The persistent ring in the ears—tinnitus—is something that around 7 million people in the UK and one in six people in Sweden deal with every day. For some, it’s a faint hum after a concert, but for millions of others, it’s a constant, intrusive presence that impacts sleep, work, and mental health. While the medical world has long focused on just "coping" with the sound, a new wave of research is finally looking at how to actually turn the volume down.

The Science of the "Phantom" Signal

To understand the solution, you have to understand the glitch. Tinnitus isn't actually a sound in your ear; it’s a phantom perception created by your brain. When the tiny hair cells in your inner ear get damaged—often from loud environments or just the wear and tear of modern life—the brain stops receiving the signals it expects.



To make up for this silence, the brain’s auditory center essentially "turns up the gain." It creates its own activity to fill the gap, resulting in that high-pitched ringing or buzzing. Researchers at the Karolinska Institutet found that this isn't just about loud noise; genetics play a massive role, too. If you have ringing in both ears, there’s a high chance your DNA made you more susceptible to it.

A New Approach: Breaking the Loop

This is where the new trial from Newcastle University comes in. Dr. Will Sedley and his team realized that tinnitus happens because certain brain cells start firing in a synchronized loop—kind of like a crowd at a stadium chanting the same thing over and over.

The team developed Acoustic Ripple Therapy (ART). Instead of just playing "white noise" to mask the sound, this therapy uses synthetic musical notes that are constantly being tweaked in volume and pitch. In their trial of 77 people, participants listened to these sounds for an hour a day.



The results were a major "proof of concept." By constantly changing the audio input, the therapy forced the brain cells to stop "chanting" together. On average, people saw a 10% drop in how loud their tinnitus felt, and the effect stuck around for three weeks after they stopped the treatment.

Therapy in Your Pocket

The most relatable part of this research is how it might reach us. Most 20-to-30-year-olds are already glued to their headphones, whether for a commute or a workout. Dr. Sedley’s goal is to turn that habit into a remedy.

The plan is to build this tech into a mobile app. Even better, the researchers want to layer these "rippling" audio changes over the stuff you’re already listening to—like your favorite podcasts or Spotify playlists. If the tech is embedded in your daily media, you could rack up hours of therapy without ever feeling like you’re in a clinical session.

Looking Ahead

While we wait for the app to go public, the advice from experts like Christopher Cederroth is clear: watch the decibels. If your phone gives you a red warning for going over 85 decibels, listen to it. Permanent damage can happen slowly, even if you’re just listening at a "moderate" level too often.

We are moving away from the era where people are told to "just live with it." Between genetic discoveries and new audio-shaping tech, the goal is shifting toward a future where we can finally find some silence.

Silence, Finally: The New Tech Aiming to Mute Tinnitus for Good

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




Northern Ireland’s capital city is home to one of the UK’s most vibrant, exciting and talented dance music scenes. But they’re also up against a host of challenges. In this article, we catch up with Plain Sailing to find out all about the venues, club nights and communities that make this city tick – and learn more about the difficulties they must overcome in order to continue the party.




A Brief History of Belfast’s Dance Music Scene




Ask most local Belfast heads how they got into dance music and they’ll probably cite multi-level night club Thompson’s Garage or Shine, a club night launched by Allen Simms in the early 90s. It’s a cliché now, but after 30 years of war (also known as The Troubles), these became the only spaces in Belfast where the opposing communities came together under one roof. Since then, Belfast’s music scene has become known for it’s unparalleled energy, good craic, warmth, compassion and exceptional talent. Some nights, the crowd gets so boisterous they punch walls through ceilings. Phil Lucas, one half of Twitch, has a piece of The Bunatee’s overhead panelling framed on his wall.




Historically, Belfast is techno and house-heavy, however since 2019 a variety of club nights and communities have worked hard to diversify that sound. But it struggles to retain its talent, with many local legends succumbing to the temptation of London, Amsterdam or Glasgow.




Venues and Event Spaces




Northern Ireland has the most restrictive licensing laws in Europe. That’s why DJ and producer Holly Lester and human rights advocate Boyd Sleator launched Free The Night, an organisation committed to creating a safe, progressive and culturally rich environment for nightlife in Northern Ireland and beyond.




Event spaces and venues are few and far between compared to the amount of promoters, artists and collectives that exist in the city, and with more and more clubs closing, Ulster Sports Club is one of the only mid-level venues supporting the scene. Andrew Moore, one half of Plain Sailing, says this limit on venue options forces promoters to turn to alternative spaces in order to build a sustainable infrastructure.




“In terms of venues, there's been a real shift recently,” Andrew says. “A lot of promoters are focusing more on the after hours scene. Licensed spaces are still used and it’s important they’re supported, but with few to choose from it has forced people’s hands. Places like RAW and Rúnda Studio provide the types of experiences that you usually need to go to Berlin or London to capture. RAW is particularly interesting as it’s a regeneration project. In the absence of appropriate licensing laws and opportunity, the community finds a way to survive. That feels very appropriately Belfast.”




“The Night Institute, headed by Timmy Stewart and Jordan Nocturne, are also running a pretty interesting concept through December,” Andrew continues. “They've been given the keys to a licensed space that they plan on turning into a multi-room, music-focused space.”




Live Music, Promoters and Collectives




Andrew says Belfast’s live music scene is thriving, with bands like Chalk, Enola Gay, Huartan and many more flying the flag. Ulster Sports Club is the main destination in the city for live music, hosting all sorts from hip-hop to punk to left-field electronica.




“In terms of promoters and DJs doing cool things - Social Sounds, Call & Response, Sound Advice: After Hours (Conor Schmtz and Marion Hawkes) are all people I respect,” Andrew says. "Never Never run a night here called The Mush Room which is pretty cool too; focusing on more downtempo, weirdo sounds. Maybe I'm just getting older, but that type of thing is appealing to me more and more these days. Head Above Water is also a really cool party, headed by ByPhil, focusing on sounds from across the house spectrum and exclusively vinyl. We've got some amazing producers around as well. Matheson and Optmst are probably my two favourites.”




The Challenges




Belfast has quite a few problems to overcome. One is the issue of talent leaving, creating a brain drain heading towards London. Another is the government’s complacency when it comes to licensing laws and prioritising the night time economy. “Recently, our Communities Minister, Gordon Lyons, wasted an incredible amount of public money in ignoring The University of Stirling's independent license review in Northern Ireland,” Andrew says.




As a result, he says the scene at the moment exists, but it’s tough. “There's still a few passionate individuals doing their thing,” Andrew says. “I've read too many features and interviews that describe our scene as 'thriving' or whatever; that just isn't true. Promoters are still increasingly finding it hard to shift tickets in advance, selling the majority on the door and mostly to people who just want a little extra drinking time, so the vibe gets somewhat lost.”




Andrew says that wider interest outside the scene has diminished, and the circle of people genuinely into the culture is smaller, perhaps because of COVID or because of high costs or because students aren’t going out as much. But there is a positive side to that, too.




“For one, it means the people at your nights actually really want to be there,” Andrew says. “The focus shifts from how can I get 300 people into a room to I want to make sure the 50 people coming to this are really into it.”




So promoters are opting for smaller spaces in favour of larger rooms. Andrew says places like the Committee Room in Ulster Sports Club or Rúnda Studios are becoming increasingly popular, with vibes topping profit. “You might not make as much money on the door due to the capacity, but at least you feel fulfilled and a part of something bigger than yourself, with the emphasis on community,” Andrew says.




Looking to the Future




Belfast is a city built on resilience, personality and DIY spirit. This scene knows how to meet challenges head on, and find creative ways to express themselves. That’s why it teems with talent, and why artists and promoters stick around to continue to build their scene.




“Those within the small electronic music community are super supportive and it's the main reason I'm still living here despite the obstacles we face every day,” Andrew says. “I honestly couldn't see myself anywhere else at this point, and it's so important that we keep those that are so passionate about it here.”

City Beats: Belfast

For anyone who grew up flipping through channels looking for the latest premiere, the news that MTV will shut down its remaining music-video channels on December 31, 2025, feels heavier than a simple programming update. Paramount Global’s decision to retire MTV Music, MTV 80s, MTV 90s, Club MTV, and MTV Live officially closes a chapter that shaped how millions of people met their favorite artists, learned the choreography to their favorite tracks, and saw themselves reflected in a world that always felt a little cooler, louder, and more daring than real life. And for many of us, those years were defined not just by music videos, but by shows that became cultural touchstones — from Jersey Shore to The Real World, Pimp My Ride, Punk’d, and Next.



MTV isn’t vanishing completely. The main channel—the one that now leans heavily into reality shows—will continue. But the version of MTV that once felt like a pulse running through youth culture is being folded away, archived into memory. For many, it’s a reminder that the things we once considered permanent can slip quietly into history. It’s strange to think the same channel that gave us Jackass, Teen Mom, Catfish, Cribs, and My Super Sweet 16 is letting go of the part of itself that started it all.



When MTV debuted back in 1981, the idea of a channel playing music videos around the clock was revolutionary. It gave musicians a stage that reached into living rooms around the world and launched careers that depended just as much on imagery as on sound. Suddenly, artistry wasn’t just what you heard—it was what you saw. Entire aesthetics, fashion choices, and cultural trends were born from those few minutes between commercial breaks. MTV wasn’t just a platform. It was how many of us learned about style, creativity, and expression before we even had the words for it. And as years went on, series like Daria, Beavis and Butt-Head, Road Rules, and The Challenge.



Fast forward to now, and the media landscape looks nothing like it did during MTV’s rise. YouTube, TikTok, Instagram, and streaming platforms have rewritten how we watch, listen, and share. Music videos still matter—maybe more than ever—but they no longer need a cable slot to make an impact. Artists post directly to their audience, fans clip and remix their favorite moments, and discovery happens through swipes instead of scheduled programming.



MTV’s declining ratings reflect this shift. Where millions once tuned in religiously, the numbers have thinned as viewers migrated to screens they control. On-demand replaced anticipation. Algorithms replaced VJs. Premieres dropped at midnight on YouTube instead of during scheduled blocks after school. As habits changed, so did the business built around them, and eventually the decision became inevitable.



Still, hearing that the channels will disappear feels like losing a time capsule. We remember racing home to catch the countdowns. We remember staying up late hoping our favorite video would finally break into the top spot. We remember the excitement of seeing artists we loved step into characters through visuals that felt bigger than life. MTV lived inside those moments, shaping not just what we listened to, but how we imagined the world around us. 



This shutdown isn’t just about media strategy or corporate restructuring. It’s about acknowledging how quickly time moves. The version of MTV that raised so many is now a memory, replaced by platforms that offer speed and convenience but not always the same sense of shared experience. There was something special about watching the same video debut at the same time as everyone else—something communal, something electric.



As the countdown to December 31 approaches, the closure serves as both a farewell and a reminder: technology keeps moving, the way we experience culture keeps shifting, and the things we once thought would last forever sometimes don’t. But the influence of MTV—its daring visuals, its storytelling, its impact on youth culture across generations—continues in every music video uploaded today.



We’re not just watching a network fade out. We’re watching time pass. And we’re remembering the place that taught us how powerful a song could feel when paired with a screen and a vision.

After 40 Years, MTV’s Music Legacy Reaches Its Final Frame

Few artists can channel energy and emotion quite like ELIF. The Turkish-born, Barcelona-based DJ, producer, and label head builds her DJ sets with the precision of a designer, and her productions follow the same trajectory.




Her rise has been steady, driven by depth, empathy and an unshakable sense of purpose that bleeds out of every set, release and production. And, as it turns out, she learnt how to do this away from the dance floor.




“In architecture school I was creating stories of people who’d experienced the building. It’s a very similar thing the DJ does,” she said in an interview with 15Questions. “I think of music in spatial terms. I imagine how a sound will fill a room — how it will breathe, how it will connect people.”




That mindset defines her artistry: she goes beyond just playing sets. She designs sonic environments that invite connection, reflection, and release.




The Beginning




ELIF’s journey into music was not linear. Before clubs and labels, there were sketchbooks and building models. “If I weren’t a DJ or producer, I’d probably be an architect, a yoga teacher, a CEO — and lately, I feel like I could even be a farmer,” she recently told Gray Area.




Istanbul is a city that bridges continents, and ELIF is influenced by the duality of those surroundings. “Istanbul teaches you balance,” she told Elle Uzbekistan. “It’s a city of noise and beauty, and learning to exist within that taught me how to listen.”




Her first encounters with electronic music came through underground parties that valued atmosphere over spectacle, where she learned how sound can alter perception. “Music is how I make sense of the world,” she told Mixmag MENA. “It’s how I connect to others without having to explain myself.”




Sound and Vision




ELIF describes her sound as “deep, groovy, a bit dirty.” Her sets blend hypnotic rhythm with emotional storytelling and she gets “obsessed with every perspective of creating a track, from sound design to arrangement to how it makes you feel in a room full of strangers.”




As her sound has developed, she’s maintained a sense of pride over her journey. “Nothing makes me cringe,” she says. “I love seeing progress and change. I’m proud of myself.”




That self-assuredness comes from years of patient work, long sets, and an ever-evolving sense of identity. “My favourite set length is three to five hours,” she says. “I’m ready for longer.”




And her current crowd-hyping weapon? “It changes every two or three months, but right now it’s an edit of Messy by Lola Young from Canvi,” she told Gray Area. "We released it as a free download on Marginalia.”




Lessons and Milestones




ELIF’s trajectory has been anything but ordinary. From debuting at Burning Man to commanding dancefloors in Montreal, New York, Berlin, Zurich, and London, her presence has become a global constant.




But there have been challenges, too. When we asked her about the most expensive mistake she’s made, she told us: “I tried to bring something cool to my hometown Istanbul, but with the wrong partners — and got screwed over. Live and learn.”




Technology has thrown its share of chaos her way as well. “My computer crashed on me a few times — always at the most inconvenient moments,” she says. “Luckily I could recover almost everything. A few tracks are lost or glitchy, but I learned how to detect them. It was a nightmare then, but now I know better.”




Roots and Rituals




Offstage, ELIF is quietly introspective. Her pre-show routine is simple: coffee, matcha, nuts, and dates. Her sanctuary is home and nature, and her greatest joy is her dog Bambam. “When I play the ukulele and my dog puts his chin on my leg, I feel at peace,” she says. “He doesn’t like electronic music much but really enjoys acoustic sounds.”




And when life gets chaotic, she reminds herself of the essentials: “That life is short and we’re lucky to be alive.”




The Label and the Mission




Her label, Marginalia, has become a creative playground for like-minded artists — a space where ELIF can champion a global sound rooted in groove and emotion. “It’s about connection,” she’s said in multiple interviews. “About giving space to voices that don’t always fit the mold.”




That sense of community extends to her role as a mentor and collaborator. She’s been a regular presence at the International Music Summit, where she’s helped shape conversations about creativity, technology and wellness in electronic music. “There’s so much more to this world than parties,” she says. “Music can heal, inspire, and transform if we let it.”




Looking to the future




Despite her success, ELIF remains humble and motivated. In 2025 she released “Eos” on CORE Records, a hypnotic, melodic techno cut that showcases her flair for deep, slow-building tension; “Praise The Sky” with Predex on Frau Blau — a soaring, emotionally charged EP featuring remixes by Ae:ther and Rodriguez Jr.; and “Being An Artist” with David LeSal on her own Marginalia imprint — a textured, introspective track that reflects her label’s mission to champion boundary-pushing producers.




Ultimately, ELIF is a sonic architect who structures her music around feeling and connection. As she once told Mixmag Brazil: “I’m just building spaces where people can be fully themselves — even if just for a few hours.”




And that’s exactly why ELIF is one to watch.

Ones to Watch: ELIF

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




The city of Wroclaw is not pronounced how you think. ‘VROTS-wahf’ is the third largest city in Poland, and well known for its vibrant Market Square, gnome statues hidden throughout the city and the beautiful bridges and islands that give it the nickname "Venice of Poland”.




But an underground scene is bubbling beneath this pretty surface, and it’s spear-headed by a group of three friends collectively known as SPLOT.




Who is SPLOT?




SPLOT is Szymon Baczyński (AKA Glassz), Kamil Winiarz (AKA Guiltee) and Paweł Szeląg (AKA dadan karambolo) - three good friends with a shared passion for the left-field sounds of bass, techno, breaks, half-time and D&B.




They met at Akademickie Radio LUZ, run by the Wrocław University of Science and Technology, a station they all joined at the same time. “It was a very nice community driven radio station with a lot of very interesting music programs by people involved in the local underground scenes, from punk rock, to house, techno, bass and all things in between,” says Szymon.




The three friends connected over their shared love of left-field music, and began attending festivals and parties together. “We went to Dimensions in Croatia in 2019, and we had an amazing time there, and we all were so exhausted from dancing that we sat down and decided this is the kind of sound that we would like to push in Wroclaw,” Szymon says.




They felt there was space in the scene and the time was right. They’d been DJing for several years, Pawel was breaking into international territory with his productions, and Kamil already had experience organizing underground forest raves. But just as they were about to throw their debut party, the pandemic hit, so their first club night was significantly delayed.




The Label and Event Series




Before SPLOT, the scene was dominated by straightforward, ticket-selling techno, while more experimental or bass-driven music struggled to find space, especially after the pandemic led to venue closures.




"So I think this is one of the main ideas,” Pawel says. “Our sound is more futuristic and retro - a philosophy of taking care to show people the roots of the culture and where it all started, and at the same time pushing the boundaries of the current sound in the scene.”




That’s why they make sure to showcase Polish producers, as well as international talent. “We love the idea of, you know, bringing our favourite artists from all over Europe or all over the world to show to our friends, but also it's important to us to present the local talents. That's why we also started the label three years ago.”




Their label helps balance the challenges of throwing events, which can be frustrating. “I'm always optimistic, but it's so difficult to break even with a more experimental approach to sound and to music,” Pawel says. “Especially with a small audience for bass music in Poland in general.”




The label launched in June 2022 with Deers by Bess, a 5-track EP from dadan karambolo. Since then, they’ve released some of the hottest talent in Poland and beyond, including 2Shy, Yes Stanley, IWANN, and most recently Archypness.




"He's a producer based in Warsaw,” Pawel explains. “There are a lot of people into this music who are producing without sending demos anywhere. It always catches me off guard when I talk to someone and they say they produce. I wish they weren’t so shy about it.”




This year, they’ll collaborate with LAS Festival for the second year in a row, where they’ll be curating bass music at the Substance stage. In 2021, SPLOT hosted a stage at MASSIF Festival in Kłodzko Valley, where they invited Awkwardly Social, Low End Activist and Appleblim which was the start of many fruitful partnerships.




Plans for the Future




On 13th December 2025 SPLOT is throwing their most ambitious party yet. Jungle legend Sully and Blackeye MC will be tearing up Wroclaw’s Cialo with a stacked line-up on support, including all three members of SPLOT, siberialist, Meke and mgkl.




“For me, the label is what I cherish the most at this time,” Pawal says. “I hope to develop it to the point where we can maybe release physical formats as well. I think that’s a big goal for all of us. And in terms of parties, I hope we can just continue and grow in that regard too.”




“We are also thinking about releasing a remix compilation,” Szymon continues. "So Polish producers who have already been released could be remixed by some international guests as well, to build those connections outside of Poland. We want people abroad to know about us. Because I personally feel quite often that we’re overlooked. Like, in Western media always Unsound and not much else. But there is so much going on, and I think our scene is incredible. There are producers and DJs and collectives and clubs and festivals that we wish to also be part of this bigger picture.”




For all their latest news and events, follow SPLOT on Instagram.

Collective spotlight: SPLOT

Hearing health is rarely discussed in the dance music world, but it’s a very real issue that many DJs and producers quietly deal with behind the scenes. Constant exposure to loud environments, long tours, and high-pressure schedules take a toll. UK house music heavyweight Martin Ikin recently opened up about his diagnosis of endolymphatic hydrops, a rare inner ear condition that has impacted his ability to fly, perform, and even listen to music.

After canceling several shows due to worsening symptoms, Martin has chosen New York as the city for his return to the stage. It's a deeply personal milestone after months of recovery and lifestyle changes. His honesty around the physical and mental toll of this condition sheds light on an important issue that’s often left unspoken in the music community. Here's what he had to share with us.



You recently opened up about being diagnosed with endolymphatic hydrops, a condition many people may not be familiar with. What has it been like navigating such a serious ear issue while being a full-time touring DJ?



Yes, as most people know, I’ve been having ear problems for a few years now, with no diagnosis from any of the specialists I had seen. Over time, the condition slowly got worse and ultimately led to an “inner ear attack.”

Luckily, I saw someone the day after the attack who ran a huge amount of tests and was extremely thorough. They finally gave me a diagnosis, which meant we could start treating it — that was a huge relief and gave me some light at the end of the tunnel.

Unfortunately, it’s one of those conditions that affects your whole life. The symptoms can stop you from doing nearly everything when they’re bad. The pressure in your ears can make flying, driving, cycling, or even using an elevator really difficult. The dizziness makes it hard to read or focus on anything. And the intermittent muffled and overly sensitive hearing makes it hard to listen to music or even want to socialize.



You really have to be careful not to become a recluse, because that’s how it can make you feel sometimes. Thankfully, I’m now on some medication and supplements that help reduce the excessive fluid pressure in the inner ear and suppress the virus that causes it. It’s not a quick fix, but things are so much better now than they were.



Flying and loud environments can be especially challenging with this condition. Can you share what went into your decision to cancel shows — and why playing the upcoming New York show feels like such a significant milestone?



Exactly. As I mentioned above, loud environments are a challenge because of the hyperacusis (sensitive hearing), but the main reason I had to cancel touring shows was the flying.

The cabin pressure on planes is known to make the symptoms worse, basically undoing what the medication is working to fix. So, I had to take a few months off to give the treatment time to help reduce the pressure in my inner ear.

The New York show will be my first weekend back touring since all of this started. I’m really excited to be performing again — especially in New York.

Aside from taking medication, are there any other steps or precautions you’re taking before getting back on stage to protect your ears and manage your condition?



Yes, managing this condition requires a complete lifestyle shift. That includes a full diet change — no salt, which makes eating on the road tricky. Running every day also helps with the dizziness. I avoid elevators now, so no high-rise hotels — which can be tough in some places, especially in the U.S.



I also stick to what I was already doing: wearing earplugs and avoiding prolonged loud noise exposure. That means I can’t really hang around too long after my sets anymore.



As someone who has been in music for decades, have you noticed a shift in how hearing health is discussed in the industry — or is it still something people shy away from?



I do think there’s more awareness now than there was in the ’90s. Back then, no one wore earplugs — and even if you wanted to, they were hard to find.

That said, I’m still surprised to see so many DJs cranking booth monitors for hours without any protection. I’m like the old boring dad now, constantly telling everyone to wear earplugs!



How has this diagnosis changed your relationship with music — both in the studio and behind the decks?



I’ve had to seriously scale back my studio time this year. That’s why I haven’t released as much as I normally would. But that will gradually return to normal as things continue to improve, so I’m not too worried.



What have you learned about managing your physical and mental health while touring? What advice would you give younger artists who may not think about long-term hearing damage?



Honestly, dealing with this has been just as hard mentally as it has been physically — if not harder. It can really take you to some dark places if you don’t keep on top of your mental health. That’s probably been the toughest part of it all.

It’s hard for someone who’s never dealt with this to understand just how overwhelming it can be. Thankfully, I’ve got a great support system around me. Without them, I’d be in serious trouble.



So my advice — and what I’m constantly preaching to any DJ who will listen — is: please wear earplugs at every gig. And don’t take them out halfway through — that defeats the point.



In facing something this intense, has your perspective on your career or life as an artist shifted at all? What matters most to you now when deciding which gigs to take and how you balance health with the demands of touring?



Absolutely. As a music lover and lifelong DJ, my instinct has always been to say yes to every gig. But now I have to carefully weigh what I can handle versus what’s just too much.

Especially when long-haul flights are involved, it’s all about balance now. Fewer gigs — but the right ones. That’s the new mindset.

Martin Ikin on Ear Health, Touring Challenges, and Returning to the Stage

Since first teaming up in 2017, Belgian duo Joyhauser has become one of the most consistent and respected acts in modern techno. Known for a sound that merges tension, emotion, and peak-time energy, they’ve played the world’s most important stages—from Awakenings and Tomorrowland to Monegros Desert Festival and Loveland ADE. But with the launch of MEMORO, their own label and live event concept, Joris Cielen and Stijn Vanspauwen have entered a new chapter—one that puts full creative control in their hands.



More than just a platform for their music, MEMORO is a curated space where the pair explore a deeper, more atmospheric side of techno. It’s a brand built around storytelling, emotional intensity, and long-form experience—whether through AI-enhanced visuals in their live shows or a label catalog that prioritizes feeling over formula. After successful events in Switzerland, France, and Belgium, they’re now bringing MEMORO to New York for the first time, choosing Gray Area and Superior Ingredients for its North American debut.



In this interview, Joyhauser shares what MEMORO means to them, why they’ve been so selective with where it shows up, and how the concept blends musical instinct with long-term vision.



1. What does MEMORO represent to you personally, and how does it differ from your other Joyhauser work or releases on other labels?


With MEMORO, we want to release music that sits between modern peak-time techno and the faster side of techno. With other labels, we always have to be careful how the productions will sound and fit. With MEMORO, we can do whatever we like. Not too fast and not too slow. Groove and authenticity are key elements for us.

Having our own label gives us the opportunity not only to shape our own artistic vision, but also to support new talent and offer them a home to express themselves and release their work. With MEMORO, we want to create a community more than just being a label. After releasing a lot of music over the past years, being on the other side now feels like a natural next step—a way to build the future and create a pathway for the next generation.



2. You’ve been very selective about where MEMORO events happen. What makes a city or venue the right fit for the concept? Why was New York one of those places?


We do try to be selective with our MEMORO events. MEMORO is all about creating and preserving beautiful memories for the people on the dancefloor. We always choose quality over quantity. Curating a strong lineup is one thing, but selecting the right city and the right venue is just as important.

New York has always held a special place in our hearts. It was one of the first major cities outside Europe where we had the chance to play right after our breakthrough, and the support from the people there has always been incredible. It’s a city we return to every single year, so for us, New York, Gray Area, and Superior Ingredients truly embodies what MEMORO stands for.



3. The MEMORO live experience blends sound, emotion, and even AI. Can you talk about how you approached building a show that balances all of that while still feeling human and raw?


The idea for the MEMORO live experience was born during the COVID period. We’ve always been fascinated by AI and the human mind, and combining those interests with a show built entirely around our own music felt like the next step.

Our goal was to blend 100% original music on stage with visuals that were carefully crafted to match and enhance the emotions behind each track. Finding the right balance was essential—the music should always remain the core focus, while the visuals, created together with Byssolo, serve to support and amplify its impact.



To be honest, we began developing this concept before AV shows became widespread. Then Anyma pushed the visual experience to a completely new level, which made it harder to surprise people in that same direction. That’s why we’re now considering evolving the concept and possibly taking it in a different direction in the future.

4. Can you share what kind of artists or sounds you’re looking to release or book under the MEMORO brand? How do you decide what belongs under this umbrella?


For MEMORO, we’re looking for artists and sounds that sit in the space between modern peak-time techno and the faster, more energetic side of techno—but always with groove, personality, and authenticity. It’s not just about power or tempo; it’s about music that carries emotion, drive, and a signature identity.

When we decide what belongs under the MEMORO umbrella, we focus on whether the track or artist fits the feeling we want to create: timeless, memorable, and impactful.



Whether it’s for a release or an event, we look for artists who bring their own character, who aren’t just following trends but adding something meaningful to the techno space. If the sound feels fresh, powerful, and true to the spirit of MEMORO, then it belongs with us.

5. What was the turning point for you in deciding to start a label and brand instead of just releasing music independently or on other platforms?


For us, the turning point came after years of releasing music on other labels and feeling the desire to build something that truly reflected our own vision from start to finish. We loved working with other labels, but at some point, we realized that we wanted more control—not only over our own releases, but also over the artistic world around them.



Starting MEMORO wasn’t just about putting out tracks; it was about creating a home with its own identity, story, and aesthetic. A place where we could shape the sound we believe in, support emerging talent, and build a community around our musical philosophy.



6. For fans seeing MEMORO live for the first time in Brooklyn, what’s something you hope they feel or walk away with by the end of the night?


For fans seeing MEMORO live for the first time in Brooklyn, we hope they walk away feeling completely transported. This project is all about tapping into deep emotion—memories, energy, contrast—so if people leave the room feeling like they went on a journey with us, that’s the goal.



We want them to feel that blend of intensity and nostalgia, that moment where the music connects with something personal. And since it’s our first time bringing MEMORO to Brooklyn, we hope the crowd feels the raw power of that shared experience—like they were part of a debut that only happens once.

7. If MEMORO were a movie genre, what would it be—and why?


If MEMORO were a movie genre, it would be a blend of sci-fi thriller and psychological drama—very similar to Inception. That film plays with layers of reality, emotions, and memories, which is exactly what we try to do with our music and events.



Like Inception, MEMORO isn’t just about what you see or hear on the surface. It’s about creating deeper emotional layers, moments that stay in your mind long after the experience is over. The same way the movie blurs the line between dreams and reality, we aim to blur the line between music, visuals, and emotion—pulling people into a world where everything feels both powerful and meaningful.

8. You’re curating an afterparty immediately following a MEMORO show. What’s the first non-techno track you’d throw on?


We’d go with Moderat—starting with The Mark (Interlude) and then sliding into Bad Kingdom. The Mark is perfect for creating a reset moment after a heavy techno set. It gently wipes the slate clean and shifts the crowd’s mindset into a more emotional, open space.



From there, Bad Kingdom lifts the room back up with something iconic but still warm and grounding. It’s a great way to guide everyone into the afterparty atmosphere with intention.

9. What’s one thing fans might be surprised to know goes into preparing a MEMORO set or show?


People might be surprised by how much emotional preparation goes into a MEMORO show. It’s not just about selecting tracks—we spend a lot of time tuning into a specific feeling or memory we want to translate to the crowd.



But once we’re on stage, it becomes something completely different. We work very much in the moment: we bring a huge amount of music on our USBs and treat the dancefloor as a blank canvas. From there, it’s pure anticipation, reacting to the room, shaping the energy, and letting the atmosphere guide us.

So even though there’s a lot of intention behind the concept, the actual set is always alive, evolving, and unique to that night. One thing is sure—a lot in our sets are crafted from our label’s catalog, mixing released and unreleased music with Joyhauser material, including plenty of tracks that fans haven’t heard yet.



10. The word ‘Memoro’ has Latin roots meaning ‘to remember’ or ‘to bring to mind.’ Was that intentional when you chose the name?



Yes, the meaning behind “Memoro” was absolutely intentional. Our DJ name comes from two psychologists — Joy Paul Guilford and Marc Hauser — and with the background in psychology, we’ve always seen ourselves as a kind of therapist on the dancefloor. So when we were searching for the right label and concept name, we wanted something that connected to that idea as well. 



As DJs, beyond making people feel good in the moment, we want to create memories that stay with them — the kind of experiences they carry long after the night is over. That’s why the Latin word Memoro, meaning “to remember,” felt perfect. It captured exactly what we wanted the brand to stand for, and we’re genuinely happy with how naturally it fits our story.

MEMORO, Defined: How Joyhauser Created a Label, Live Show, and Philosophy

The internet woke up this week to find that one of TikTok’s biggest rising tracks, I Run by Haven, had quietly vanished from Spotify and Apple Music. For a song that seemed destined to soundtrack gym clips and late-night scrolling sessions all winter, its disappearance felt abrupt, and soon the cause became clear. The vocals, as TikToker Haydencoh uncovered, weren’t sung by a mystery newcomer or a hidden feature from Jorja Smith. They were generated using Suno, the AI tool that has become a lightning rod in the music world.



Once the discovery spread, the original version was removed, with Spotify confirming that the track violated its rule against impersonating real artists. No royalties were paid out. Searches now bring up a new version featuring singer Kaitlin Aragon, who says she recorded a cover to replace the synthetic voice. But the moment had already taken hold: fans, creators, and curious listeners were left wondering how a track built around an AI vocal climbed the charts of TikTok culture without anyone noticing.

The answer may be simpler — and more unsettling — than expected.

Just days before the takedown, a study from Deezer and Ipsos revealed that 97% of people can’t tell the difference between AI-generated music and the real thing. Nearly three-quarters of the 9,000 participants said they were surprised by how easily they were fooled. Over half admitted the whole experience made them uncomfortable. Considering that thousands of synthetic tracks are uploaded to streaming platforms every day, I Run wasn’t an outlier — it was a preview.



For house music fans, this moment lands at a crossroads. The genre has always thrived on new tools, new textures, new ideas. Drum machines, samples, and software helped shape the sound. But those tools still relied on human choices: what to sample, what to tweak, what emotion to chase. AI shifts the ground. It can imitate the tone of a star vocalist, assemble a melody from trends, and release a track before a human would have had time to export the session. And now, as I Run shows, it can slip into the culture at full speed with millions believing the singer to be real.



The Deezer study hints at why this is possible. Most listeners aren’t trained to pick apart production details or vocal flaws — they’re reacting to how a track feels in the moment. Social feeds move fast, and TikTok’s algorithm rewards instant familiarity. So when an AI vocal hits the same notes and emotional cues as a real artist, it blends in. Even for people who care about music, that line becomes hard to hold.



None of this means the future is doomed or that AI will replace artists. But it does force a new kind of awareness. If a viral track can climb the charts fueled by a voice that never existed, the responsibility shifts to the platforms, the creators, and the fans to ask what they’re listening to — and why it matters.



The takedown of I Run wasn’t just a glitch in the system. It was the flashing sign of a much bigger shift: one where the sound of tomorrow might feel familiar, but the source behind it might not be human at all.

TikTok’s Viral Hit Wasn’t Even Human — And No One Noticed

Spanish duo MËSTIZA have become one of the most recognizable voices in the intersection of flamenco and electronic music. After more than a decade working independently, Pitty and Belah found common ground in the sounds that shaped their childhood—Spanish folklore, flamenco cadence, and the emotional weight carried in its rhythms. Bringing those roots into club culture became the foundation for a project that feels both grounded in heritage and firmly connected to the dance scene.

Since launching the project, they’ve topped Spain’s vinyl chart with their debut album Quëreles, performed across Europe, the Middle East, and North Africa, and made history as the first female DJ duo to hold a residency at Hï Ibiza. Their work extends beyond music, weaving fashion, visual identity, and cultural pride into every performance. What sets them apart isn’t just the blend of styles, but the clarity of their message: honoring where they come from while building something that resonates worldwide.

In this interview, MËSTIZA reflect on the origins of their sound, the meaning behind their name, the responsibility of representing their culture on international stages, and the evolution of flamenco within today’s electronic landscape — along with moments of humor, honesty, and the creative instincts that guide their partnership.



You both had individual careers before forming MËSTIZA — at what moment did you realize you wanted to unite your sounds into one project?


After more than ten years working separately, we decided to join forces when we realized we shared many ideas that came from our background. We grew up surrounded by flamenco — it was part of our environment from a very young age — and when we brought our ideas together, we saw that this was our common foundation and that it had been hardly explored within electronic music. That became our starting point.



“Mëstiza” translates to “mixed.” How does that word reflect not only your music, but also your identity as artists?


For us, MËSTIZA is more than a name; it’s a declaration of identity. It represents the blend of cultures, sounds, and emotions that shape our music, but it also reflects who we are as artists and as women. We are a mix of roots, experiences, and influences, and we carry that diversity into every production and every show. 



Our project is the result of this fusion between tradition and modernity that defines us. Additionally, the word itself has a very Spanish sound — especially because of the “Z” — and it’s a feminine term, which caught our attention from the very beginning and ultimately inspired the name of the project.



Flamenco is such a powerful part of Spanish culture. How do you balance keeping its authenticity while adapting it for the club environment?


We’ve listened to flamenco since we were little; it was always playing at home, on the radio, or on TV shows — so we’ve always had a lot of respect for it. The idea of bringing it into the clubs came from feeling there was a space for it, and that we could find a sound where it could blend naturally and make people dance.



“Quëreles” reached number one on Spain’s vinyl chart — what did that milestone mean to you after releasing it on your own label, Sacro Music?


It was a huge moment for us. Reaching number one with our own label showed that people connect with authenticity. It was proof that independent projects can go far when they come from the heart.



You’ve performed everywhere from Europe to the Middle East. How do different audiences respond to your fusion of flamenco and electronic sounds?


Every audience reacts differently, but the energy is universal. Even if people don’t understand the language, they feel the emotion — the pulse of the rhythm. That connection goes beyond words.



Becoming the first female DJ duo to hold a residency at Hï Ibiza is a major milestone. What was that experience like for you personally and professionally?


It was an incredible experience — both empowering and humbling. Personally, it gave us confidence; professionally, it was a step forward for female representation in the scene. It made us believe that women can lead spaces like that and inspire others to do the same.



You often highlight femininity and cultural heritage in your visuals. How important is fashion and presentation to your artistic vision?


Fashion is a part of our storytelling. Through it, we express our identity — the mix of strength, femininity, and Spanish culture that defines us. Every look is connected to the music and the feeling we want to share.



Your live sets feel almost cinematic. How do you design a set that tells a story on the dance floor?


We design each set like a journey, with emotion, progression, and contrast. It’s about creating moments that move people, from introspective passages to powerful drops. We want every performance to tell a story.



Flamenco is rooted in emotion and storytelling. What emotion or message do you hope people take away after seeing you perform?


We want people to feel alive — to connect with passion, pride, and freedom. If our music makes someone feel something real, we’ve done our job.



You’ve built your own label, Sacro Music. What kind of artists or sounds do you hope to champion through it in the future?


Sacro is a space for creativity and collaboration. We support artists who share our vision — those who blend cultural roots with electronic sound in a genuine way. It has become a community that keeps growing with every release.



Touring can be demanding. What are your must-have rituals or routines before a big show?


Before every show, we take a quiet moment together. We breathe, focus, and remind ourselves to enjoy it, to give our best, and to stay present.



Performing in places like the Giza Pyramids and Dubai must be surreal. Is there a dream location still on your list?

Performing at the Pyramids was unforgettable. But we’d love to one day play at the Alhambra in Granada — it would be a perfect mix of history, art, and emotion.



How do you see electronic music evolving in Spain — do you feel a new movement forming around cultural fusion?


Definitely. There’s a new generation of artists reconnecting with their cultural roots and mixing them with electronic music. It feels like a renaissance, and we’re proud to be part of it.



Who usually wins when you disagree on a creative decision — or do you have a secret tiebreaker method?


We talk a lot, sometimes debate passionately, but we trust each other. Usually, the one who feels the strongest about an idea leads the way — intuition always wins.



Finally, if someone’s hearing MËSTIZA for the first time, what’s the one track you’d play to show them who you are?


“Campanera.” It’s a reimagining of a Spanish classic that represents everything we are: tradition, emotion, and power. It sounds like home but looks toward the future.

Interview with MËSTIZA: Bringing Flamenco Into the Club World

What started as a spontaneous back-to-back between two university friends has grown into one of the UK’s most promising house and techno duos. Ryan and Rory, better known as RSquared, met while studying at Bournemouth University and quickly realized their shared taste in groove-led percussion and disco-inspired energy could evolve into something more.

Since releasing their debut EP in 2020, RSquared has built a solid reputation through releases on respected labels including Defected, Knee Deep in Sound, Paco Osuna’s Mindshake, and Deeperfect. Their breakout track Brown Eyes marked a defining moment—earning major support from names like Marco Carola, Jamie Jones, and Hot Since 82, who later signed the duo to his imprint. One of their most streamed releases dropped on the American label House Hats Collective, showing just how far their music now travels beyond the UK scene.

With continued backing from BBC Radio 1 and Capital Dance, the duo continue to expand their reach within modern house and techno. In this interview, Ryan and Rory talk about how it all started, how their sound has evolved over the years, and the realities of today’s music industry—from unexpected breakthroughs to lessons learned on the road.



You both met at Bournemouth University—what sparked the idea to collaborate as RSquared rather than pursue solo projects?


We both originally started out as solo artists. Rory had a solo gig booked in Maidstone, while Ryan was due to play in Bournemouth. When Rory’s event was unexpectedly cancelled, Ryan suggested doing a back-to-back set with him in Bournemouth instead. The chemistry during that set was instant—and that’s how RSquared was born.



Your productions have landed on respected labels like Defected and Knee Deep in Sound. How did those signings come about?


We’ve always admired those labels—they were dream destinations for our music from the very beginning. Our relationship with Hot Since 82 and the Knee Deep in Sound team started quite organically; we’d been sending him demos over email for a while, and one day we sent Brown Eyes. He loved it, and that moment really opened the door for us.



What’s one release that you feel really marked a turning point in your careers?


Without a doubt, Brown Eyes. It was the track where we truly found our sound—blending our love for tech house with nostalgic 80s influences. The response to that record was incredible and felt like a real breakthrough moment for us.



Many DJs like Marco Carola and Jamie Jones have supported your tracks. Do you remember the first time you heard a major artist play your music out?


Yes—Hot Since 82 played our earlier track Reminiscence at a Circus event in Liverpool. That moment will always stand out. It was one of the first major events back after COVID, and the atmosphere was electric. Seeing the crowd’s reaction to our track on such a big stage was surreal.



BBC Radio 1 and Capital Dance have been big supporters—how has radio exposure impacted your trajectory?


Radio support is absolutely vital for a successful release. Every time we receive a Radio 1 play, we notice a significant spike in streams and engagement. It’s an amazing platform to connect with a wider audience and build momentum behind a record.



How do you balance working together in the studio—do you each have specific roles, or is it more fluid?


Since one of us is based in Essex and the other in Portsmouth, we usually collaborate remotely. One of us will start an idea and upload it to Dropbox, and the other will then build on it with a fresh perspective. It’s a workflow that’s evolved naturally and keeps things creative and efficient.



What’s been the biggest challenge of evolving from university collaborators into an internationally recognized duo?


The biggest challenge has been adapting to how multifaceted the industry is now. It’s not just about producing and DJing—you also have to be a content creator, marketer, and strategist. That side of things can be less enjoyable compared to the music itself, but it’s become a key part of the job.



Touring and studio time can clash—how do you keep creativity flowing while on the road?


As our touring schedule gets busier, especially with international dates like South America, finding uninterrupted studio time can be tough. We make a conscious effort to keep creating—even if it’s just sketching new ideas between shows—to stay inspired and maintain momentum.



Who outside of house and techno would you love to collaborate with in the future?


Joy Orbison would be a dream collaborator. His sound design and approach to rhythm are incredibly unique and inspiring.



Is there a club or festival still on your bucket list to play?


Space Miami and Lost Village Festival in the UK are both at the top of our list. The energy and vibe at those events are unmatched.



If each of you could only bring one piece of gear to a desert island studio, what would it be?


Definitely our laptop—it holds thousands of samples, plugins, and ideas. We’d be completely lost without it.



And finally—who’s most likely to miss soundcheck because they overslept?


Rory loves his sleep—but since going sober, he’s become the more punctual one. So realistically, it’s probably Ryan!

Double the Groove: A Chat with RSquared

Is Berlin Still Berlin Without Its Clubs?



When’s the last time you danced until sunrise in Berlin — no phone signal, no clock-watching, just music, sweat, and strangers who felt like old friends? Now imagine that version of Berlin disappearing. Because it is.

The city once hailed as Europe’s clubbing capital is going through what locals call Clubsterben — the death of clubs. Legendary spots like Watergate, Renate, and Berlin’s oldest queer club, SchwuZ, have already closed or are about to — some due to bankruptcy, others because landlords refused to renew their leases.



For a city whose global rep was built on underground music and hedonistic freedom, this isn’t just a nightlife story. It’s a cultural shift, and a warning.



From Free-For-All to Fight for Survival



Back in the ‘90s, Berlin was a different animal. After the Wall fell, the city was broke, empty, and full of potential. A lot of its buildings were abandoned. You could throw a party in a crumbling department store or an old bank vault — no permits, no rules. That’s literally how the now-famous club Tresor was born.



People weren’t just going to clubs — they built them. They brought trees to decorate the floor, gold-framed mirrors, wild outfits, art installations. It was part party, part playground, part protest.

Fast forward to now, and Berlin has gentrified hard. Apartments are luxury. Rents are high. And the underground scene — which was never meant to be commercial — is being priced out.



Take About Blank, a beloved techno club. The city just approved construction of a hotel next door. More hotels mean more complaints. Noise regulations tighten. The once-safe zone for all-night freedom now fights to exist — literally.



Empty Dancefloors and Changing Priorities



It’s not just rent killing the scene. Inflation has made everything more expensive — tickets, drinks, even the U-Bahn ride home. People are going out less. According to the Berlin Club Commission, over half of the city’s clubs saw a drop in visitors last year.



Where once people partied Friday and Saturday every week, now it’s maybe one night a month — if that.



And there’s a generational shift too. Gen Z is drinking less. Clubbing less. They’re exploring other ways to connect, unwind, rebel. Some club owners, like those behind SchwuZ, are trying to adapt: sober parties, daytime events, new formats. But reinvention is hard when you’re bleeding money.



What Happens When the Scene Is Gone?



Clubs in Berlin aren’t just entertainment. They’re institutions — especially for marginalized communities. They’ve been places to be seen, to experiment, to feel safe being weird. They’ve driven tourism, inspired music globally, and shaped entire subcultures.

Now, nearly half of Berlin’s clubs are considering closing. Some are crowdfunding just to survive. Others are asking for tenant protections from the city. But support is shaky, and time is running out.



And here’s the part no one wants to admit: it’s not just external forces killing the scene. It’s also us.

The magic of Berlin’s club scene wasn’t just the DJs or the venues. It was the people. The ones who didn’t just consume the party but contributed to it. Who brought weird energy, who danced like no one was watching, who treated the night like a shared experience — not a service.



So What Now?



If Berlin’s clubs are going to survive, it’s going to take more than nostalgia. It means showing up. Supporting local venues. Maybe even helping shape what the next version of the scene looks like — one that reflects the way we live now but keeps the soul of what made Berlin Berlin.

Because if the clubs go, it’s not just the music that dies. It’s a piece of freedom, spontaneity, and culture that won’t come back easily.

Berlin’s Club Scene Is on Life Support

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




Awkwardly Social is a Berlin-based club night, record label and collective that’s big on pushing boundaries and building community. And it all started in 2016, when they threw their first party which doubled up as a surprise birthday party for their founding member, Cheng NWSH.




“We’d had so many house parties at his, and he was always such a generous host, so we thought we’d turn it around and do this Cheng appreciation party,” says co-founder Carl. Cheng thought he would be DJing at someone else’s event, only to find himself at the center of it. “It was really beautiful,” Carl remembers. “Lots of people got involved, and we figured we’d take the momentum from that and turn it into a party series.”




They’ve carried that kind, inclusive, family energy into everything they do, whether it’s their club nights in Berlin, their podcasts spotlighting up-and-coming artists, or their label, which is now on its 6th release.




Who is Awkwardly Social?




The collective is run by four international friends, all based in Berlin: Cheng (China), Carl (Germany), Momo (France) and Alana (Australia). All of them share a passion for left-field techno, bass and breaks, and creating a space where people can be themselves.




In a city where coolness is kudos, Awkwardly Social actively rejects it. They encourage people to come as they are, to wear colourful clothes if they want, and to dance like nobody’s watching. They were one of the first crews in Berlin to move away from techno and platform an eclectic range of music, and the name was born from that same energy.




“The name comes from Momo,” Carl says. “She wanted to say we were socially awkward, but she accidentally said ‘awkwardly social.’ I remember it so clearly — it just fit perfectly. It’s a nice spin on being socially awkward, but in a friendly way. Like, we can be socially awkward together.”




That offhand phrase became a manifesto for connection and inclusivity in a city known for being the opposite. “We started at a time when Berlin felt very exclusive,” Carl says. “There were always long queues at the door, and you had to wear a certain dress code or behave a certain way to belong. It made the whole thing kind of superficial. We wanted to be more inclusive. We just wanted people to feel good and part of the community.”




Building Community Beyond the Dance floor




Their first events were held in Anita Berber, a venue run by Tom Clark, a former Berghain and Ostgut resident. Their sound leaned towards house and techno, “but we were already quite interested in breaks and bass music even then,” Carl recalls. “Sometimes we’d piss off Tom by putting on really heavy basslines in a venue that was house-music focused, but over time, our focus evolved more towards the bassey, breaky direction — always techno-informed, but on the more experimental side.”




That musical curiosity became their signature sound and remains so today. Awkwardly Social’s parties blended the intensity of Berlin’s club sound with a looser, more colourful sensibility. “That was our aim from the start — to be inclusive in our vibe, but diverse in our music policy,” says Carl.




Expect the Unexpected




“I always find it nice when people come with a certain expectation but leave having experienced something totally different,” Carl says. “I like nights to be diverse, broad, and full of surprises.”




That approach has created a space that’s both dynamic and deeply loyal, more like an extended friendship group than a party. They often give local artists their first Berlin gigs, and their May Day parties have become legendary, as has their residency at OHM. “Our first night back after the pandemic with CCL and Angel D’lite was a really special one,” Carl remembers. “CCL loved the space so much they started their own night there after.”




Awkwardly Social nights are as much about connection as curation, not clout or status. Here it’s all about having fun, playing music you love, and supporting your friends.




Their Label and Legacy




As well as their party series, Awkwardly Social are building a loyal following with their label. “We’ve been a label since 2020 — we’re now six releases deep,” Carl says. “We’ve got another release coming in March 2026, plus a few more on spec. Putting out vinyl in this day and age is definitely an uphill battle. It’s expensive, and fewer people play it. But it’s still beautiful to see a record come to life as a physical object.”




Their approach to A&R is rooted in community and mentorship. “It’s always really nice when we A&R an artist, and then they go on to release with another, bigger label,” Carl says proudly. “It shows our release was well received and helped open doors.”




Standout artists include producer dadan karambolo, who released with Sneaker Social Club after their record on Awkwardly Social, and Egyptian artist Azemad who went on to work with Banoffee Pies. “It’s nice to see people grow — that’s what this whole thing is about.”




Awkwardly Social runs a joint party with Sneaker Social Club called Awkwardly Social Club, and a podcast series spotlighting emerging artists. “We try to shine a light on local talent,” Carl says. “During the pandemic, we also did radio shows with interviews — just to stay connected with artists when there were no shows, and we still occasionally have shows on Refuge.”




A more Colourful Berlin




Nearly a decade since their first party, Awkwardly Social has become part of a broader shift in Berlin nightlife — one that’s more inclusive, experimental, and diverse than ten years ago. “There’s much more color now,” Carl reflects. “There’s Reef at Berghain, and newer promoters like Green Room at Fitzroy or Blurry Vision who are doing great things. It’s become a much friendlier scene, where different collectives support and inspire one another.”




That evolution feels like vindication for Awkwardly Social’s founding vision: a club community built on kindness, compassion and absolutely banging music taste, not on coolness or exclusivity.




It’s just as Carl says: “Come as you are. We can all be awkwardly social together.”




Their next club night is on December 6th at OHM, featuring Dubrunner, Breaka and Yushh, and their next release is out in early 2026.

Collective Spotlight: Awkwardly Social

Once a minor import, Halloween in Ibiza has grown into a week-long spectacle that rivals the island’s legendary summer nights. Equal parts family-friendly fun and all-night revelry, Halloween here seamlessly blends the eerie with the enchanted.



Ghosts of Tradition: Sa Trencada and Tots Sants



Long before vampires and disco zombies took center stage, Ibiza honored Tots Sants (All Saints’ Day) with a gentle and heartfelt tradition. On the evening of October 31, families gathered for Sa Trencada, a feast of autumn bounty. Tables overflowed with walnuts, almonds, chestnuts, and pine nuts (cracked open only after nightfall) as well as pomegranates, figs, and pastries. The sweet star of the table was panellets - marzipan treats rolled in pine nuts - and occasionally, buñuelos, fluffy pumpkin fritters.





Folklore held that spirits of deceased loved ones returned home that night. Out of reverence, families left the table set overnight, lit an oil lamp, and placed candles, sometimes inside gourds or pumpkins, to guide souls back. Children once knocked on neighbors’ doors asking, “No hi ha res per ses ànimes?” (“Is there nothing for the souls?”), receiving snacks in a tradition that echoed modern trick-or-treating. Reverent yet playful, these customs remind us that Ibiza’s spooky season has long danced between the sacred and the mischievous.



A Decade of Transformation: From Quiet Rituals to Costume Revelry



Over the past ten years, Ibiza’s Halloween has exploded in popularity, transforming from a quiet locals’ ritual into one of the island’s biggest annual celebrations. While some older residents once scoffed at the commercial trappings, younger generations and families embraced the fun. Today, Halloween doesn’t replace Ibiza’s All Saints’ traditions, it complements them.



Clubland has driven much of this growth. After the summer season winds down, Ibiza’s world-famous clubs rise again for Halloween with encore-style parties. At Pikes Hotel, the now-iconic “Haunted Hotel” party turns the historic finca into a surreal maze of themed rooms, performances, and macabre revelry. Costumes are mandatory, creativity is celebrated, and ticket proceeds support local charities - a perfect blend of party spirit and community heart.





Club Chinois, a sleek newcomer in Marina Botafoch, quickly made Halloween its own with over-the-top themes like “Lost in Wonderland” and this year's “Disco Inferno”, dazzling guests with immersive visuals and trippy décor. Venues like Es Paradís and Eden in San Antonio fuse their closing parties with spooky themes and for 2025, 528 Ibiza is having its first ever Halloween special under the Pikes Presents party brand.



Halloween for All Ages: Community and Family Festivities



But Halloween in Ibiza isn’t just for night owls. It’s also a family-friendly, island-wide celebration that brings together communities of all ages. Every town, from Sant Joan de Labritja to Santa Eulària, hosts events for children and families. In Sant Joan, the main square bursts with Halloween decorations, costume parades, and trick-or-treat trails through local shops. In Sant Josep, the “Tots Sant a Sant Josep” festival spans a week of spooky programming, including horror film screenings, haunted house walks, and craft workshops.



Parks are decorated with scarecrows and webs, while local businesses offer treats to little ghouls and goblins. What emerges is a true multi-generational block party, rooted in joy, creativity, and togetherness.



Where Heritage Meets Hedonism



As the last beats fade and the jack-o’-lanterns flicker out, Ibiza’s Halloween reveals its real magic: the union of heritage and hedonism. It’s not unusual for a family to begin the night with a Sa Trencada feast and finish it in costume on the dancefloor. Mornings start with flower offerings at cemeteries, and nights end with zombies dancing beneath disco balls.



Ibiza has woven a unique tapestry: a Halloween that honors its ancestors while celebrating the fantastical, where reverent rituals coexist with glitter and gore.

Halloween in Ibiza: The Past & Present

In our City Beats series, we explore underground scenes in cities all around the world, and today we're shining a spotlight on Denver, Colorado.




Many people in the bass music world regard the capital city of Colorado as America’s low-end stronghold. Perhaps something about being sandwiched between High Plains to the East and the Rocky Mountains to the West lends itself to producing filthy dubstep and grotty drum & bass. In this article, we’ll take a look at the artists, venues, radio stations and festivals championing Denver’s low-end frequencies, and dig into the energy behind the city’s thriving bass music scene.




Venues




Denver’s bass culture thrives across three iconic venues, each bringing a slightly different flavor to the city’s scene. The Black Box is at the heart of Denver’s low-end community — an intimate, no-frills space built around a world-class, rib-rattling sound system that pounds out dubstep, drum & bass, experimental bass and halftime. It’s home to Sub.mission events and responsible for countless underground debuts.




A few blocks away, you’ll find Club Vinyl — a multi-level venue that bridges underground and mainstream, with bass-heavy nights like Bassrush and Drum & Bass Ops utilising its Funktion-One rig while the rooftop hosts house music. Club Vinyl’s scale and programming give it a festival feel while staying true to Denver’s underground essence.




Then there’s The Church, a grand old historic Denver church turned nightclub where bass goes cinematic. This historic venue is home to Badlands on Thursdays, Ritual on Fridays, and ‘Noches en la Catedral’ Latin Night Saturdays, with massive acoustics and immersive light shows that turn bass sets into full-body experiences.




Together, these venues form the backbone of Denver’s bass ecosystem, each one essential to the city’s low-end identity.





Denver Dance Radio

This online SoundCloud channel has become a key platform for bass music genres in Denver. The show features episodes of dubstep, UK garage, 140 bass, psybass, psydub, and tech house, and showcases both local and regional artists.




Electric Demons Radio

An outlet that dives into genres like dubstep, halftime, freeform, and other bass-adjacent sounds, bringing in both local DJs and mixes that push beyond the mainstream. This DIY station is where the community comes together.






Mersiv (Anderson Benoit Gallegos)

One of the most prominent names in Denver’s bass scene right now, Mersiv’s known for “Pretty Dark Loud,” which blends deep and heavy bass drops with emotional, psychedelic textures. Launched in 2015, the project gained major momentum after a standout performance at Electric Forest 2018, followed by a string of releases that propelled him onto global tours and major festival lineups like Shambala, Bonnaroo, Dead Rocks, and Okeechobee.




Brondo

A local favorite famous for gritty synths, hard-hitting dubstep and a signature energy that destroys dancefloors, Brondo has become known as the “bass jungle king.” He always puts on a show with his unique take on creative visuals, electrifying drops and enough bass to make all of Denver quake.




Decadon

Mixing rock-influenced vocals, melodic overtones, and traditional D&B, Decadon has carved out a niche referred to as “rockstep.” He blends raw guitars and vocals with dubstep and bass elements to bridge genres in a totally unique and oddly satisfying way.






Sub.mission

This pioneering collective is synonymous with Denver’s bass scene. Founded in 2007, they helped the city earn its “Bass Capital” nickname with their motto “Moving People Through Sound, Not Hype.” This crew focuses on deep, high-quality sound and community over trends, and their flagship venue, The Black Box, houses one of the state’s finest sound systems – ideal for hosting global bookings like Truth, J:Kenzo, and Ternion Sound.




Dub Wub

Dub Wub is a monthly experimental bass event held at a venue called RIVER, and showcases regional artists and underground experimental bass styles. Revellers describe it as intimate, intense and with a focus on low-end textures.




Warehouse Shows

Denver has a strong tradition of warehouse raves, smaller after-dark parties, and secret location bass shows. These events often attract experimental or harder-hitting bass DJs, and are a big part of what makes the scene feel alive and community-driven.



Klutch Beat's Bass N Bounce

This day-time event is coming up on November 8, 2025, at Bounce Empire in Lafayette which is the world’s largest inflatable amusement park. They combine heavy bass music on a 360° hydraulic stage, creating a high-energy fusion of music, fun and adrenaline.




Global Dance Festival

This is Denver’s flagship electronic music event, transforming the Empower Field grounds into a multi-stage celebration of sound and light each summer. Known for its massive production, cutting-edge visuals and diverse lineup, the festival brings together global superstars and underground bass artists alike — from dubstep and trap to house and techno.




Badger Bass Camp

Though outside of Denver proper, this 3-day underground bass festival in Hartsel, Colorado, attracts lots of bass-heads from Denver and beyond. It’s celebrated for its intimate, community-driven vibe and deep, immersive sets spanning dubstep, drum & bass, glitch, and experimental sounds. With its DIY ethos, art installations, and outdoor camping atmosphere, many say that Badger Bass Camp feels more like a family gathering than a festival.




What’s different about Denver?

Geography, culture and community makes Denver’s bass scene stand out; and it’s constantly evolving. The city’s mountainous backdrop and outdoor culture cultivates a nightlife scene where deep cuts thrive. Artists can graduate from small, sweaty club sets to major festival stages within a short period of time, and no single style defines the sound. It’s a city where melodic bass, dubstep, halftime, and drum & bass all collide under one roof.



Beneath the surface there’s an underground network of warehouse parties, after-hours events, and creative collectives that keep things authentic and fresh. But as the scene grows, it faces familiar challenges: limited venues, festival permit hurdles and the tension between underground roots and mainstream success. Supporting emerging artists and grassroots venues is vital, not just for the health of the scene but for the energy and spirit of the city itself.

Ultimately, Denver’s bass culture is diverse, resilient and vibrant. If you crave heavy drops, filthy basslines and music you can feel deep in your bones, then make sure you get down to Denver.

City Beats: Denver

If you’ve been paying attention to the melodic techno circuit, there’s a good chance you’ve already felt the pull of Jono Stephenson’s sound — whether it’s through his most played tracks, his collaborations with artists like Henri Bergmann, or his fast-growing presence on lineups from Cape Town to Brooklyn.

Rooted in a classically musical upbringing in South Africa and shaped by a deep love for analog textures, Jono is the kind of artist who lets his music do the talking — and yet when he does speak, it’s with intent. His breakout single “I Can’t Save You” soared past a million streams, and he’s followed that with releases on Zamna, Purified, Siona, and more. But behind the artist is someone introverted, obsessive about details, and quietly building something more thoughtful than hype alone.

We caught up with Jono ahead of his next wave of tour dates to talk about early inspirations, Caesar salads, Ableton disasters, and the one record he’ll never leave behind.



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


I'm actually a super introverted and mostly quiet person.



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


Honestly, I’m genuinely not sure — there is no other way for me. It’s been my only true love and passion.



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


Playing Hï Ibiza — that was a mega moment.



Who’s an artist that inspires you right now?


KAS:ST and Anyma.



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






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


Caesar salad, Red Bull, and mango juice.



Favorite city to play in, and why?


Dubai or NYC. They’re both strong and bold.



How would you describe your sound in three words?


Emotive. Deep. Evolving.



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


Cooking. I’ve been doing it for nearly 18 years.



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?


Anyma, Cassian, or KAS:ST.



Favorite non-music-related hobby?


Cooking — 100%.



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


Honestly, I think today’s music scene is incredible with the variety of sounds and genres we have access to.



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






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


With friends at a restaurant or by the beach.



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


I'm super good at competitive FPS games.



What’s something simple that makes you smile?


Nature. A really good sunrise or sunset.



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


The moments shared with friends who became family.



When do you feel most at peace?


When I’ve done a good job — usually in the morning after prayer and reflection.



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


My journey — especially that I came from a small farm in South Africa.



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


Debating philosophy and learning from history. It helps us avoid repeating old mistakes.



What personal prison have you built out of fear?


Inadequacy.



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


Some of my OCD traits.



If you could compliment yourself, what would you say?


Mum would be proud.



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


Paying way too much for a videographer when it wasn’t necessary.



Any gut-wrenching stories of losing your music or projects?


Yes — I lost my entire Ableton library and sample bank about a year and a half ago. Completely gone.



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


The lack of advanced technique… but I think that’s the same for everyone.



What do you find yourself obsessing over in the studio?


Literally everything. I’m always chasing perfection.



What’s your favorite set time and duration?


Ideally 12–2am or 1–3am depending on the space. Two hours is perfect for me.



If you had to erase one genre of music for all eternity…?


Honestly, none. Every genre has its place and contributes something to the culture.

A Perfectionist’s Path: A Q&A with Jono Stephenson

Let’s dive in:

OuShe | Akasha Ibiza | Friday, October 24

This Thursday, in the hills above San Carlos, OuShe takes over Akasha.



Akasha sits tucked in Las Dalias - a venue born from Ibiza’s bohemian core, fusing intimate vibes with underground flow. It’s not the biggest club in Ibiza, but that’s the point: here, every beat feels close, every sound matters.



The lineup features Santanna Oush, who built OuShe as a female-fronted movement to give space and spotlight to women DJs. She’ll be joined by Mia Wave, Nuala, Aamber, and Emerald. Entry is free till midnight, setting the tone for a warm start before the night deepens.



Expect soulful house, strong female energy, and community in every track.



Join the celebration, get your tickets.



Listen to the sounds of Santanna Oush on Instagram | Soundcloud





TRIP | Chinois Ibiza | Saturday, October 25

On Saturday, October 25, TRIP returns to Chinois Ibiza for another deep and hypnotic night on the dance floor.



This week’s lineup is a serious one: Arapu B2B Priku lead the night with rolling, minimal grooves that will keep the crowd locked in. They’re joined by Hugo Martínez, one of TRIP’s core residents, and Tuccillo, who brings his warm, melodic sound to the mix.



Expect smooth transitions, deep rhythms, and TRIP’s signature visual setup with its 360° screen and immersive lighting that make the space feel alive.


Doors open at 23:30 - grab your tickets early and lose yourself in the sound.


Listen to the sounds of Arapu on Instagram | Spotify





Namaste Halloween | Akasha Ibiza | Friday, October 31

Get ready for an enchanted evening on Friday 31 October, when Namaste Halloween returns to the gardens of Las Dalias from 19:00 until 23:00, before moving inside Akasha for a late-night ceremony. The outdoor garden hours let you soak up the familiar boho-magic of Namaste - rugs, drapes, performances, and a free entry window (for island residents) between 19:00 and 20:00.


When 23:00 hits, the party shifts into Akasha, where space becomes intimate and the music runs till late. No lineup has been announced yet - that one’s a mystery to unfold. Curious minds and costumes encouraged.


Get your tickets.





Pikes Halloween | Pikes Ibiza | Thursday, Friday 31

Pikes Ibiza transforms into a haunted luxury playground for its Witching Hour Halloween, their grand finale of 2025.



Expect the entire hotel complex to be drenched in eerie style: velvet cloaks, glimmering masks, spectral veils, and theatrical décor that blurs the lines between gothic fantasy and high drama. Past editions show Pikes leans into immersive storytelling, turning its pool, lounges, and corridors into performance spaces where guests become part of the narrative.



This year, the party is also a fundraiser: all ticket profits go to Fundación Conciencia, supporting children and families affected by abuse or exploitation on Ibiza and Formentera.



Because it’s Pikes’ final big bash of the year, tickets always vanish fast. Be ready, dress bold, and secure your spot before they disappear.





Halloween at 528 | 528 Ibiza | Friday, October 31

Halloween night at Pikes Presents: Halloween Special is set to burn bright this Friday, 31 October, kicking off at 21:00 and running through to 05:00 at 528 Ibiza.



In the Teatro, expect some of the slickest back-to-back sessions on the island: Paul Woolford B2B DJ Paulette, Erol Alkan B2B CC:DISCO!, and Justin Robertson B2B Felix Dickinson. Meanwhile, the Club space will host Luke Una, Danny Beck, Defex, Ken Fan, Ryan O Gorman, Simon Morell, and a live PA from BLONDEWEARINGBLACK.



All tickets come with a free shuttle transfer to and from the San Antonio bus station, making the night easier to reach. Expect dark disco sounds, dramatic visuals, and a crowd dressed to impress.



Don’t miss out - get your tickets now.



Listen to the sounds of Paul Woolford on Instagram | Spotify





Chinois Halloween | Disco Inferno 666 | Chinois Ibiza | Friday, October 31

This Friday, October 31, Chinois Ibiza turns into a dark disco paradise for Disco Inferno 666, a special Halloween party at the Marina Botafoch club.



Chinois is known for its glamorous interior, warm lighting, and incredible sound system, the perfect place for a stylish late-season party. This year’s Halloween theme brings fire, fantasy, and a few spooky surprises to the dance floor.



Behind the decks, Melon Bomb, Ainsley May, and Andrea Lane will deliver a mix of disco, house, and feel-good Halloween energy. Expect big tunes and costumes that go all out.


Doors open at 23:30 - get your tickets and come dressed to impress and dance until sunrise.



Listen to the sounds of Melon Bomb on Instagram | Spotify





Trip Closing Party | Chinois Ibiza | Saturday, Nov 1

On Saturday, November 1, TRIP calls time on its 2025 season with a climactic Closing Party from 23:30 to 06:00 at Chinois Ibiza.



Chinois sits right on Ibiza’s marina, offering a more intimate but high-impact alternative to superclubs, with immersive visuals, tight sound, and an underground feel.



The lineup is heavyweight: Ricardo Villalobos, Sonja Moonear, and Maher Daniel will guide you through deep, minimal, and hypnotic rhythms as the season comes to a close.



Expect a night of sonic depth, subtle surprises, and a community of dancers gathered to celebrate one more time under the lights. Doors open at 23:30, get your tickets and come ready to surrender to the beat.



Listen to the sounds of Ricardo Villalobos on Instagram | Spotify

October's Parties in Ibiza (Part 2)

Summer 2025 on the White Isle? Pure madness, in the best (and occasionally wildest) way. Ibiza did what it does best: evolved, exploded, and reminded the world why it's still the undisputed heavyweight champion of global clubbing. From jaw-dropping club debuts and long-awaited returns to culture-bending shifts and curveballs no one saw coming, this season hit harder than a sunrise set at Amnesia.



The island was buzzing with fresh energy, legends reclaiming their throne, and moments that made you stop mid-dance and go, “Did that really just happen?”



So let’s break it down. Let’s get into The Good, The Bad, and The Unexpected.



THE GOOD: A SEASON OF BLOCKBUSTERS AND RESURGENCE



Pacha's Golden Comeback

One of the biggest success stories of the season was the resurgence of Pacha. With Marco Carola's Music On Fridays and Solomun's iconic Solomun+1 Sundays, the club reported record-breaking ticket sales and nightly capacity crowds. More than just a nostalgia trip, Pacha innovated with BLOND:ISH’s all-female-led Abracadabra party and upgraded its sound and lighting systems to cutting-edge specs. The return of Defected, after more than a decade, brought a sense of historic closure and fresh excitement as weekly house masterclasses were delivered by icons like The Blessed Madonna and Groove Armada.





UNVRS: The Rise of the Hyperclub

The debut of UNVRS, Ibiza’s first hyperclub, was perhaps the most dramatic shake-up in 2025. With a 15,000-person capacity and next-gen production, UNVRS delivered arena-level experiences. Residencies from Carl Cox, FISHER, Eric Prydz, elrow and Paradise drew thousands weekly. Carl Cox’s return alone generated historic buzz. FISHER’s dramatic ceiling descent and Eric Prydz’s mind-bending Holosphere 2.0 added high-tech flair to the Ibiza experience.





Amnesia Rebuilds and Reinvents

Despite losing some long-standing parties, Amnesia responded with agility. The launch of Resistance techno nights, Ben Hemsley’s breakout residency, and collaborations with Boiler Room and Mixmag injected fresh energy. Embracing up-and-comers while retaining events like Pyramid, Amnesia proved its ability to adapt and evolve.





DC-10 & Hï Continue to Deliver

Solid Grooves at DC-10 was again a defining underground staple. Meanwhile, Hï Ibiza maintained its dominance with Black Coffee Saturdays and Glitterbox Sundays.



THE BAD: COSTS, CANCELLATIONS & CONTROVERSY



Soaring Costs and a Changing Crowd

A major issue throughout the season was the cost of partying. Entry fees regularly toppled over the €100 mark, drink prices remained exorbitant, and VIP tables ballooned in cost. This shifted crowd behavior - some nights saw smaller dancefloors, and attendees reported spending more conservatively. The spontaneous, hedonistic feel of previous seasons was sometimes overshadowed by financial caution.



Residencies That Faltered

Not every party thrived. SHINE Ibiza, a trance-focused residency at Eden, was abruptly canceled just weeks before its September run, citing circumstances beyond the promoter's control. Without flagship residencies like Defected (which moved to Pacha), Eden’s 2025 season struggled to attract consistent footfall.





Storm Dana Disrupts Closings

October’s storm Dana (Alice) swept through Ibiza with torrential rain. Despite red alerts, some clubs pressed ahead with closing parties anyway! The controversy highlighted the tension between profit and public safety.



THE UNEXPECTED: TWISTS, TRENDS & MOMENTS OF MAGIC



Club Chinois Steals the Spotlight

A surprise hit of the summer was Club Chinois in Marina Botafoch. With its intimate vibes and a luxury feel, it hosted diverse residencies like Claptone’s Masquerade, Bedouin’s Saga, Honey Dijon’s Honey F**ing Dijon*, and Kerri Chandler’s KAOZ Theory. Fridays featured rotating global talent including Francis Mercier and Shimza. Many seasoned clubbers found it a refreshing, music-first alternative to the superclubs.





The Phone-Free Movement Grows

A growing desire to reconnect with the music led to a wave of phone-free events. Solid Grooves enforced no-phone nights to boost presence on the dancefloor. Meanwhile, new venue Tomodachi opened with a strict anti-phone ethos, focusing on minimal house and vinyl sets. As social media fatigue creeps into nightlife, these parties carved a welcome niche.





Meme Culture Meets Club Culture

One viral video turned British clubber Jack Kay into the “Ibiza Final Boss,” earning him influencer deals and international notoriety. It was a bizarre reminder that Ibiza still produces surreal, culture-shifting moments in unexpected ways.



Pop Crossovers and Extended Seasons

Blackpink's Jennie made a surprise appearance at Ushuaïa during Diplo’s set, blending K-pop with Balearic beats and setting social media ablaze. Meanwhile, events like TRIP at Club Chinois once again extended into late October, challenging traditional notions of when Ibiza’s season begins and ends.



What’s next?

Summer 2025 proved that Ibiza’s club culture is still evolving - sometimes for better, sometimes with growing pains. The introduction of mega venues, phone-free raves, and viral stars points to a scene willing to change. Yet rising costs, safety challenges, and over-commercialization sparked important debates.



As the island takes a breath before planning for 2026, one thing’s clear: Ibiza’s identity is being renegotiated in real time. The pulse of the White Isle may be shifting, but it still beats strong.

Ibiza 2025 Round Up: The Good, The Bad & The Unexpected

Manu González is Ibiza through and through. Before touring the world and playing alongside names like Solomun, Kerri Chandler, and Honey Dijon, he was that teenager behind the counter at Delta Discos, digging through crates and studying records before he was old enough to legally enter a club. His touring schedule reflects his international reach, with standout performances at Defected Ibiza, Ushuaïa’s ANTS, Club Chinois, Ministry of Sound London, 102 Club in Germany, and WOMB Tokyo, along with extensive tours across South America.

Winner of Best Ibiza DJ at the DJ Awards at just 22, Manu has built his career on three guiding principles: evolve, stay consistent, and work with intent. His long-running relationship with Paco Osuna has led to a key role in the NOW HERE movement at Hï Ibiza, while his own label Question Reality continues to enter new territory with charting releases. 



Recognized for epic sets rooted in groove, personality, and a raw house and techno edge, Manu is also expanding into the U.S. performing at venues like Gospel New York, The Roof of Superior Ingredients, and  Factory Town Miami. One show to look forward to is his upcoming Gray Area event on December 6th, where he’ll be playing alongside fellow Ibiza favorite Chelina Manuhutu and Martin Ikin.

In this interview, Manu opens up about his path from local Ibiza kid to international artist, the lessons he’s learned along the way, the importance of staying loyal to who you are, and why he lives by a simple motto: “Make it with passion or don’t make it at all.”



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


I always wear a cap during my shows, but I’m actually bald. I’ve never played a show without a cap on.



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


I would do something related to radio or television. I love interacting with people and I enjoy being part of a show.



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


Winning the DJ Award for Best Ibiza DJ at age 22 was pretty amazing. That year I had residencies in London, Manchester, and Ibiza. It was a hell of a year, and everything escalated quickly after that. I became established as an international act from Ibiza.



4. Who’s an artist that inspires you right now? 



Paco Osuna always inspires me with his technique and mixing. 



5. What’s a track you play to hype the crowd? 



A track I play to hype the crowd is my new record “Funkd,” which has reached over 2 million streams on Spotify. 



6. What’s your go-to drink before a show? 



Before a show, I like a good shot of Don Julio 1942 tequila. 



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



My favorite place to play isn’t a city—it’s an island, Ibiza, my home. But if I had to choose a city, I’d say New York. Every time I land there, it feels like a dream come true.



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


Playing racket sports, hiking with my loved ones, and enjoying a good meal.



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




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



I would collaborate with Frankie Knuckles.



11. What’s your favorite non-music hobby?


My favorite non-music hobby is tennis.



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



I would go back to the ’90s. I was born in 1990, so I was too young to experience Ibiza during that time. My parents and family told me so many stories about the island back then that I wish I could have experienced.



13. What’s a record that never leaves your USB?


A track that never leaves my USB is my upcoming release: Manu Gonzalez – “One Kiss” feat. Kiki (Original Mix).



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


Somewhere enjoying life. I live in Ibiza year-round, but I also love to travel as much as I can between shows.



15. What’s a fun fact or hidden talent unrelated to music? 



I have a property business and I sell houses in Ibiza to some very famous DJs, footballers, actors, and entrepreneurs.



16. What’s something simple that makes you smile?


Something simple that makes me smile is spending a day at the beach—not a fancy beach club, just a picnic and good company.



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


The first time I played ANTS at Ushuaïa Ibiza in 2016.



18. When do you feel most at peace? 



I feel most at peace when I’m at home watching a movie with my phone turned off.



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

I sometimes forget that I’m still very young.



20. What’s something meaningful to you that others might not understand?


Manners. Being polite, being a gentleman—the old-school values my family taught me.



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


I call my mum every single day.



22. If you could compliment yourself, what would you say?



I am loyal in a society that has lost loyalty.



23. From a touring perspective, what’s the most expensive mistake you’ve made to put on a great show?


I was playing in Bolivia and somehow—don’t ask how—I boarded a flight to Peru by accident and they let me in. When I landed in Peru I freaked out. I had to fly to Chile and then to Bolivia to make it to the show. It was unforgettable.



24. Have you ever lost music or a project you were working on?


Yes. I made a remix for Steve Lawler of a classic record called “Rise In.” The vocals were so old that Logic couldn’t sync them, so I had to quantize everything by hand. It took ages. Then there was a power cut and Logic didn’t save it. I had to redo it all, and of course, it never sounded like the first version.



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


Honestly, some of my early sets at 119 BPM playing minimal at Sankeys Ibiza were sick. I just can’t play that style anymore unless it’s at an after-hours set.



26. What do you obsess over most in the studio?


The bassline. It’s everything to me. I can spend hours overthinking it.



27. What is your favorite set time and duration?


I love playing longer sets—2 to 3 hours, especially from 1–3 a.m. I also enjoy closing sets.



28. What is your favorite genre? 

My favorite genres are hip-hop and funk! I’ve been inspired by the movement since I was very young. I actually got to play a warm-up set for Snoop Dogg in Ibiza back in 2013, when I wasn’t very well known, but I got the opportunity thanks to my background and good taste in hip-hop.

One of Ibiza’s Own: Manu González on Music, Life, and Purpose

A new lawsuit in Egypt could bring an end to music festivals and large-scale electronic events held near the Pyramids of Giza, raising global debate about whether entertainment and heritage can coexist at one of the most historically significant sites on earth.

The Egyptian Center for Economic and Social Rights has filed lawsuit No. 1958/80 with the Administrative Court, calling for a suspension of raves, nightlife events, and commercial festivals in the Pyramids’ archaeological zone. The legal action argues that these events not only pose physical risks to the monuments, but also disregard the cultural and spiritual weight of the site.



A Clash Between Entertainment and Preservation

Legal documents state that high-powered sound systems, sub-bass vibrations, laser projections, stage construction, and heavy machinery could gradually harm the Pyramids’ ancient limestone foundations. Experts have long warned that heritage sites face long-term degradation from modern commercial activity if protections are not enforced.



Beyond physical risks, many Egyptians and cultural advocates argue that transforming a 4,500-year-old necropolis into a nightlife destination undermines its historical meaning. For them, the Pyramids of Giza are not a backdrop or a festival venue—they are sacred symbols of ancient civilization, human achievement, and collective memory.

“This is a burial site, not a party ground,” one Egyptian cultural commentator wrote online, echoing growing public sentiment. “Some places carry history that should not be treated as spectacle.”

No Official Ban Yet—But a Legal Turning Point

Although global headlines have circulated claiming that “raves at the pyramids are banned,” there is no official ban in place yet. The lawsuit is still under review by Egyptian courts, and events continue to be held pending a legal decision. However, if the lawsuit succeeds, new regulations could prohibit large-scale music events entirely or place tight restrictions on commercial entertainment near the plateau.



Over the past five years, the Pyramids have become a landmark destination for international event brands and electronic acts. Performances by Carl Cox, Keinemusik, and Anyma brought worldwide attention, generating tourism revenue but also growing criticism from historians and preservation groups.

Respect vs. Revenue: The Debate Intensifies

Supporters of the lawsuit argue that not all locations are suitable for commercial entertainment—and that some heritage sites should be treated with solemnity. They believe that the Pyramids, built as tomb complexes for ancient kings, carry deep historical and spiritual significance that should be protected from being reduced to branding opportunities and festival culture.

Event organizers and promoters, on the other hand, argue that well-managed cultural programming can bring global appreciation to Egyptian history while supporting the local economy. They claim that stricter guidelines—not bans—are the solution.

What Happens Next?

The Egyptian courts will rule on whether to suspend future events at Giza until comprehensive heritage impact studies are completed. UNESCO is also watching closely, as the Pyramids are protected under World Heritage guidelines that require preservation to take priority over commercial use.



For now, the debate continues: Should sacred ancient sites be used as entertainment venues in the first place? And how should modern cultural expression coexist with the responsibility to protect humanity’s oldest wonders?

One thing is clear—Egypt stands at a decision point between maintaining global cultural relevance and preserving a site that many believe should remain untouched out of respect for its history.

Pyramids of Giza Raves Spark Cultural Outrage

SINTRA didn’t grow up surrounded by instruments or formal training—in fact, he didn’t make his first track until his final semester of college. A spontaneous trip to Bonnaroo changed his trajectory, sparking a curiosity that led him to teach himself production. Today, the Peruvian-American artist has earned support from RÜFÜS DU SOL, Nora En Pure, and Keinemusik, landed on major Spotify editorial playlists, and performed at festivals like Deep Tropics, Breakaway, and Friendship, with Shambala on deck. 



From Miami, the city he credits for helping him discover his sound, to stages across North America, SINTRA continues to build momentum without losing clarity on why he started. In this interview, he opens up about his path into music, the turning points along the way, and the mindset he relies on to keep moving forward.



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



I didn’t grow up in a musical household. I didn’t even start making music until my last semester of college. I went to my first music festival, Bonnaroo, with some friends and left feeling really inspired. It was a special experience for me—I came home and started teaching myself production that same week.



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



Probably a business owner. It’s hard to imagine what my life would be like without music, but I’ve never been one to follow. I’d likely be off doing my own thing, hopefully adding value to the world while I’m at it.



What’s the most memorable moment of your career?



It’s hard to choose, but one that comes to mind is the first major support I ever received. It was the beginning of the year and a lot of my friends were in Tulum for the parties down there. I remember scrolling through Instagram and hearing one of my unreleased records being played by RÜFÜS DU SOL at Zamna—and I was in shock. First, because I had no idea how they got the record, and second, because I hadn’t received much support at the time as a new act. That moment was meaningful because it was so early in my career and reinforced confidence in what I was doing.



Who’s an artist that inspires you right now?



Tripolism. Their sound design and rhythms feel fresh and different. I love how they take familiar elements from other styles and genres and incorporate them in a way that feels entirely their own.



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



I’m a big espresso martini guy—with tequila.



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



Miami. It’s home, and it’s where I really discovered my sound. The energy there is open-minded and I’ve always had a great time playing in that city.



How would you describe your sound in three words?



Textural. Euphoric. Human.

 

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



A proper spa and cold plunge day. Nothing leaves me feeling as refreshed and clear-minded, especially after long studio weeks or tours.



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



“Sleepless” by Flume. It’s one of the early songs that made me want to make music in the first place. Every time I hear it, I’m reminded of the spark that started everything.



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



Running. It clears my head and weirdly helps me solve production problems. Sometimes it helps to step away and get the blood flowing instead of being stuck in front of a screen.



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



The early 2010s electronic scene, when artists like Flume, ODESZA, and Disclosure were breaking new ground. There was so much experimentation and freedom during that time.



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



“Innerbloom” by RÜFÜS DU SOL. It’s timeless. No matter where I am, that track always connects.



What is something simple that makes you smile?



Going for walks alone and catching a sunset. Those quiet moments put everything back into perspective.



When do you feel most at peace?



Early mornings in the studio—sunlight coming through the windows, coffee in hand. That’s when I’m most at peace, deep in a groove with no distractions and no expectations.



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



That creativity comes in waves. It’s okay to step back and breathe—forcing it never works.



What personal prison have you built out of fear?



Perfectionism. I used to think everything had to be flawless before anyone could hear it. Now I know imperfection is what makes it real.



If you could compliment yourself, what would you say?



I’m not sure if this counts as a compliment, but I’d say I never know when to quit.

Magazine