasn’t creatively that inspiring.”




On the hunt for deeper creative stimulation, AK made the decision to relocate just before the pandemic.




“So I decided to hot tail it to London just before COVID and was able to cut my teeth at local underground radio stations.”




That’s where they got a taste of playing music that aligns with their own taste, not the crowd’s.




“I got to explore jungle and breaks and deconstructed club and really get into underground producers as well as be inspired by a thriving scene.”




The move refined AK's taste and laid the groundwork for the artist that would follow.




From London to LA




AK’s move to LA was unexpected, but ended up being a defining moment in their career. “I ended up in LA really by chance and truly found a place to launch the AK SPORTS project on a global platform,” they say.




There, she connected with Bianca Oblivion and Star Eyes, identifying a gap in the local scene and to launch an event series focused on UK sounds and global club music.




“We found a gap in the market and post-pandemic we kicked off our WARP MODE very FLINTA-forward event series downtown showcasing UK sounds and global club.”




The series had such strong vibes from the get-go, it led to a major milestone in the city. “This led us to the opportunity to throw LA’s first Boiler Room,” AK says. “And this teamed with releases on London-based taste maker labels is what truly helped kick off my global touring - a real DJ dream!”




Global Momentum




Over the past few years, AK Sports has taken her sound worldwide, expertly balancing respected underground clubs with major international stages including Glastonbury, EDC, Fusion, Miami Music Week and Tomorrowland.




For AK, achievement isn’t measured by lineups or scale, but the unexpected connections formed along the way. “Just traveling and finding out there’s fans in Serbia and regional China feels like an achievement,” says AK.




Despite the scope of their touring, AK remains candid about the challenges of an industry dominated by constant comparison and visibility metrics. “I will flag it’s hard to feel like you’ve achieved anything in this industry when there are DJs blowing up left right and centre,” they say. “Social media is so exhausting but I know I’ve been making progress every year - and that’s really the only measure of success you can use.”




Sound, Energy, and New Music




AK’s sets are defined by speed, intensity and genre fluidity. “My influences remain very European and UK,” they say. “I move between new hard techno and bounce, 2000s hardstyle and trance (but making it harder) and 90s happy hardcore - classic rave throwbacks.”




Their approach often blends contrasting elements, pulling from a wide spectrum of influences while maintaining a consistent sense of energy. “Lots of hybrids that feature psy to rap and different languages. It’s a mixed bag but I think the energy is there. It’s always about 160 BPM and over.”




If you’re going to see AK play for the first time, don’t expect to see any restraint. “Expect hard, expect fun, expect fast - and a plot twist,” they say. “I’m that DJ that’s jumping around on the table and passing out tequila shots.”




You might also catch them asking for a lighter and cigarettes and they’ve banned themselves from chatting on the mic. But it’s this playfulness and personality that makes them so easy to love, and this all carries into their upcoming EP on 240 Alles kM/H, set for release in March.




“I have a very fun EP rolling out fairly early next year that is really stepping into a way more playful side of techno than your typical hard-techno world,” they say. “I’ve always been multi-genre and this EP is really showcasing where my taste is at the minute. It’s a tasting plate of some really juicy genres.”




Connection and Challenges




AK’s idea of success is defined by shared experience rather than metrics. “When individuals tell me how my set made them feel, especially FLINTA people in safe and free places,” AK says. “Really it’s always a shared moment, shared catharsis that I have with the crowd.”




At the same time, they’re pragmatic about the realities of sustaining a global touring career. “Cutting through the noise [is hard] especially when social media is getting so much more competitive and overwhelming,” they say. “And touring expenses are a huge challenge as I do long haul flights to the EU often.”




So she’s considering relocating again, although LA currently offers a balance that works. “I just appreciate being a little closer to Australia in LA, and I’ve been out here for a minute,” says AK. “I’m grateful for American enthusiasm and support as well as the constant LA sun and nature.”




But if they had to choose a place to move, it would likely be Lisbon.




Advice for Emerging Artists




AK Sports is one of the most energising, compelling and authentic artists on the global techno circuit right now. So what’s their advice for baby DJs just starting out?



1. Taste comes first, then your skill comes with putting in the hours.



2. Follow your heart, your gut - don’t worry about what everyone else is doing. Take risks.



3. Release music before it’s perfect - don’t wait till you have some magic EP that’s going to propel you into stardom just get started.”



4. Try not to give a fuck and just do it!!!!!!! Small steps are all part of the journey so JUST DO IT!!!!!”




For all their latest news, releases and events, follow AK Sports on Instagram

Ones to Watch: AK SPORTS

Mont Rouge’s rise has been fast, but it has not been accidental. Formed in February 2023, the Geneva based duo turned early studio chemistry into a touring project that has expanded across Europe and the United States in a short time. In just two years, they have surpassed 18 million streams and played more than 100 shows worldwide, a pace they admit they were not prepared for at first, but one that has pushed them forward at every step.

Their breakout came with “Voyage Voyage,” a collaboration with Francis Mercier and Coco that reached popped off on Beatport and crossed one million streams within days. Since then, Mont Rouge have continued to grow and evolve. 

Ahead of their next New York date on March 21st, Mont Rouge share how touring reshaped the way they write, what they look for when testing new music live, and why they avoid pre planned sets in favor of reading the room in real time.





Your project moved quickly from studio sessions to worldwide stages. What surprised you most about that early acceleration?


To be honest, we were so not ready for all of this to happen this quickly. But seeing a fanbase grow so fast, and people buying our merch, music, and tickets, and following us on our adventure was a real surprise and a motivation!



How’d you come up with the name ‘Mont Rouge’?


Well, we were looking for a name, and since we love skiing, we thought it could be a good idea to look for inspiration on the slopes. We were looking at the “Domaine des 4 Vallées” and found a summit called Mont Rouge, and the name kind of got stuck in our heads, so we stuck with it!



Do you approach writing differently when a track is meant for a large room versus a late night setting?


We usually like working on our tracks by having a solid vocal and then building the song around it so everything fits well. For the more late night or club weapons, we usually like to have a solid drum groove going and then build the track around that! But sometimes we also have a melody and or a chord progression that we did on the piano that comes first, so we start from there. It really depends on the vibe and where we want to take the track.



How has playing 100+ shows changed the way you think about arrangement and energy flow in your productions?


A big part of the people are sadly becoming pretty impatient and kind of want everything right away, so we try to do that while still keeping tension and making the people wait for a strong and impactful drop. But again, it depends on the track and the vibe we want to give it.



What’s something touring taught you that you couldn’t have learned in the studio alone?


Sleeping and resting is wayyy more important than we thought, haha. For the mood, our well being, and especially for musical inspiration. We are also lucky to be two, so we’re always there to push each other to the top.



How do debut shows in cities like New York and Los Angeles compare to playing closer to home in Europe?


The music industry is super different between America and Europe, in a good way. We can play records that wouldn’t fit a European audience and vice versa. We love experiencing both crowds. It’s always a different vibe.



When testing new music live, what signals from the crowd matter most to you?


Waiting for the drop and seeing people put their hands up or do a bass face is a key visual cue to see if a track works well and if people enjoy it or not.



Do you ever scrap tracks entirely after hearing them in a club, or does everything have a second life?


A lot of remixes we did for clubs usually get lost on the hard drives, but we sometimes repurpose them for original tracks when we find a nice vocal that fits it.



What kind of environment helps you make your best music right now?


We are always away, so being back in our hometown and our studio is where we can get the most creative and inspired.



Looking ahead, what feels more important in the next chapter: refining your sound or taking bigger risks?


Being in a sort of musical transition at the moment, we feel that refining our sound is taking a risk, haha.



If someone is seeing Mont Rouge live for the first time, what do you hope they walk away feeling?


Most people are buying tickets to listen to our music and to have fun. The most important thing for us is for them to enjoy their evening and to want to come back and party with us. That’s why we don’t prepare any sets, so we can read the crowd as best as possible and have people have the best night possible!



Who’s the last artist (outside your scene) you listened to on repeat?


For Jubesp, it would be Fred again.., whereas for Eszco, he has really been into Skrillex and SWEDM lately, with the last album and EP that just came out.



What’s one touring habit you swear by, and one you really should quit?


The one habit we swear by would be going to the gym as soon as we check in to the hotel. One habit we should get rid of as soon as we can would be smoking vapes and cigarettes on stage. We feel like it doesn’t give the best image, and obviously it’s bad for our health, lol.

Mont Rouge on 100+ Shows and What Comes Next

UP THE STUSS ON THREEE



Chris Stussy has the entire house music community sat and ready for something special this spring.



The Dutch DJ and producer has announced his debut album, Lost, Found & Forgotten…, landing April 3rd, 2026 via his own imprint Up The Stuss. For anyone who has followed him since day one, this feels like a moment that has been building for years.



Stussy is many things. He is the DJ your favorite DJ respects. The one promoters trust with peak time. The one whose sets leave rooms in awe from start to finish. He has become a reference point for modern house and minimal. There is a presence about him behind the decks that is hard to put into words. What sets him apart is how he genuinely cares about the set itself. No matter the city or the venue, he builds each night with purpose. 



Now he is telling a bigger story.



Lost, Found & Forgotten… spans 19 tracks divided into three chapters. Lost, Found, and Forgotten. Each section highlights a different side of Stussy while staying tied to one vision. 



Lost revisits sketches and ideas from earlier in his career, now refined and given the space they always deserved. Found leans into collaboration, opening the door to shared energy and fresh perspectives. Forgotten closes the project with deeper selections made for those who really listen, the heads who stay for the afters and know every B side.



The album is guided by the image of a kite. Movement and balance. Freedom with control. It mirrors how Stussy builds a set and how he builds a record. Emotionally open, but always grounded in rhythm and craft. The kite also reinforces the spirit of Up The Stuss, a label that has grown alongside him and helped establish a sound heard across dance floors over the last few years.



“This album has been a long time in the making, and I’m excited to finally share it with you,” Stussy says. He speaks about stepping outside his comfort zone, exchanging ideas, and letting go of expectations. It is clear this project means more than just a release date on the calendar. It represents where he stands right now as an artist.



For house lovers in their twenties, thirties, and forties, this is the kind of announcement that has us watching the clock tick from 11:59 PM to 12:00. His eye for fashion reflected in his own designs and merchandise, his work behind the camera as a photographer, his label, and the way he can take control of any room he steps into.



To mark the release, Stussy is also taking Lost, Found & Forgotten… on the road with a full album tour. Dates across Europe and the US are already locked in, including stops at Paradiso in Amsterdam, Gustave Eiffel Room in Paris, Alexandra Palace in London, Brooklyn Army Terminal in New York, and more. One special stop will kick off with an exclusive in depth interview in Dutch, where Stussy will speak about the ideas behind the record, his journey so far, and his vision for what comes next, followed by a DJ set to close the night.



This release is a statement from an artist who has already achieved so much, yet still feels hungry to explore. Everyone in the scene knows the name Chris Stussy. On April 3rd, we get to hear the full story.



Pre-order Lost, Found & Forgotten…, here.

Chris Stussy Is Finally Dropping a Debut Album

Love is different when your office is a DJ booth and your date nights happen backstage. Between festival runs, studio sessions, and sunrise sets, the scene has quietly given us some real love stories. Whether its shared lineups to shared last names, here are couples proving that romance and rave culture can go hand in hand.



Paco Osuna + Melanie Ribbe



Few love stories feel as fitting as this one. Spanish artist Paco Osuna, label head and one of Ibiza’s most respected techno figures, and Melanie Ribbe, former model, DJ, and founder of Agápe Musik, born in Germany and raised in Jamaica, celebrated their wedding in Ibiza surrounded by close friends and family. With years of shared shows, B2Bs, and studio work behind them, their partnership reads like a real scene love story, rooted in music, built on travel, and sealed on the island that connects them both.




Giolì + Assia



Italian duo Giolì and Assia, partners in music, life, and everything in between, began their journey in 2014 as an artist and manager team before evolving into one of electronic music’s most recognizable live acts. After launching their label, Diesis Records, and stepping fully into the spotlight as a duo, they also found themselves falling in love. 



Since publicly coming out as a couple in 2017, they’ve embraced their relationship with openness and pride, even in the face of pushback, including a canceled performance in Malaysia tied to anti LGBTQ+ policies. Today, they’re touring the world, selling out venues, and releasing major projects.




Charlotte De Witte + Enrico Sangiuliano



One of techno’s biggest heartthrobs, Belgian star Charlotte de Witte, and one of the most iconic female artists in the scene, is married to Italian DJ, producer, and sound designer Enrico Sangiuliano. Their chemistry is undeniable, especially when they share a stage. Their 2021 remix of “The Age of Love” has raked in over 100 million streams on Spotify, a release that felt like the perfect meeting point between two heavyweights.



Sam Divine + Cash Only



Defected queen Sam Divine is married to UK DJ and producer Cash Only, Matt Wilcox, and the two have intertwined both their personal and professional lives. They collaborate on their new label '555', where Wilcox serves as label manager, working closely alongside Divine behind the scenes. 



The couple met in Ibiza in June 2022 and have remained together ever since. In August 2024, Wilcox proposed during Divine’s set at Defected Croatia Festival, and the pair later tied the knot in Las Vegas.



Nico Moreno + Novah



French hard techno DJ and producer Nico Moreno is in a relationship with fellow DJ and producer Novah, also known as Elodie Sarrailh, and the two have become one of hard techno’s favorite couples. They are scheduled for a long awaited, five hour B2B set at Rave Rebels  in Brussels on April 3rd. A recent viral moment from Sonora Festival in France, where the two were caught mouthing lyrics and dancing together, only added to their growing fan favorite status.

Valentine’s Day: Power Couples of the DJ World

Spotify just dropped a major milestone: the streaming platform says it paid out more than $11 billion to the music industry in 2025, marking its biggest annual payout ever — and what it calls the largest single-year payment from any music retailer in history.

For dance and house fans, this is a reminder of just how much streaming now shapes the scene. Spotify’s Head of Music, Charlie Hellman, shared the numbers in a new company post, noting that payouts grew more than 10% year over year, bringing Spotify’s total payouts since launch to nearly $70 billion.



So where does that money go? Spotify says these payments flow to record labels, publishers, independent distributors, and royalty organizations — the groups responsible for getting music into the hands of artists and rights holders.

Hellman also positioned Spotify as one of the biggest engines behind the music industry’s growth right now. According to the company, Spotify accounts for roughly 30% of global recorded music revenue, and its payouts are rising faster than other income sources across the industry.

One standout detail: Spotify claims there are now more artists earning over $100,000 a year from Spotify alone than there were artists getting stocked in record stores during the peak CD era. In other words, the streaming model may be controversial, but it’s also creating new lanes for artists to build real careers — including in underground genres like house and techno that thrive on global discovery.

This announcement also arrives as Spotify continues to raise subscription prices in several countries, including the US, where Premium will increase from $11.99 to $12.99 starting in February. The company argues that as streaming audiences grow — now over 750 million paying subscribers worldwide across all platforms — payouts rise alongside revenue.

More clarity is expected soon when Spotify releases its Q4 2025 financial results on February 10. For context, in 2024 Spotify’s $10 billion payout represented about 60% of its annual revenue.



Spotify’s business is still expanding quickly: the platform reached 281 million Premium subscribers as of Q3 2025 and posted quarterly operating income of €582 million, up 33% from the year before. 2024 also marked Spotify’s first full year of operating profit.

For the house music world, these numbers underline one thing: streaming remains the main pipeline connecting club culture, global audiences, and artist income — even as the debate over fairness and sustainability continues.

Spotify Paid Out $11 Billion to the Music Industry

In her monthly Notes On column, music journalist Alice Austin shares her thoughts, reflections and analysis on dance music’s biggest talking points. With (dry) January over, Alice reflects on conversations around sobriety in dance music, drawing on interviews over the course of the month, and her own personal thoughts on wellness as the year unfolds.




In April 2026, it’ll be six years since I made the decision to become sober. While most people drank more during lockdown, I took it as an opportunity to re-consider my relationship with alcohol. As a purely social drinker, it felt like the perfect opportunity. I happened to be staying with my brother in Sydney when COVID hit, so I spent my mornings writing and my afternoons cycling along the Eastern Suburbs coastline, taking photographs and re-configuring. I had no idea what my life would be like without alcohol. In fact, I wasn’t sure who I was without it.



I had some major concerns. Would magazines still hire me to write about nightlife? Would labels and promoters want me to write about their club nights if I wasn’t partying? Would I even want to go to clubs anymore? Will I miss out on all the fun? Will everyone think I’m boring?

In the Northern Hemisphere, January is for sure the worst month of the year. Everyone is recovering from December, which for many of us (in the UK especially) is packed full of after-work drinks, club nights, pub nights, and that strange week between Christmas and New Year where time stops making sense and we go out every night.

Then, once the final firework has flared out and the last party popper pulled, it’s time to crawl into our caves and swear off alcohol, human interaction and fun for the full month.

Dry January is an inaccurate representation of sobriety. I tried it once or twice and had zero fun. I was experiencing withdrawal, lonely because I didn’t trust myself to socialise, and it was freezing cold, cloudy, and rainy (in the UK).



I was so relieved when February finally rolled around and I was released from prison, my bank account recovered, the hangover a distant memory and spring on the way. I was ready to crack open a bottle of wine and enjoy life again. 

When I quit alcohol in April 2020, I felt pretty rough for the first 2.5 months. I was anxious, tired, overthinking, and felt like a horse on ice at the pub. “You’re the fun one then,” the bartender said as I ordered my first alcohol-free beer, confirming my worst fears that everyone thought I was boring. It wasn’t an easy time. But I’m here to tell you that was not the sober experience, that was just the transition.

The actual experience began one sunny day in Melbourne almost three months to the day that I’d had my last drink. I needed to take a new DKNY jumpsuit to the tailor, the kind of chore I used to dread and put off for months. This time, I bounced to the tailor. I felt great – sparkly, energised, productive. I felt new. The way I used to feel before I drank regularly, back when I was a child. 



That’s when I glimpsed the reality of long-term sobriety for the first time. Yes, I would miss the hedonism of big nights out and after-parties, but I couldn’t ignore the improvement in my mood, my sleep, my writing, my communication. Before, I was my best self in the pub, two pints deep. Now, I was chatty and buzzed on a daily basis without any booze.

It took a while to build up my social battery. At first, I got tired after spending more than a couple of hours in a big group of friends. But after about one year, my energy came back, and now I regularly stay out til 3 or 4am on nights out.

This January, I spent several hours speaking to major dance music artists about their sobriety journeys. I spoke to Sam Divine, who told me about the events and addictions that led to check herself into rehab in early 2025. I spoke to Jumpin’ Jack Frost, who told me how he spent the majority of his career totally sober until his mid-30s, when things escalated and he found himself smoking crack cocaine. I spoke to Tony y Not, who, like me, sat more on the social addiction spectrum, and I spoke to hrdvsion, who told me that alcohol became an aggressive attempt to overcome his social anxiety, especially in nightclubs.



I also interviewed three wellness practitioners about burnout within dance music for Gray Area’s magazine. We spoke about the need for more wellness and healing spaces for folk working in nightlife, and they shared an inspiring range of workshops that help nightlife professionals prioritize health and wellbeing and manage the pressure that comes with working in this industry.

I found all of these conversations nourishing. Feedback on the articles has been overwhelmingly positive, and I’m proud I’m able to bring these conversations to the fore.



And that’s exactly why I’m writing this column as we move into February. It’s for anyone who’s just wrapped up a hellish dry January, and feeling unsure about whether to keep going or default back to old habits. There’s no judgement either way, but science says it takes about three months to feel the full benefits of sobriety. Perhaps once you get there, you won’t want to go back.

So to answer my earlier questions: Do magazines still hire me to write about nightlife? Yes. Do labels and promoters want me to write about their club nights? Yes. Do I still want to go to clubs? Yes. Do I miss out on all the fun? Some of it. Does everyone think I’m boring? I hope not.

Notes On: Dry January and Dance music

January Wellness: Izzy Naud Wellbeing




This January, we’re spotlighting dance-music-adjacent wellness practices that offer grounding and sustainable regulation for creative bodies and minds. As conversations around burnout, nervous system regulation and the demands of tour life intensify, Izzy Naud Wellbeing has emerged as a powerful voice that draws from decades of practice in movement, energy and martial arts. And the best part? She translates her knowledge into practical tools for our high-stimulation industry.




Lived experience, not trends




Founded in 2021, Izzy Naud Wellbeing sits at the intersection of Chinese martial arts, preventative health and performance psychology. Unlike trend-led wellness, her work is rooted in lived experience. She has a long relationship with Tai Chi, Qi Gong and martial arts rooted in her heritage, combined with firsthand knowledge of the toll the music industry can take.




Before launching Izzy Naud Wellbeing, Izzy’s relationship with wellness was shaped by over 25 years of practice in Chinese martial arts where she learned how to harness movement, energy and disciplined flow.




“I'm a Tai Chi master and a Qigong facilitator,” she says. “I’ve been teaching since 2014 and practicing Chinese martial arts since 2000, so that's over 25 years of practice.”




Growing up with the cultural influence of martial arts cinema, Izzy was drawn to the physical energy and ethos of kung fu. “I'm Chinese and grew up in the 80s, so it was all about Bruce Lee,” Izzy says. “So this was my influence, and in 2000 I joined a gym where they had all sorts of classes, but kung fu stuck.”




Izzy explains there’s a big difference between the internal and external arts. “Tai Chi and Kung Fu, they belong to this family called Wushu. And this is Chinese martial arts, and Kung Fu is more external, while Tai Chi is more concentrated in moving the vital energy inside our body.”




This lineage, rooted in internal movement, breath and energetic awareness, became the foundation for a practice that later evolved into targeted wellbeing support for electronic music professionals.




Burnout as a turning point



Izzy’s mission is personal. After working in the electronic music industry for a decade, hosting a podcast, promoting artists and launching an Artist Management Agency, she hit a wall.




“Back in 2011 I was experiencing burnout,” she says. “At that time, I didn't have healthy habits, which led me to the mental health hospital. I had a psychotic episode, and I had nobody to talk with. It felt very lonely, and I found out who my friends were.”




From that low point, she reoriented her life and career toward health as the central value, a shift that would later inform every aspect of her coaching work.



Building Izzy Naud Wellbeing


When COVID-19 hit and the industry faced a collective existential stress, Izzy saw what many were beginning to articulate: artists and professionals were struggling. With income, with touring cancellations and with sustained pressure, resulting in mental health crises and burnout.




“And before that, the passing of Avicii opened the conversation about mental health in the electronic music industry and this was kind of a wake up call,” Izzy says.




This crystallised her vision: combining body-centric practices, martial arts wisdom and systemic support for those who give so much of themselves to the nightlife industry.




“I realised I can join my two passions, which are Chinese martial arts, wellness and electronic music,” she says.




Izzy Naud Wellbeing officially launched in 2021, offering a suite of coaching, movement practices and personalized programmes designed to help professionals master their health rather than simply react to crises.


Between  Movement and Music


Rather than positioning itself as a conventional wellness brand, Izzy Naud Wellbeing has a broader vision: one that sees health and creativity as intrinsically linked.




“So my vision is to help electronic music artists and professionals become masters of their health and well being,” Izzy explains.




Her clients come from all corners of the electronic music industry, including DJs, producers, songwriters and tour managers, and with a wide range of challenges: stress, anxiety, insomnia, performance pressure or early signs of burnout. Izzy meets each client with bespoke tools and practices aimed at prevention, regulation and resilience.


Personalized Coaching with Impact


At the heart of her offering is the Return to Flow programme, (formerly Back on Track) a 12-week health and wellbeing coaching journey tailored to each individual’s needs.




What makes Return to Flow distinctive is its integration of Traditional Chinese Medicine principles, Tai Chi, Qi Gong and personalized fitness training, adapted to travel, late nights, erratic sleep after gigs and performance schedules.




Participants in the programme report reduced stress and better sleep, as well as a sustained sense of balance and energy that supports creativity, stamina and overall wellbeing.


And Izzy’s much-loved Beat the Burnout checklist helps industry folk stay on track even in the most high-stress situations.


Speaking, community and industry engagement

Public speaking is another crucial pillar in Izzy’s work, and a way to bring these practices into broader industry conversations, attending Amsterdam Dance Event each year to discuss wellbeing in the industry.




“My best times are when I do public speaking,” she says. “In 2024 I gave a talk about burnout, and last year I was on a panel talking about the pressure in the music industry and how to find balance.”


She also regularly facilitates Qi Gong workshops and speaks at For The Love And Health Of House, an event series run by addiction specialist Michèle Kelder which aims to connect individual wellbeing to structural awareness around creativity and sustainability in dance music.




Movement, Flow, Creativity


For Izzy, the relationship between Chinese martial arts and artistic flow is physical, emotional and cognitive. “I think they have a strong similarity with music and creativity, because we are in the flow with both,” she explains.




Tai Chi, in particular, mirrors the creative process: continuous movement, centred awareness and dynamic presence. “Just like the creative process,” Izzy says.




These practices offer something the music world genuinely needs: a body-based path out of overthinking, stress and mental exhaustion.


What’s Next


Izzy will continue to expand in 2026 with online workshops, group programmes and media projects. Her monthly Sound Mind Sound Body Zoom workshops explore yin and yang energy and offer practical exercises musicians can use backstage, in the studio or during travel. She’s also preparing a podcast based on interviews from IMS and ADE, bringing voice to diverse wellness stories.




A new group programme, The Pillars of Flow, will focus on sleep, nutrition, exercise and stress management, the four foundations essential for sustained creative output.




In a scene increasingly reckoning with sustainability, whether in our careers, bodies or mental health, Izzy’s work shows us how to integrate flow into daily life.




In her own words, this is about “becoming masters of health, not just art” – a shift that marks the difference between burnout and brilliance.




For all her latest news and events, follow Izzy Naud wellbeing on Instagram.

January Wellness: Izzy Naud Wellbeing

This January, we’re spotlighting dance-music-adjacent wellness practices that offer grounding, restoration and long-term sustainability beyond the dance floor. As conversations around burnout, nervous system regulation and longevity continue to gain momentum in electronic music, Elemental Resonance has quietly been doing this work long before it became mainstream.

Founded by Tracie Storey (aka Tensuhi) in 2012, Elemental Resonance operates at the intersection of sound, consciousness and embodiment, bridging club culture with ancient wisdom systems and modern neuroscience. Rooted in lived experience rather than trend-led wellness, its work speaks directly to artists, creatives and music industry professionals navigating high stimulation, irregular rhythms and constant output.





Lived experience, not trends



Before launching Elemental Resonance, Tracie's relationship with wellness was shaped not by life on the road.

“Before launching Elemental Resonance, my relationship with wellness was more of a lived experience,” she tells Gray Area. “I spent many years working internationally as a DJ and sound designer and sought out practices that helped me regulate and restore balance.”

She has a monthly residency on London radio station ROVR, and is practitioner and co-curator of ’The Art of Areté’ which is part of IMS - 2026 line-up will be announced soon.

Touring life eventually prompted a deeper reckoning. “I had an epiphany whilst on the decks in Jakarta and I knew I needed to go deeper into the world of vibrational sound,” she says. “I became deeply curious about how sound affects us on a vibrational level, how it affects our nervous system, emotions and mental state.”

That curiosity led her into studying Vibrational Sound as a therapeutic modality, alongside breathwork, Qigong and Traditional Chinese Medicine. “Not as trends, but as essential tools,” she explains. “It was a big and difficult decision to change my lifestyle but one I understood more deeply later down the line.”





Building Elemental Resonance

Elemental Resonance officially emerged in 2012, born from a moment of introspection.

“It basically emerged from a personal need for recalibration,” she says. “After years of touring and working on high frequency, my body and nervous system began asking for something different.”

Moving away from a professional DJ career wasn’t easy, but it felt unavoidable. “I had to pivot from my professional life as a DJ, which was far from an easy choice but something more profound was calling.”

As her training deepened, so did her understanding of sound’s potential beyond performance. “As I trained in vibrational sound therapy and Qigong, I experienced profound shifts and realised how powerful sound could be when used as a modality rather than as performance, but as medicine.”

At the time, Elemental Resonance was offering something totally unique. “The platform was born 15 years ago, nothing like it existed at the time,” she says. “It was a way of bringing my experience of dance music culture, consciousness, sound therapy, education and embodiment into a more creative space.”



A bridge between club culture and consciousness



Rather than positioning itself as a traditional wellness brand, Elemental Resonance is guided by a broader vision.

“Elemental Resonance was born as a bridge between my experience of club culture and consciousness,” she explains. “It’s more of a vision rather than a mission.”

At its core, the work supports people in search of change. “It helps people return to coherence within their bodies, nervous systems and work more deeply with their energy systems.”

Using sound, frequency and movement, Tracie blends ancient wisdom systems with modern neuroscience and lived experience. The focus is not stimulation, but regulation; resilience rather than optimisation.



Who the work is for



While deeply rooted in electronic music culture, Elemental Resonance serves a varied community.

“I work with a wide range of communities, including electronic music professionals, creatives, cultural leaders, corporate wellness spaces, and individuals navigating stress, burnout, perimenopause, or life transitions,” she says.

There is a strong emphasis on people operating at high creative or cognitive output, whose nervous systems are often pushed to their limits by their work.



Milestones and key moments

Over the years, Elemental Resonance has quietly built a substantial legacy. Standout moments include releasing the Elemental Resonance meditation album on Basement Jaxx’s Celestial Being Records; hosting the first Power of Sound panel at Brighton Music Conference and later at ADE in 2018; facilitating workshops and sound immersions internationally; and building a long-running community through Inner Vision Mondays, a monthly meditation series, now in its sixth year.

These moments reflect a practice that has grown organically, sustained by community rather than hype.



What Elemental Resonance offers



And the work itself is intentionally broad and deeply bespoke.

“I offer one-to-one sessions, group workshops, online courses, retreats, and Vibrational Sound Training programmes,” Tracie says.

Sessions include vibrational sound therapy, Qigong workshops, nervous system regulation practices, meditations and sound harmonisations. “All sessions are bespoke and tailored to what the client is going through,” she explains, “which could be mentally preparing for a hospital operation or a personal meditation to help them with anxiety or sleep.”

Why electronic music professionals turn to TCM

For those working in electronic music, the appeal of Traditional Chinese Medicine is intuitive.

“Most people working in the music industry are exposed to high sensory stimulation, irregular sleep patterns, and constant travel,” she says. “Traditional Chinese Medicine offers a holistic framework that addresses root causes rather than symptoms, and mirrors how people in the industry already understand rhythm, flow and energy.”

Crucially, it offers something many people are missing. “Most people don’t need more stimulation; they need nervous system regulation,” Tracie explains.



Unexpected Shifts

One of the most surprising outcomes for clients is the speed and depth of change.

“Many people are surprised by how quickly they experience clarity and spaciousness, not just relaxation,” Tracie says.

Often, the process reveals needs people didn’t know they had. “When the nervous system settles, creativity comes back online,” she explains. “When people address themselves as a living, breathing instrument, it helps them to find the spaciousness within which helps them progress with all aspects of their life; work, relationships, friendships, family, creativity.”



Looking Ahead

In 2026, Elemental Resonance will enter a new phase of expansion.

“I’m expanding Elemental Resonance into deeper educational pathways, including more in-depth Vibrational Sound Therapy Training which combines online study with in-person immersion and certification,” Tracie says.

Alongside this, Tracie will continue speaking at international conferences, developing retreats, soundscapes, more meditations and collaborative projects at the intersection of sound, neuroscience and consciousness.

In a scene increasingly reckoning with sustainability, whether in our bodies, minds, or creative careers, Elemental Resonance feels less like a wellness trend and more like a long-established response to questions electronic music is only just beginning to ask.

Check out Elemental Resonance’s free videos here and for more updates, follow Tracie Storey on Instagram.

January Wellness: Elemental Resonance

HILLS have built their momentum the hard way: consistent output, steady touring, and a clear understanding of what works on a dance floor. Formed by longtime friends Dave and TC, the duo have grown from uploading weekly remixes and edits into artists backed by some of the most recognizable names in dance music. Their catalog includes releases on Catch & Release, REALM, AETERNA, and Repopulate Mars, while their rework of Playboi Carti’s “EVIL J0RDAN” reached #1 on 1001Tracklists’ most-heard chart. Their most-streamed record to date, “Dreams” with Italian producer ANYMA, marked a turning point in pushing their sound to a wider global audience.



Behind the scenes, HILLS operate with a mix of focus and humor. They’re self-described food obsessives who plan their touring days around meals as much as soundchecks, spend downtime on the golf course, and are constantly refining details in the studio—sometimes to the point of losing unfinished tracks by forgetting to save them. Their musical roots stretch beyond house, shaped early on by hip-hop and records that stuck with them long before DJ booths and festival stages entered the picture.

In this interview, HILLS talk candidly about career highs like playing UNVRS alongside Fisher and Anyma, the pressure of turning passion into a profession, and the small habits that keep them grounded while touring nonstop. From missed opportunities and technical mistakes to family, downtime, and the realities of life on the road, the conversation offers a clear look at who they are beyond the decks—and how they’ve gotten to where they are now.



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


We’re both big foodies. Every city we land in, the first thing we do is check reviews and hunt down the best spots to eat.



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


Honestly, Dave would probably be a chef. TC would most likely be a manager or agent.



What’s the most memorable moment of your career so far?


Playing at UNVRS with Fisher and Anyma.



Who’s inspiring you right now?



There are a lot of great artists right now. We’ve been really into underground acts like No Static, Juntaro, and Welker, along with bigger names like Mike Dean and Chris Lorenzo.



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


Go-to snacks are Sour Skittles and Jolly Ranchers. Drinks are Peroni and Coke.



How would you describe your sound in three words?

Sound in three words: energetic, underground, loud.



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


Eating good food and playing golf.



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


This might sound weird, but when we first heard “Changes” by Tupac, it was the first rap song we ever listened to, and it really stuck with us at a young age.



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



Michael Jackson.



What’s your favorite non-music hobby?


Outside of music, golf—trying to get better at it.



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

Probably the ’80s, just to experience the hair metal era.



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


At home, just relaxing.



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



Golf. Slowly improving.



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


The first big festival we ever played, where the crowd just felt endless.



When do you feel most at peace?


On stage, or when we’re with our family.



What’s something you forget, but feel better when reminded of?


How lucky we are to be able to do music for a living.



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


Family time and having real downtime.



What personal prison have you built out of fear?


Worrying too much about what other people think.



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


Flying to China for one night, then turning around and flying straight back to the U.S.



If you could compliment yourself, what would you say?


You’re following your passion.



From a production perspective, what’s the most expensive mistake you’ve made?


We once passed on a collaboration that went on to go platinum and rack up over a billion streams. That one hurt.



Have you ever lost music due to technology issues?


All the time. We’ll get deep in the zone, forget to save properly, clean up our computers, move samples—and suddenly things are missing because we forgot to “collect all and save.”



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


Not really cringe, but it’s funny listening back to tracks we once thought were absolutely insane.



What do you obsess over most in the studio?


We focus on different things. One of us is super detail-oriented and can spend forever obsessing over a hi-hat or small details most people wouldn’t even notice.



What’s your favorite set time and duration?


Ideally around 11:30 PM to 2 AM, but it really depends on the room. In Miami we just played from 2 AM to 5 AM and it was wild—so it’s all about the vibe.



If you could erase one musical genre forever, what would it be?


That’s tough. Honestly, we love all music, so that’s hard to answer.

HILLS Q&A: Offstage Habits and Onstage Moments

Detroit Love is a party series with history behind it, the kind you can feel on a dancefloor before anyone even touches the mixer. At the center is Carl Craig, one of Detroit’s most influential techno producers and a cultural force whose work helped turn a local sound into a universal language. That legacy lands in Brooklyn on January 31st, when Detroit Love kicks off a weekend takeover at Superior Ingredients.

Detroit Love is his way of presenting Detroit to the world on Detroit’s own terms: proud, layered, and impossible to reduce to one genre, one era, or one trend.  Craig has done that not just through ideas, but through records, a catalog packed with classics, including his widely loved edit of Inner City’s “Good Life,” a track that’s reached millions of streams and still hits like a reset button on any room.



Detroit’s sound didn’t come from nowhere

Detroit techno wasn’t born in a vacuum. It grew out of a city built on music that already knew how to hit emotionally and physically — Motown, soul, jazz, funk, gospel. Carl Craig grew up in a working-class home where music mattered. His father delivered mail, his mother taught school, and the house was full of sound. That foundation shaped him.



As a young artist, Craig was pulled in two directions at once: the futuristic electronics of Kraftwerk and Depeche Mode, and the local revolution happening in his own backyard — the work of Juan Atkins, Derrick May, and Kevin Saunderson (the Belleville Three), Detroit’s original techno innovators. Craig wasn’t only inspired by them. He saw proof that Detroit could invent something new and send it everywhere.



Early releases, early impact

Craig’s first records helped establish him as more than a talented producer — they showed he already had a point of view. His early releases “Breakdown” and “Evolution,” put out under the aliases Psyche and BFC, gained cult status in underground scenes across the U.S. and Europe. 



They didn’t sound like copies of what was popular. They sounded like Detroit: mechanical, emotional, and forward. And like many of the city’s great builders, Craig didn’t wait for someone else to create the platform. He made it himself.

Planet E: Detroit with no boundaries

In 1991, Craig launched Planet E Communications, starting with 69 – Four Funk Jazz Classics. It was a mission statement. Planet E wasn’t about keeping techno inside rigid rules — it was about letting it expand. The label became a home for music that stretched into house, jazz, funk, and left-field electronics, while staying rooted in Detroit’s DNA.



Planet E also became a powerful platform for other Detroit artists. Over time, it supported names like Moodymann, Stacey Pullen, and Kenny Larkin — artists who carry Detroit’s legacy in very different ways. That’s part of Craig’s long game: building community, not just building a catalog.

Innerzone Orchestra: when techno got jazz bones

If you want proof that Craig never saw techno as a closed system, look at Innerzone Orchestra, founded in 1992. The project blended electronic music with jazz expression and live musicianship, and it produced one of his most celebrated tracks: “Bug in the Bassbin.” 

It’s the kind of record that reminds you Detroit isn’t only about speed or pressure — it’s also about depth, swing, and musical knowledge.

From there, Craig kept expanding. By the mid-’90s, releases like Landcruising pushed his sound further into mood and world-building — music that didn’t only work in a club, but could also hold up as a full listening experience.



Detroit Love: the culture, not the hype

Craig launched Detroit Love in 2014, and it’s important to understand why it mattered. Detroit had been talked about for years like a myth or a ruin — a city people borrowed from without always respecting. Detroit Love became Craig’s answer: a cultural platform and event series designed to spotlight Detroit’s depth, show its full range, and reshape the way the world speaks about it.



That’s why Detroit Love gets treated like something bigger than nightlife. It isn’t built around gimmicks. It’s built around values: strong curation, real connection, and Detroit pride without dilution. Detroit Love events are known for lineups that feel intentional — not only big names, but artists who represent Detroit’s spirit, whether through techno, house, disco, soul, or deeper cuts that don’t fit neat categories.

Why Moodymann belongs in this story

Detroit Love also makes sense because of who’s connected to it. Moodymann (Kenny Dixon Jr.) is one of the most charismatic and uncompromising figures in house music — and one of the loudest voices when it comes to preserving the Black roots of dance music.



His catalog runs through labels like Planet E, Peacefrog, KDJ, and Mahogani Music, and his sound pulls from soul, jazz, blues, and house with an instantly recognizable touch. Tracks like “Sunday Morning” and “Shades of Jae,” plus albums like Silentintroduction and Moodymann, helped define an era — not through polish, but through feeling and truth.



When Detroit Love brings together artists like Craig and Moodymann, it’s more than a booking. It’s Detroit speaking in its own voice.

Legendary because it’s real

Detroit Love has impact because it doesn’t treat Detroit like branding. It treats Detroit like a living culture. Craig’s work — from Planet E to Innerzone Orchestra to Detroit Love — has always been about building worlds that stay connected to their roots while still moving forward.



That’s why the name hits. Detroit Love isn’t nostalgia. It’s a reminder that Detroit didn’t just influence dance music — it helped define it. And when the series lands somewhere like Brooklyn for a full weekender, it isn’t just another party on the calendar.

It’s Detroit showing up in full.

Carl Craig and the Story of Detroit Love

If you’ve been going out long enough, you know the feeling: a room that used to be everything starts slipping. The sound isn’t hitting, the layout feels cramped, the lights are tired, and the magic that made it legendary starts fading. But 2026 is shaping up to be a real turning point — because some of the most talked-about venues on the planet aren’t just doing “updates”… they’re fully rebuilding what the experience is supposed to feel like.

From full shutdown renovations to complete ownership takeovers and ground-up reworks, these spaces are betting on the future of nightlife — louder systems, smarter layouts, sharper production, and more room to actually move. We put together five clubs getting major renovations for 2026 — and why each one is worth keeping on your radar.



1. Ministry of Sound (London)



Ministry isn’t playing around with this one. The iconic London institution is undergoing what it calls its biggest transformation since opening in 1991, timed with its 35th anniversary — and the main room is coming back at the end of January looking (and sounding) completely refreshed.

The biggest change: they’re retiring the legendary Martin Audio system and bringing in a custom four-point KV2 sound setup. Add in a lowered DJ booth that’s closer to the crowd, a layout built for different stage formats (including 360 setups), and an upgraded lighting/video design — and “The Box” is basically getting rebuilt for the next generation of nights.



2. Brooklyn Mirage (New York)



Brooklyn Mirage is entering its “new era” phase — and not subtly. The venue was bought by FIVE Holdings (the Dubai-based group behind Pacha), and sources say it’s aiming for a summer 2026 return with multiple shows already in motion.

What’s interesting is the direction: instead of going straight into the mega-futuristic rebuild people expected, Mirage may be scaling back for 2026 and returning to a more stripped, open-air vibe closer to the original 2015 concept. The bigger, flashier rebuild — with wraparound LED madness — looks more like a 2027 move. Either way, this isn’t just a refresh… it’s Mirage deciding what it wants to be again.



3. XOYO (London)



XOYO is officially back in action. After a full refurbishment under new ownership, the Shoreditch staple is ready to reopen its doors with its first party in the revamped space on January 31st, featuring Fleur Shore, Kiidoo, and St David.

The club has been rebuilt with brand-new sound, new lighting, upgraded production, and refreshed walls, floors, and stage structures — a real top-to-bottom renovation instead of a quick facelift.

The goal feels obvious: bring XOYO back to the kind of room where the best DJs actually want to play again. If you’ve missed that proper gritty, late-night London club energy, this renovation reads like a statement — they’re rebuilding the experience, not just fixing the paint and calling it a relaunch. 





4. Borgata (Atlantic City) 



Atlantic City nightlife is getting a serious upgrade in summer 2026. Borgata is transforming the former Premier Nightclub space into a brand-new 18,000-square-foot entertainment venue, built in partnership with Big Night (the group behind Big Night Live, The Grand, and Memoire).

Premier had a strong run, but this is bigger than a rename — it’s a total reinvention of the space, designed for concerts, DJs, special events, and year-round programming. With Big Night involved, expect high production and big-booking energy. Borgata’s basically trying to level up from “casino club night” to a legit destination venue.



5. Zouk (Singapore)



Zouk Singapore is doing a full shutdown renovation across all three of its Clarke Quay venues — Zouk Mainroom, Capital, and Phuture — starting in early 2026, with the full project expected to wrap by June 2026. It’s a bold move, but the upgrades make it make sense.

They’re upgrading all speaker systems to concert-grade tech, expanding capacity from 3,000 to 3,500 people total, and adding huge visual upgrades like a 12-meter-wide high-resolution LED wall in the Mainroom. The Mainroom is also getting a modular layout with movable acoustic walls, so the space can shift depending on the night — from intimate shows to full-scale event mode. It’s Zouk betting hard on what nightlife looks like next.

5 Iconic Nightclubs Getting a 2026 Makeover

SPINALL has never been the type to box himself in. Over the last decade, the Nigerian DJ and producer has helped shape the international rise of Afrobeats—not only by contributing to some of the scene’s biggest moments, but by building a catalog that moves across sounds without losing its core. From crowd staples like “Palazzo” and “Sere” to major collaborations with Wizkid, Burna Boy, Fireboy DML, Tyla, Teni, Reminisce, Kranium, DJ Snake, Summer Walker, and Sean Paul, Spinall has consistently proven that a DJ can be both a hitmaker and a cultural force.



His impact stretches far beyond streaming numbers. He’s taken Afrobeats to the world’s biggest stages, performing at Coachella, Glastonbury, ACL, and Lollapalooza, and making history as the first Afrobeats DJ to perform at Coachella across two consecutive weekends. He’s also earned a reputation as a true global tastemaker, with career-defining moments like being invited by JAY-Z and Beyoncé to DJ their Gold Party.

Offstage, Spinall is just as locked in as he is behind the decks. With an engineering background and a sharp focus on sound, he’s constantly refining his process in the studio—driven by a simple goal: keep the music honest, keep it tight, and never lower his standards. In this interview, SPINALL speaks candidly about the discipline behind his career, the mindset that keeps him pushing forward, and what it takes to stay present in the work without getting stuck in past wins.

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


My depth. My lengthy process.



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


I studied Engineering in university… with good grades lol.



What’s the most memorable moment of your career?


Making some of the biggest Afrobeats songs and putting out a wild, genre-mixing catalog. Playing Glastonbury, Coachella, and Lollapalooza. Getting invited by JAY-Z and Beyoncé to play their Gold Party. Discovering a few Afrobeats stars.

Who’s an artist that inspires you right now?


These change a lot, but currently: DJ Snake and Calvin Harris.



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





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


I love LA, New York, and London. Raw energy.



How would you describe your sound in three words?


High energy, motion, soul.



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


Fashion, the ocean and beach houses, brutalist homes or hotels, trees and plants.



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








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


Fela Kuti, Chris Brown, Tems, Beyoncé, Bruno Mars.



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


’90s R&B!!!!



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


At the beach, on a rooftop, fashion thrifting, or looking for local fabrics to make fresh clothes.



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


Making clothes and helping people.



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


Being the greatest DJ in the history of Nigeria.



When do you feel at most peace?


By the ocean alone, in the studio, and on stage.



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


That I’m rich!



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


Great and clear communication.



What personal prison have you built out of fear?


I’m quick to move on from my achievements.



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


Being blunt!



If you could compliment yourself, what would you say?


You did it without a mentor. Against all the odds.



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


Compromising my standards.



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


Yes, it happens all the time. The last one was in Los Angeles—an Uber drove away with my entire laptop bag.



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


It could be better today.



What do you find yourself obsessing about most in the studio, from every perspective of creating a track?


Finding the soul. Adding the soul. Keeping it simple.



What is your favorite set time and duration?


1 hour 30 minutes is a perfect balance.



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


I would abolish genre itself. Call it all music!

An Interview with SPINALL: The Focus Behind the Catalog

This January, we’re spotlighting dance-music-specific wellness initiatives to kickstart your year and explore the quiet revolution happening alongside the dance floor.




Joanna Miles is the founder of The Other Side of Fear, a sober, moderation and transformation coaching service that helps dance music professionals change their relationship with drugs and alcohol. Joanna believes that wellness isn’t just a trend in club culture – it’s here to stay, and her work speaks to a growing part of the electronic music community asking difficult questions about burnout, excess, and sustainability.




Building the Foundations




Before launching The Other Side of Fear, Joanna was partying hard in London, deeply embedded in electronic music culture and working full-time as a DJ agent. When she moved to Berlin, that trajectory continued. She worked hard and burned the candle at both ends in a city where nightlife has no limit.




“Two years before COVID, I got sober,” Joanna says. "Berlin had thrown me in the deep end and I struggled hard with my partying, so I quit all alcohol and substances and was very public about it.”




People started to come to Joanna for advice on their own habits, and she soon realised she’d found her calling. “So I decided this is what I wanted to do,” she says. “Help people in the electronic music scene address their relationship with drugs and alcohol.”




So when COVID hit and work slowed down, Joanna pivoted into personal training, working closely with women. She quickly understood the physical side of the job was only part of the picture.




“I became a sounding board for what was going on in people’s lives,” she says. “I enjoyed that more than the training itself. I realised I wanted to help people on a deeper level.”




DJs, ravers, agents and other music industry professionals who didn’t see themselves reflected in traditional recovery spaces flocked to her.




“There were resources like AA, CA, NA,” she says. “But they weren’t a vibe for me. My life hadn’t fallen apart, I wasn’t really sure I wanted or had to stop partying and boozing forever and all the online places weren’t open to me talking about drug use. There was no middle ground. So I stepped in and built something. I knew that if I needed support with this, then so would others.”




The Other Side of Fear




The foundation of Joanna’s work is The Six Zero Experiment, a 60-day programme she launched in 2021. The Experiment asks participants to commit to sobriety while meeting twice a week online, with a focus on understanding your habits.




“Every opening call for the Six Zero, my heart bursts with pride but not just for me - for everyone on it,” Joanna says. “I know how hard it is to say 'I need help'. I also know how hard it is to rock up online with a bunch of strangers and bare your soul. I’ve learnt so much about myself from the people on the course – it really is a magical place. A lovely judgement free place for people to come and feel safe and heard and address the darker parts of us without shame or guilt.”




Alongside this deeper work, the programme covers the practical realities of life in dance music: sleep, exercise, hobbies, sober raving, and learning how to say no without disconnecting from the scene.




A Different Take on Sobriety




What sets The Other Side of Fear apart is its refusal of extremes. Joanna isn’t selling total abstinence, nor is she minimising harm. “Not every night has to be a huge sesh,” she says. “And you don’t have to be black or white about drugs and alcohol.”




Her approach acknowledges that for some people, full sobriety is essential and can be life-saving. For others, the issue is repetition, escapism, and lack of boundaries. “Some people do need to be sober and should be and that’s important for them,” Joanna says. "But the same as eating healthy vs. eating junk food, you can every now and again, you just can’t let it be every day or week. It becomes unhealthy.”




This nuance really resonates within dance music, balancing freedom and escapism with health and sustainability.




Built for the Community




Joanna’s work is tailored to suit electronic music culture. “The communities I serve are mainly anyone you’d find on a dance floor, DJ booth, after party, festival, agents, managers, DJs, ravers,” Joanna says. “That’s not to say I would turn anyone away, but if you’re not into house music you’re probably not going to get the vibe. We’re a different breed which is great, but I don’t talk about or see drinking habits in the same way Dave from down the pub would.”




Joanna focuses on people navigating irregular sleep, constant travel, intense highs on stage, and long stretches of isolation.




“The world we all live in is wild,” she says. “The lack of sleep, routine, the pressure, the popularity contest, the constant grind, the loud music, the lights, the missing out on family events due to gigs, the travel, the time zones, the insane highs on stage and the loneliness of a hotel room and then we throw in riders with endless booze, and green rooms with whatever you want to sniff. How could we not need sobriety and wellness coaching?”




Intentional Partying




Perhaps most surprising is Joanna’s own relationship with sobriety, because unlike most coaches, she doesn’t claim purity.




“I’m not an advocate for being fully sober and nor do I claim I am,” she says. “I take drugs maybe 4 times a year, and probably spend in a year what I used to in a weekend! I enjoy a wild weekend in Ibiza once a year. But I don’t drink and I don’t think I ever will.”




So for a scene learning to ask harder questions about sustainability for our bodies, minds and careers, The Other Side of Fear feels like a necessary evolution – not a rejection of dance music culture, but a sustainable response to it.




And Joanna has big plans for 2026. “Up until now I have only run The Six Zero in January but I will be doing another cohort starting April/May time for Spring reset,” she says. “The other plans are under wraps for now, but watch this space!”




For all their latest news and updates, follow The Other Side of Fear on Instagram

January Wellness: The Other Side of Fear

British producer and DJ David Lindmer has built his name in melodic techno by doing the opposite of chasing quick moments. His sets are designed to unfold slowly, driven by atmosphere, tension, and careful progression, and his studio work follows the same mindset—focused, detailed, and built for the kind of clubs where time feels different after 2AM. It’s a sound that’s earned him releases on Afterlife, Purified, Upperground, Simulate, as well as his own label Running Clouds, and has placed him on lineups across Europe, North and South America, and the Middle East.



One of the biggest turning points in Lindmer’s career came in Tulum, when he heard his own music played at Afterlife for the first time—then found out the record was being signed immediately after. It’s the kind of milestone that can change everything, but Lindmer’s perspective stays surprisingly grounded. Away from the booth, he’s not living in nightlife mode 24/7. He’s someone who likes structure as much as creativity, who obsesses over arrangement in the studio, and who can happily spend hours fine-tuning details most listeners will never notice.



In this interview, Lindmer talks about the realities behind his rise, the importance of building a full story rather than relying on one “big track,” and the cities and moments that have stayed with him—from Córdoba to New York to his first shows in Argentina. He also shares what inspires him outside of techno, what he reaches for when he wants a set to feel right, and why the quiet morning after a show might be his favorite part of the entire cycle.



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


Most people assume my life revolves around nightlife. Offstage, it’s a lot more grounded than people might expect.



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


Something that mixes creativity and structure. I enjoy building systems and shaping ideas, whether that’s in music or not.



What’s the most memorable moment of your career?


Hearing my music played for the first time at Afterlife Tulum, then being told afterwards that the record was being signed. That moment was huge. I remember trying to act normal.



Who’s an artist that inspires you right now?


The Chemical Brothers. I went to see them last month at KDC - it was ridiculous I couldn’t stop dancing!



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

To be honest I don’t have one go-to track. I’m more focused on the journey. But if you had to push me I would say Right Here, Right Now by Fatboy Slim which I remixed recently.





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


I tend to keep it light. Usually just water, or a coffee if it’s early!



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

Córdoba in Argentina. That one really sticks in my mind as the connection with the people there was so special.



How would you describe your sound in three words?


Dark. Cinematic. Groovy.



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


Tottenham Hotspur. It’s a complicated relationship, though!



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


Daft Punk — “Around the World.” It was the first record I ever bought on vinyl, and I still have it.



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


The late Andrew Weatherall. A true maverick.



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


Golf. It’s annoyingly hard, but somehow still relaxing.



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


Late ’90s to early 2000s electronic music. Genres were less defined, and people were experimenting more freely.



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


Massano — “The Feeling.” It’s one of the first tracks I signed to Running Clouds, and it still works every time.



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

Flannery’s (the NY Spurs bar) on matchday, usually questioning my life choices.



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


I’m much better at table tennis than anyone expects. I won a mini tournament in Tulum against a group of DJs, which is now my proudest non-music achievement!



What is something simple that makes you smile?


A cup of tea in the morning. Quiet moments before the day properly begins.



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


The feeling after a set when you know you did well and really connected with the crowd. I’ve only felt that a few times—NYC last June, Afterlife Tulum, and my first shows in Argentina.



When do you feel the most at peace?


Early mornings or late at night. The morning after a show is always nice, when everything feels quiet again.



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


To pause and appreciate what I’ve already achieved in music, instead of constantly comparing myself to others or chasing the next thing.



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


The small details inside each track that most people would never notice, but completely change how it feels to me.



What personal prison have you built out of fear?


Like a lot of artists, I tend to overthink decisions instead of trusting my instinct.



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


Spending hours fine-tuning tiny details and listening to the same loop on repeat.



If you could compliment yourself, what would it be?


I have stayed remarkably consistent with the beard and hair.



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


Some of my older productions sound dated now, but I wouldn’t change them. They reflect where I was at the time.



What do you obsess over most in the studio?


Arrangement. I’m always asking whether a part actually needs to be there.



What is your favorite set time and duration?


Late nights and extended sets. Two hours minimum, ideally longer.



If you could erase one musical genre forever, which would it be?


Probably one of those genres that suddenly appears in every DJ set at the same tempo all of a sudden. I’m looking at you Afro house.

David Lindmer Interview: The Details That Change Everything

Gabss didn’t come into electronic music the “typical” way. Before he was landing Beatport chart placements and touring across South America, he was in his garage making rap beats for friends—originally planning to build a career behind the scenes as a hip-hop producer. That early obsession with rhythm and groove never left, it just evolved into a sound he now describes in three words: hypnotic, danceable, and emotional.

Over the last decade, Gabss has grown into one of Brazil’s most consistent names in House Music and Indie Dance, earning support from heavyweights and building momentum that’s backed up by real results. In 2025, he ranked as the 10th best-selling Indie Dance artist worldwide on Beatport, and at the beginning of 2026, his collaboration with Vintage Culture, “Lost,” hit #1 globally on Beatport—a major career milestone that he says still feels surreal considering how long he looked up to the artists now playing his records.

Offstage, he keeps things simple: his family keeps him grounded, he’s interested in psychology, and when it’s time to lock in, he feels most at peace doing the thing he cares about most—producing. In the interview below, Gabss talks roots, big wins, and the lessons that came with leveling up.



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


Before moving into electronic music, I actually started making rap beats for my friends in my garage. The original idea for my project was to be a rap producer.



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


I can’t really picture myself doing anything else, but I’m very interested in psychology—so maybe I would’ve followed that path.



What’s the most memorable moment of your career?


Definitely when my tracks started being played by the artists I’ve always looked up to. A very special moment was when Vintage Culture believed in my music and supported it.



Who’s an artist that inspires you right now?


I’ve been listening to a bit of everything, but my current favorites are Adam Ten, Mita Gami, Darco, OMRI, and Rafael.



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


Probably one of my own, haha. “Dynamite” and “She Freaks” work extremely well to bring the energy up.



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


Definitely a cold beer—nothing beats it before a show.



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


I don’t have one specific favorite. Every place feels special in its own way.



How would you describe your sound in three words?


Hypnotic, danceable, and emotional.



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


My family.



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


Probably Noir – “Around” (Solomun Remix). That’s where it all started.



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


Quincy Jones.



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


I like traveling, going to the beach, and playing games—things that make me happy.



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


I always joke that I was born in the wrong era, haha. My musical taste is heavily influenced by what played in the ’70s and ’80s—everything felt more real and alive. I wish I could’ve experienced that time.



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


Hard to say because I’m always updating my playlists, but the classics never leave my USB:

Jamie Jones – “Hungry for the Power”

Pleasurekraft – “Tarantula”



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


Nowhere else—those are my favorite places, haha.



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


I can imitate Donald Duck, haha.



What is something simple that makes you smile?


Looking back at my journey and feeling proud that I never gave up.



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


The first time I played at a huge festival for over 10,000 people. It was incredible.



When do you feel most at peace?


When I’m producing.



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


To stay organized, haha.



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


Trying to stay positive.

If you could compliment yourself, what would you say?


Congratulations for never giving up, no matter what.



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


Hiring the wrong people to work with me.



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


Yes, several times, haha.



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


The lack of quality.



Regarding the creative process as a whole, what do you find yourself obsessing over the most in the studio?


The process of building a track.



What is your favorite set time and duration?


I prefer being the second or third act of the night—those times match well with my sound. A two-hour set is the minimum needed to build a proper journey.



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


I wouldn’t eliminate any genre. They’re all good and have their own characteristics.

Gabss: The Producer Behind One of 2026’s Biggest Records

Pacha and New York have always shared a long-lasting love story, one that’s found its way back into the spotlight with the recent news of its parent company, FIVE Holdings Group, expanding into the city through The Brooklyn Mirage.




When Pacha first arrived in the city in the mid-2000s, it took over one of Manhattan’s most iconic nightlife spaces at 618 West 46th Street in Hell’s Kitchen. This warehouse became home to the legendary Sound Factory in the late 1990s, after the club relocated from its original 530 West 27th Street address in Manhattan’s Chelsea neighborhood, where it had operated since 1989. This venue (known for its incredible sound system) would later host other prominent nightlife institutions, including Twilo and Spirit, helping define New York’s underground music scene.

So by taking over the Hell’s Kitchen location, Pacha didn’t just open another nightclub, it inherited a legacy.The venue preserved the energy, spirit and even the layout of that sacred dance floor, blending its own Ibiza-born hedonism with the raw, urban heartbeat of New York. The result was a cultural exchange that united two capitals of nightlife through music, emotion and identity.







That shared energy speaks to the essence of Pacha’s global journey. Born in the early days of the hippie movement, Pacha Ibiza has always embodied freedom, self-expression and joy, values that have carried it from its first venue in Sitges (Barcelona) back in 1967 to the world’s biggest cities. The Cherries became a universal symbol of pleasure and togetherness. More than five decades later, they have come to represent a lifestyle rooted in the Mediterranean spirit but felt across continents.




A leading player in the worldwide leisure and entertainment sector

Pacha soon became the first Spanish Company in the entertainment sector with presence in many countries: Spain, Portugal, Argentina, Germany, England, Austria, Egypt, Morocco, United States, Brazil, Lithuania, Russia… Its expansion tells a story of cultural connection. It never set out merely to open venues, it set out to share a feeling, a rhythm, a philosophy, a way of living well. Through every club, festival and hotel, Pacha continues to embody the timeless spirit of hedonism. The iconic two Ibiza cherries, have become a worldwide symbol of music, joy, pleasure and a unique lifestyle recognized worldwide.




Over the years, Pacha has hosted the world’s top DJs, including Carl Cox, David Guetta, Steve Aoki, Avicii, Danny Tenaglia, Erick Morillo, Martin Garrix or Nicole Moudaber to name just a few, in Ibiza, New York and beyond, creating iconic party concepts that have shaped careers and defined the global electronic music scene.



Before he was a global superstar and chart-topping producer, David Guetta launched his legendary F** ME I’M FAMOUS! residency at Pacha Ibiza in the early 2000s. The night became a cultural phenomenon, blending celebrity energy with pure house music euphoria, and was instrumental in catapulting Guetta from the booth to international fame. Though he closed that chapter after summer 2018, his journey remains one of Pacha’s defining success stories, a testament to the club’s power to turn DJs into icons.


Pacha’s universe has expanded far beyond clubs, encompassing fashion and accessory lines, fragrances, a record label, media platforms and editorial projects, extending the brand’s lifestyle and influence far beyond the dance floor.To name just a few landmarks, Pacha’s first step beyond Europe came in 1993 with the opening of Pacha Buenos Aires, marking the beginning of a global journey that would redefine nightlife across continents. 




Through Pacha Ibiza on Tour, the island energy continues to travel the world from Brazil to China and to the brand’s legendary New Year’s Eve celebrations in Cape Town, South Africa, bringing the unmistakable rhythm and hedonistic spirit of Ibiza to dance floors everywhere.




Back in 2012, the brand launched the first Pacha Festival in Amsterdam, a large-scale celebration of electronic music, creativity and Mediterranean spirit under the iconic cherries around the canals.


For five consecutive years, the festival transformed Amsterdam into a vibrant extension of Ibiza’s soul. More than just a music event, it became a full-scale experience: from the colorful Ibiza hippie market to the curated food village and completed with a sushi pop-up restaurant, it offered an 11-hour journey through sound, taste and style. The centrally located venue made it easy for thousands of fans to join in, celebrating a fifth anniversary that underscored Pacha’s ability to merge music and lifestyle on a grand, sensory scale.



Where legacies converge, the history of dance music is moving forward

After years of touring the world and curating large-scale experiences that blurred the lines between festival, art and lifestyle, it feels only natural for Pacha to return to one of its most emblematic cities: New York. The energy that once defined its legendary Manhattan nightclub now finds a new home at The Brooklyn Mirage, a venue that mirrors Pacha’s DNA: expansive, immersive and driven by the unifying power of music.



Since 2023, under the ownership of FIVE Holdings Group, Pacha has entered a new era of growth, one that reinforces its position as a global lifestyle brand while staying true to its hedonistic roots. The group’s vision has been instrumental in expanding Pacha’s reach through world-class entertainment concepts, luxurious hospitality and international experiences that blend music, design and culture.

On the other hand, The Brooklyn Mirage which was launched as a Cityfox pop-up event in 2015 just a few blocks away, found its permanent home at the Avant Gardner complex in 2017 and quickly became a sensation till it closed in 2024.One of the venue’s earliest international partnerships featured elrow, with Gray Area as the local partner, which returned for multiple editions and helped establish one of the first Spain/Ibiza brand connections at the Brooklyn Mirage.




With room for up to 6,000 guests, this open-air venue is the largest entertainment space on the East Coast. More than just a stage, it has evolved into one of the world’s most forward-thinking outdoor destinations. The Mirage soon became a cultural hub where technology, design and sound intersect to redefine the live music experience. It embodies the same spirit that drives Pacha: immersive, avant-garde and committed to celebrating music as a shared art form.




This alliance is more than a business move, it’s the fusion of two iconic legacies. From the underground pulse of New York’s house scene to the sun-soaked nights of Ibiza, these worlds converge once again, united by a shared rhythm and a timeless philosophy of living well.







As Pacha’s cherries illuminate Brooklyn’s skyline, both the iconic global nightlife brand and The Brooklyn Mirage venue stand together as symbols of continuity and evolution in New York's music scene, representing freedom and the hedonistic spirit that transcends borders. We are part of a cultural dialogue between past and present, a connection between the Mediterranean soul and New York’s relentless energy. The beat goes on bolder, brighter and louder than ever.

Pacha’s Love Story with New York Is Reborn

AI-generated music isn’t a fringe conversation anymore.  It’s already sitting in playlists, popping up in recommendation feeds, and showing up in upload queues next to real releases from working artists. And while the tools behind it keep getting easier and cheaper, the rules around where that music can live are getting more complicated. Each platform is reacting to AI from a different angle: some are focused on stopping impersonation and spam, others are obsessed with metadata and authorship, and a few are taking a hard stance on keeping their catalogs human-made. For DJs, producers, and everyday listeners who care about where music comes from and who gets paid, these policy differences matter. Here’s how Spotify, Apple Music, SoundCloud, Bandcamp, and YouTube Music are handling AI music right now.



1. Spotify

Spotify is drawing a line between AI as a tool and AI as a weapon. The platform isn’t banning AI-generated tracks across the board, but it is heavily targeting the ways AI can be used to mislead listeners or siphon money away from real artists. That includes cracking down on vocal deepfakes and unauthorized voice cloning, tightening rules around impersonation, and rolling out systems to catch mass-upload spam tactics meant to game discovery and royalties. Spotify is also backing new standards for AI disclosures in credits, aiming for a world where listeners can understand how a track was made without labeling everything as either “AI” or “not AI.”



2. Apple Music

Apple Music treats the AI question as part of a bigger quality-control mission. Its guidelines are rooted in clean delivery: correct metadata, accurate contributor roles, consistent artist attribution, proper cover art, and releases that don’t look like low-effort filler. Within that framework, Apple makes it clear that AI-generated content can run into problems when it lacks clear authorship or disclosure, and it discourages repetitive uploads that try to sneak through by tweaking titles or metadata. The message is simple: if a release doesn’t feel professional, transparent, and properly credited, it’s more likely to get rejected before anyone even gets a chance to press play. 



3. Bandcamp 

Bandcamp is the most straightforward of the five, and easily the strictest. The platform has formally stated that music or audio generated wholly or substantially by AI is not allowed, and it reserves the right to remove content suspected of being AI-generated. It also explicitly bans using AI tools to impersonate other artists or replicate their style, tying that directly into existing rules around impersonation and intellectual property. Bandcamp’s reasoning isn’t about trends or efficiency — it’s about protecting a space that’s built on direct fan support and human authorship. If you’re an artist considering where to release, Bandcamp is signaling that it wants buyers to feel confident they’re supporting real people, not automated content farms.



4. Soundcloud

SoundCloud has ended up in a gray zone largely because of how its Terms of Service were interpreted. After backlash over language suggesting user content could potentially be used to train AI systems, SoundCloud issued a direct statement saying it has never used artist uploads to train AI models, doesn’t allow third-party scraping for that purpose, and has implemented safeguards like a “no AI” tag to block unauthorized use. At the same time, SoundCloud still supports AI inside the platform for things like recommendations, organization, and fraud detection, framing it as back-end infrastructure rather than generative creation. For creators, it’s a reminder that SoundCloud is staying open to AI in practical ways, but it’s under pressure to be extremely clear about what it will and won’t do with music uploaded by artists.



5. Youtube Music

YouTube Music sits in the “yes, but” category: yes to AI tools, but not at the expense of trust. YouTube openly promotes AI as a way to help creators work faster and expand what’s possible, while emphasizing that it still expects guardrails around realism, disclosure, and identity. The platform requires creators to disclose realistic altered or synthetic content, and may label content more visibly when it touches sensitive areas like news, health, elections, or finance. YouTube has also strengthened paths for people to request the removal of AI-generated content that simulates an identifiable person’s face or voice, and it’s building detection tools through Content ID for synthetic or simulated singing voices. In practice, YouTube isn’t trying to keep AI music out — it’s trying to make sure people can’t use AI to pass off fake performances as real ones without consequences.

Five Streaming Services and Their AI Music Policies

DIØN has become a familiar name within the harder side of modern techno, known for fast-paced sets and music that balances pressure with emotion. Based in the Netherlands, he’s built his profile through consistent releases, long-form performances, and a clear connection to the rave-rooted side of the genre.

Before moving into electronic music, DIØN started out playing guitar and performing in rock bands, a background that still shapes how he thinks about structure and flow. Over time, tracks like Public Enemies and later releases through his own label, Rough Material, helped define his direction and gave him full control over how his music is released.

On stage, he’s best known for extended sets, including multiple marathon sessions at Thuishaven, where he’s able to take his time and move through different moods and tempos. He’s also played major events like Verknipt, reaching huge crowds while keeping his focus on the dance floor rather than spectacle.

In this interview, DIØN talks about where he started, how his sound has developed, and why longer sets matter to him. He also shares what influences him outside of club music and how personal experiences continue to shape the way he writes and performs.



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


I started with music as a guitarist when I was nine years old. Later, I played in a rock band with friends and eventually fell in love with electronic music.



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


That’s a very hard question, but as a creative person I would probably be designing clothes or visuals—something I’m already doing now with my label and clothing brand, Rough Material.



What’s the most memorable moment of your career?


Playing at Verknipt at the Johan Cruijff Arena in Amsterdam. Playing my own music for 40,000 ravers is something I’ll never forget.



Who’s an artist that inspires you right now?


At the moment, I’m inspired by Hans Zimmer and M83 because of the depth they bring through sound. For my upcoming album, I really focused on putting emotion into the music, and listening to how certain sounds can create feeling helped shape that direction.



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


My remix of the legendary track “Traffic” by Tiësto usually does the job because of its powerful build-up



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


A shot of vodka, as far as I can remember—haha.



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


I don’t really have one favorite city, but I love playing in the Netherlands. I see so many familiar faces at my shows—people who have been coming to my sets for years.



How would you describe your sound in three words?


Emotional. Rough. Intimate.



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


Having good food and drinks with family or friends.



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


Since I’ve always loved rock music, hearing “Hotel California” by The Eagles really brings me back.



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


Armin van Buuren has always been a dream.



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


Being on a boat with friends and a drink. It gives me a real sense of freedom.



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


I listen to a lot of music from the ’70s and ’80s, ranging from disco to classic rock. I’m a big fan of Imagination, especially “Music and Lights,” and Shalamar’s “A Night to Remember.” I also love The Eagles and Dire Straits. I’d love to experience that era firsthand.



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


It has to be my first bigger track, “Public Enemies.” I still enjoy playing it.



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


Probably hanging out with my friends. I’ve had the same close group for over 15 years, and they’ve always supported me.



What is something simple that makes you smile?


Seeing the people I love being happy.



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


Bringing my grandmother to one of my shows. She’s over 80 years old and really understands what I’m doing. Whenever I finish a new track, she’s usually one of the first people to hear it.



When do you feel the most at peace?


After a workout, when I go to the sauna and leave my phone behind for a while.



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


I have a very close relationship with my family and share almost everything with them. Some people might find that unusual.



If you could compliment yourself, what would you say?


I think I can be proud of everything I’ve created, shared, and achieved so far.



Have you ever lost music you were working on?


Luckily, no. I’m very careful with my projects.



What makes you cringe when listening to your early material?


Mostly the arrangements and certain sample choices. But everyone has to start somewhere, and it’s nice to hear how much my music has improved over time.



What do you focus on most in the studio?


I love experimenting with synthesizers until I find one sound that really clicks. Once I have that, the entire track is already in my head before I start producing it.



What’s your favorite set length?


I can’t do it all the time, but I really love long sets. I’ve played four 10-hour sets at Thuishaven and one 11-hour set at Tegendraads. Those sets give me the freedom to tell a full story and move through different styles. For regular shows, I prefer two hours so I can still shape a clear flow.



If you could erase one genre forever, what would it be?


I don’t think I would remove any genre. There’s something valuable in all kinds of music, and I’m very open-minded when it comes to listening.

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