Issuu

DJX ’26: New dates Austin City Limits Fest

Texas-Sized Beats Vol.5 No. 6

Plus: OFFAIAH MIRAMAR Momentous Fest Serato DJ Pro 4.0 Bitwig Connect 4/12 Reloop RP-7 Website/SEO Tips

Year-End Poll

Top Tracks & Moments

Amsterdam Dance Event

Report from Europe

s to r y t eller

NEWS

ADE ’25: Industry Networking, Music & More

By Chris Caruso

Amsterdam, NL – From Oct 22–26, Amsterdam Dance Event ’25 delivered a non-stop rush of global electronic music talent and conference programming, once again cementing its status as one of the world’s best events for ravers and industry professionals alike. The 2025 edition of the annual electronic-music gathering boasted 3,400-plus artists appearing at over 1,200 events spread across more than 300 venues across the city, with organizers reporting the total number of visitors exceeding 600,000 over the week. As attendees have come to expect in the three decades since its debut, the event featured a multifaceted itinerary of diverse club events, business-focused conference offerings, and hands-on creator workshops (dubbed ADE Lab). There really was something for just about everyone in and around the electronic-music sphere. Armed with an umbrella, walking shoes, and a set of earplugs. DJ LIFE made the cross-Atlantic trek to The Netherlands’ capital to take in the sounds and sights of ADE ’25. Here’s what went down: Conference Programming While a large portion of ADE’s global renown is likely due to its endless party offerings attracting punters the world over, the conference portion of the 2025 installment once again proved that it is an incredibly compelling and valuable event for professionals in all corners of the electronic-music industry. As in past years, the historic Felix Meritis building near the city center served as the main hub for the daytime professional happenings, giving Pro Pass holders a robust panel schedule and ample opportunities for networking amongst each other from Wednesday through Saturday. Thursday held a particularly appealing set of panel options for attendees. “Press Play! The Daft Punk Experience in Fortnite” session in the early afternoon gave the cross section of French Touch fans and gamers an interesting, behind-the-scenes exploration on how Epic Games brought the iconic pair into the massively popular shooter. The creative discussion was undoubtedly a treat for Daft Punk or Fortnite stans, but there were a few artist-centric insights ripe for the taking near the end of the chat. While reviewing the specific traffic spikes the group experienced across multiple music platforms, the Epic Games team discussed how record labels are now specifically building Fortnite placements into their marketing plans for album campaigns. While that option may not be a realistic opportunity for most working electronic

Enrique Meesters

Parties Galore: ADE featured over 3,400 DJ/artists.

Sessions: ADE seminars discussed industry issues.

artists right now, it’s a pretty powerful reminder of how traditional music platforms are not the only methods of music discovery for younger listeners and how important it is to be creative in getting releases in those hands. That afternoon, Ultra Records’ VP of Marketing Bina Fronda chatted with British producer and DJ Simon Shackleton for “The Power of Diversification.” Original descriptions for the panel included Sasha a panelist, but the London-based DJ/ producer seemingly pulled out in the days leading up to the session (considering he was still on signage at the venue). Even without him, the chat was a very worthwhile conversation for artists in attendance. During the panel, Shackleton discussed his recent The Shadowmaker LP and how it represented an artistic departure away from the dancefloor. The LP was followed by a complementary release dubbed The Shadowmaker Reconstructed, a remix project bringing a good portion of the tracks into a more club-ready form. He also discussed his recent series of open-to-close, storytelling-focused DJ sets at clubs he’s dubbed “CHPTR.” These separate, but connected projects all speak to the key themes of the session: not staying in one lane artistically while also staying true to aspects of your authentic self… past and present. For The Shadowmaker, Shackleton pursued the sounds he wanted to explore authentically and then worked with his label to market it, rather than the other way around. Speaking on his belief that some people are making music that’s been focused-grouped to the point that it’s no longer personal, Shackleton said, “Marketing is the tail that’s wagging the dog.” Fronda added that it’s important for artists to not cynically chase trends if they want to pursue music as a career, and to instead continue to create authentically and evolve authentically over time. The key lesson is to be true to your vision as an artist, and then find avenues to bring that vision to new and past audiences in different, creative ways or forms. For more on ADE ’25, please visit Pg. 32.

I AM HOUSE

New York City – Crystal Waters soaks up the applause at the “I AM HOUSE Orchestrated” event. Held this past Nov. 20 in Manhattan’s Sony Hall, the event also featured other hitmaking vocalists like Barbara Tucker, Robin S, Amuka, CeCe Peniston, and Duane Harden performing with a full orchestra. Not to be outdone, DJ Spen closed out the evening with a tasty deep-house set.

VOL.5 NO.6 |

DJLIFEMAG.COM

David Warren

Jasper ten Tusscher

By Chris Caruso

IN THIS ISSUE

VOLUME 5 NUMBER 6

In the Studio With…

Sound Bites OFFAIAH

MIRAMAR

10 4

DJLIFEMAG.COM

12 |

VOL.5 NO.6

2025 in Review DJs of All Stripes Offer Up the Year’s Top Tracks & Best Musical Moments By Jim Tremayne

Momentous Festival Brings the Bass to The Ozarks

ADE ’25 Highlights

Photos by Carter Kirkland

Amsterdam Dance Event Brings Industry to Europe By ADE Photographers

Cover/Contents Images by Mark Owens

ON THE COVER

Storyteller

EDM Superstar Kaskade Returns with undux, His Most Emotional Album Yet By Mark Mancino

14 8 Feedback

DJX’26: Dates Set, ’25 Attendees Respond

36 Festival Spotlight Austin City Limits Fest

38 Playback

Serato DJ Pro 4.0 & Reloop RP-7

42 Studio Session Bitwig Connect 4/12

44 Mobile DJ Profile R.I. DJ Alex Brown

46 DJ Business

Website & SEO Tips for ’26

48 Gear

New Products from ADJ, AlphaTheta & More

54 Tracks

Phat Tracks from Dave Lee, Black Coffee & More

56 Club Play Chart

The Hottest Records, As Reported by Our Top U.S. Record Pools

VOL.5 NO.6 |

DJLIFEMAG.COM

FROM THE EDITOR JIM TREMAYNE

STORYTELLERS & END-OF-YEAR STORIES Ryan Raddon (aka Kaskade) has always been a favorite interview. In the days of DJ Times, we featured him several times as a cover subject and we were always as impressed by his advocacy for dance/DJ culture as we were by his music. And, as most jocks know, his list of hits is a long one. For our latest connection with Kaskade, our Mark Mancino discusses his latest album, undux, which features a deft mix of dancefloor tracks and somewhat melancholy pop tunes that explore a range of emotions and tell a story of change. Give it a listen and you’ll see. As always, for this issue, we report from the Amsterdam Dance Event. However, I didn’t make it to The Netherlands this go-round; instead, I was in Austin, Texas, as my niece had the gall to get married that week (congrats Lizzy and Justin). So, quite accordingly, we sent our Austin-based writer Chris Caruso to Europe to pinchhit in the reporting this year. A clean swap, so to speak. This being the last issue of 2025, we bring you our year-end poll of music and moments from DJs of all stripes – club, mobile, radio, studio, etc. The annual feature isn’t always the easiest thing to put together, so we’d like to thank those DJs (and publicists) who responded and helped us along the way. Click through the list and, if you find a tune you missed, check it out – you’ll be surprised what you might find. In our Sound Bites sections, we connect with U.K.-based DJ/producer vet Michael Woods (aka OFFAIAH), who has delivered a series of great house tracks, including a righteous cover of The Sounds of Blackness classic, “The Pressure.” Additionally, Mr. Mancino goes into the studio with Aric Christopher (aka MIRAMAR), as he discusses his process for making chilled-out disco-house tracks. For our product review columns, we offer a little extra this month, as Playback gets a pair of entries from DJ Mike Márquez – Serato DJ Pro 4.0 update of the famed DJ software and Reloop’s RP-7 7-inch turntable. In Studio Session, Wesley King runs Bitwig’s Connect 4/12 controller through its paces. In the mobile-entertainer world, we visit with entrepreneurial jock Alex Brown, whose Rhode Island-based IT’S LIT Weddings & Events includes a marquee-letter business – and the results have been impressive. In DJ Business, wedding-industry marketing consultant Brian Lawrence offers some website and SEO Tips going into 2026. For our Festival Spotlight, Chris Caruso stayed at home and reported from the Austin City Limits festival, which featured DJs like Zeds Dead, John Summit and Disco Lines to match the pop and rock talent like Sabrina Carpenter and The Killers. Additionally, we stopped by the Momentous Festival in Bentonville, Ark., to experience bass music blasting the Ozarks Foothills from acts like Flux Pavilion and Doctor P. Also, don’t forget that we’ve recently announced the dates for DJX ’26 – Aug. 1013 at Hard Rock Hotel & Casino in Atlantic City, N.J. As always, the show will present DJ-centric exhibits, educational seminars, and sponsored After Dark events. For the latest info, please visit www.djxshow.com.

editor-in-chief Jim Tremayne jtremayne@hazanmediagroup.com editor-at-large Brian O’Connor boconnor@@hazanmediagroup.com web editor and social media manager Mark Mancino mmancino@@hazanmediagroup.com contributors Wesley King, Chris Caruso, Amanda Chavez, Shawn Christopher, Paul Dailey, Reed Dailey, Chris Davis, DJ Deets, Tony Fernandez, Tommy D Funk, Lexi Ferguson. Greg Hollmann, Danielle Johnson, Erik Miller, Lily Moayeri, Jordan St Jacques, Jeff Stiles, Ashley Teffer, Danny Turner, Phil Turnipseed, Joshua Volpe, Travis Wackerly, Curtis Zack chart coordinator Dan Miller dmiller@hazanmediagroup.com creative director Janice Pupelis jpupelis@hazanmediagroup.com director of technologies and project management Steve Thorakos sthorakos@hazanmediagroup.com Chairperson & COO/Co-Publisher Robin Hazan rhazan@hazanmediagroup.com President & CEO/Co-Publisher Shawn Hazan shazan@hazanmediagroup.com

Cheers,

Jim Tremayne Editor, DJ LIFE visit our website: www.djlifemag.com 516.767.2505 Editorial and Sales Office: DJ Life, Oyster Bay, NY 11771. (516) 767-2505 • (Sales/all other business): (516) 767-2505 • djlife@hazanmediagroup.com. Editorial contributions should be addressed to The Editor, DJ Life Mag, Oyster Bay, NY 11771 or sent to JTremayne@hazanmediagroup.com. DJ Life Mag is published bi-monthly starting with the second month annually. Design and Contents: copyright © 2025 by DJ Life Mag and must not be reproduced in any manner except by permission of the publisher. Web: DJLifeMag.com, DJXShow.com and HazanMediaGroup.com Subscriptions: Complimentary Digital Edition. Email: djlifemag@hazanmediagroup.com Phone: 516-767-2505 ext. 502 Web: djlifemag.com/subscribe

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FEEDBACK

DJX’26: DATES SET, ’25 ATTENDEES RESPOND Atlantic City, N.J. –Set for Aug. 10-13, DJX’26 will take place at Hard Rock Hotel & Casino in Atlantic City, N.J. As always, the show will present DJ-centric exhibits, educational seminars, and sponsored After Dark events. (For the latest info, please visit www.djxshow.com.) Here are testimonials from exhibitors and attendees of the 2025 edition of DJX: “The combined energy, focus, and enthusiasm that filled the showfloor was absolutely contagious, reminding me why this industry continues to inspire me after all these years. Beyond the business success, reconnecting and networking with such a passionate and creative community was both rewarding and motivating.” – Jason Longobardo, Mackie, Trumbull, Conn. “The show provided us an opportunity to interact directly with a significant customer base that is laser-focused on the DJ market. Overall, DJX was a big benefit to us in many ways, and we look forward to being back in 2026.” – Andy Rossi, Cerwin-Vega!, Los Angeles “DJX’25 had everything you would want a big anniversary number to have to generate excitement. It had incredible educational opportunities with fantastic seminar presenters, an awesome show floor, and fun night events for all of us! I look forward to it every year! Can’t wait for DJX’26!” – Jake Jacobsen, A2R Entertainment, Cumming, Ga.

“DJX is always an amazing show – congratulations to you guys on another great year!” – Jack Kristian, Platinum Events, Dennison, Tex. “Being part of DJX’s 35th anniversary was a full-circle moment for me. The love, the learning, and the legacy – it reminded me exactly why I do what I do. Thank you, DJX, for creating a space where DJs can evolve, connect, and celebrate the craft.” – DJ Lisa Love. The DJ Embassy, Bensalem, Pa. “We loved the show and will keep coming back!” – Troy Adams, Carolina DJ Professionals, Charlotte “DJX didn’t just support us, they validated us. This was more than a female DJ showcase – it was a shift! We saw little girls watching in awe and DJs of all ages performing proudly for a community. The validation is sure to ripple across the industry. “ – Stephanie Rivkin, The Female DJ Council, Berlin, Conn. “DJX ’25 was another success. The new presenters for the show’s education panels were top-notch. The networking and conversations I had with attendees were great and I made some valuable contacts. Congrats DJX on 35 years. Here’s to the next 35.” – Michael Alevras, Hudson Valley Event Group, Washingtonville, N.Y.

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IN THE STUDIO

OFFAIAH: MAKING MASSIVE HOUSE GROOVES

All Fire: OFFAIAH (aka Michael Woods). 10 DJLIFEMAG.COM | VOL.5 NO.6

Under a variety of guises working in a handful of subgenres, Michael Woods has been making quality dance music for the past quartercentury. Using stage names like Out of Office, Warrior, Accadia, M1 and M3, he’s created an impressive amount of club and radio hits, including 2000’s “Warrior” and 2011’s “Changed the Way You Kiss Me” by Example. By 2016, he changed his tune to a deeper, more groovy flavor, re-named himself OFFAIAH and broke out big with the anthemic “Trouble.” Since then, he’s delivered a series of dancefloor winners like “Find A Way,” “When I Push,” and “Push Pull,” and more recent releases on his new All Fire label, like “Save My Soul” and “The Pressure” (a righteous Sounds of Blackness cover), have made more waves. We recently caught up with the U.K.-based Woods, maker of terrific house and tech-house tracks. DJ LIFE: Let’s get into the new single, “The Pressure.” What made you want to do your version of a classic? OFFAIAH: “The Pressure” is one of those timeless gospel-house anthems – that massive vocal from 1991 just hits the soul. I’ve loved it since I was a kid – it’s got that raw emotion mixed with drive that screams early ’90s club energy. Teaming up with Kyle Kinch for our take felt natural – he’s been loving this song forever, too. My angle was to honor the original’s spiritual heart, but flip it for today’s dancefloor: tech-house groove with heavy bottom-end bass that rattles speakers to make it a proper peak-time weapon. It’s cathartic, like letting off steam, but fresh enough rock the venue! DJ LIFE: What was your process in creating it? OFFAIAH: It was all about balancing that awesome gospel-style vocal with the raw grittiness of the underlying track, whilst carving out some space for the music to breathe and build tension. The synth riff in the buildup was the very first melody I recorded as the track played – I just closed my eyes and let my fingers do the work – you know it’s a good one when you nail it first time! DJ LIFE: Going back to 2016, you really demonstrated a love for gospel-infused vocals with “Trouble.” OFFAIAH: “Trouble” was born out of big-room burnout – I craved groove, hooks, and real emotion again, pulling from that old-school house I used to listen to growing up. It was a reaction to what I was hearing and not hearing, blending my classical roots with groovy tech-house. The impact? Massive – it got tons of club plays being supported by the biggest DJs on the planet, not to mention being playlisted for daytime radio – it basically launched OFFAIAH as a name. Nearly a decade on, it’s still one of my most heavily requested records. DJ LIFE: Musically, what were your first influences? OFFAIAH: My dad was a classical piano teach-

er, so scales and theory were breakfasttable stuff from age 3. But we also had everything from reggae to calypso to Motown playing on our living-room gramophone pretty much constantly, so that embedded itself in my musical subconscious from an early age. In the early ’90s, I became obsessed with dance music, artists like KWS, Culture Beat, The Prodigy, Bizarre Inc., and so many more played a massive part in my musical style and inspiration. DJ LIFE: How many instruments do you play? OFFAIAH: Piano, trumpet, guitar, and drums– four solid ones, thanks to those early grades and extracurriculars like banging timpani with the London Symphony Orchestra at Queen Elizabeth Hall. The piano is my main instrument, though. DJ LIFE: How did you become taken by electronic dance music? OFFAIAH: It crept in through recreating tracks like “Show Me Love” by Robin S on my school Korg M1 – that bassline and vocal had me hooked. But the turning point was around 2009 at Bagley’s Nightclub in London: DJ Ariel dropped something epic, the crowd erupted with hands in the air everywhere you looked, and I thought to myself, “I need to create a moment just like that!” DJ LIFE: You grew up in a massive dance-music culture in the U.K. What was that like? OFFAIAH: The U.K. scene was electric – pirate radio blasting from every corner, it seemed. “Show Me Love” by Robin S was a massive tune back then. Other notable tracks were “Rhythm Is A Dancer” by Snap!, KWS’ “Please Don’t Go” and “Mr. Vain” by Culture Beat. DJ LIFE: How much of a clubber were you when you were younger? OFFAIAH: Once I hit 17, I became a massive raver – we hit the clubs at least twice a week. We hit up places like Bagley’s Nightclub, The Cross, and Turnmills. One of my best memories was in Ibiza 2000 at Amnesia, my first time in a mega-club. I’d just signed “Warrior,” a few months earlier, and had vanished to the studio, so had no clue it had turned into the No. 1 club record at the time. I’m in Amnesia and DJ Fergie drops it mid-set, massive CO2 cannons blasted the floor with me and all my friends raving right in the middle and we, along with the other 3,000 clubbers go absolutely mental – to my tune! Gives me surreal chills just thinking about it. DJ LIFE: How did you move into DJing?

OFFAIAH: Even though I had been producing music since 2000, I didn’t get in to DJing until around 2009 – that was after my mix of “Café Del Mar” kicked off everywhere and I started getting requests to appear behind the decks. DJ LIFE: When did you begin to create music? OFFAIAH: I started messing around with music production when I was 15 at school, but nothing professional – I was just having fun with it. Then in my mid-20s, I met DJ Matt Darey who took me under his wing and allowed me to learn from him. Eventually we made a record together called “Bailamos” with my sister on vocals, which hit the Top 40 in the U.K. charts. I invested the money I made from that in my own studio and started making my own productions – which led to my first signing, “Warrior” by Warrior. That then led to remixes and other productions – but it all started from a love of making music. DJ LIFE: Do you have any kind of process to the studio work? OFFAIAH: Usually, it’s the groove that kicks everything off: drums and bass are the main elements that get me moving. Keys or vocals usually come next. Focus can be hard sometimes, as we have a large family with three kids whom I want to spend as much time with as possible. But it just means having to be strict with my time, balancing touring, studio and family time. DJ LIFE: What’s in your studio? OFFAIAH: Ableton Live 12’s my preferred DAW – Session View’s perfect for BPM manipulation and live prep. Genelec 8040s monitors with 7060 sub to keep a check on the lows, Yamaha NS-10s get a listen-in, too, from time to time. Hardware: Access Virus B for synths, UA Apollo x16 interface, M-Audio Keystation 88 for piano feel. Plugs: FabFilter Pro-Q 4 for surgical EQ; Saturn 2 for grit; UAD Neve 1073 for warmth; Valhalla VintageVerb for space; Serum for wavetables; and Voxengo SPAN for metering. DJ LIFE: Which producers do you most appreciate? OFFAIAH: I’ve got massive respect for Chris Lake and MK. Lake’s production is just next-level – the way he layers sounds, the crispness of his drums, those cheeky basslines that hit you hard… every release feels like a masterclass, but still bangs in the club.

And MK – the king of house. His sound is timeless; those chords, that swing, that effortless cool. The guy’s been killing it since the early ’90s and is still dropping absolute heat in 2025 like it’s nothing. I proper look up to both of them because they’ve stayed relevant for decades without ever chasing trends – just pure quality and groove. I like to think I’m on a similar path: been in this game a long time, still hungry, still evolving, still trying to make records that stand the test of time like they do. DJ LIFE: What gear in the DJ booth? OFFAIAH: Always Pioneer CDJ-3000s and the DJM-A9 mixer. The 3000s are just bulletproof – super-fast response, perfect key-shift, the screen layout lets me find tracks in seconds even when it’s chaos. The A9 is the best club mixer I’ve ever used: the sound is fat and warm straight out the box, the effects are actually useful – especially that new Color FX section and the Beat FX feel made for house and tech-house. DJ LIFE: How has your approach to the DJ craft evolved over the years? OFFAIAH: It’s become way more about reading the room and picking the right songs for the moment, rather than just technical tricks. In smaller venues, I absolutely love that intimate, sweaty energy – being right in the crowd’s face, decks almost on the dancefloor, feeling every cheer and scream. There I’ll lean into groovier, deeper stuff, longer mixes, tracks with proper stories and vocal moments that pull everyone in close. I’ll play records that might be a bit riskier, roll with teases and loops, because you can see eyes light up when something unexpected hits. That connection is pure magic. Festivals are a different vibe – massive feel-good energy, hands-in-the-air euphoria, thousands of people who just want to lose their minds together. Song choices shift to bigger, more anthemic stuff: peaktime weapons, singalong hooks, tracks with huge drops and bright melodies that cut through open air. I’ll still keep the groove at the heart, but I’m not scared to go bolder, louder, more celebratory because that’s what the moment demands. DJ LIFE: What’s next? OFFAIAH: I’m really spending a lot of time nurturing my label All Fire, which is heating up with releases like “The Pressure” and “Save My Soul,” which are getting massive plays right now. I’ll be working on some collabs with the likes of Crusy, Ferreck Dawn and more. I’m also working on more originals, so keep an eye out for that. – Jim Tremayne VOL.5 NO.6 |

DJLIFEMAG.COM

SOUND BITE

MIRAMAR: DISCO-HOUSE BREAKOUT

Oceanic Vibes: MIRAMAR (aka Aric Christopher).

DJLIFEMAG.COM

VOL.5 NO.6

Rising from California’s surf breaks to some of the world’s most iconic dancefloors, MIRAMAR is carving out his lane in the new wave of disco-house. With roots in underground hip hop, a deep connection to the ocean, and a sound that blends groove, soul, and analog warmth, he’s already left his mark at Elsewhere Brooklyn, the Carl Cox stage at Burning Man, and alongside Goldroom and Viceroy on tour. Now, with his second EP for Sweat It Out on the way, plus VOL. 3 of his popular edits series about to drop, MIRAMAR (aka Aric Christopher) is ready to bring his laid-back energy and sharp productions to an even bigger audience. DJ LIFE sat down with the breakthrough DJ/producer to discuss his early days, how he spends time in the studio, how he preps for his DJ sets, and much more. DJ LIFE: When did you first begin exploring dance music… and why the name MIRAMAR? MIRAMAR: I’ve been collecting music across all kinds of genres since I was a kid, but dance music really grabbed me in the early-to-mid 2000s with that indie-electronica crossover era. Growing up between Santa Cruz and Santa Barbara, the ocean’s always been part of me — surfing, traveling, constantly moving. Mira Mar translates to “look at the sea,” and it just felt right. I also lived in Spain for a while and saw the name everywhere. It felt global, cultural, and connected to who I am. DJ LIFE: Who were your early influences and who inspires you now? MIRAMAR: Early on, I was deep into underground hip hop – Pete Rock, RZA, DJ Premier. These days, I’m locked into disco-house. I’ve got a lot of love for LF System, Folamour, Barry Can’t Swim, CASSIMM, Shapeshifters, Todd Terry, David Penn, Lovebirds, Soul Avengerz, Ferreck Dawn. Honestly I’m discovering new favorites weekly – the disco-house tide is definitely rising. DJ LIFE: What’s your preferred DJ setup? MIRAMAR: These days, I’m pretty much always on CDJ- 3000s and a DJM-V-10 mixer from Pioneer DJ. But if I’m honest, I still think the NXS2s and DJM-900 were the best-ever made. The new toys are fun, but that set-up was perfection. DJ LIFE: How do you prepare for your live shows/DJ sets?

MIRAMAR: I’m a huge planner, so typically I’ll work on my sets several days in advance – and at least a week ahead for the festival plays. Organization is key for me and virtually everything I do in life, so my entire library is queued and ready to go. Pre-show routine for me typically involves 20-minute meditation or breath work, some hydration, a good cut of meat and a couple glasses of red wine if it’s a nighttime gig – in that order. DJ LIFE: Do you prefer to build out your sets around certain emotional arcs or themes, or do you prefer to improvise based on the room’s energy? MIRAMAR: A little bit of both honestly. I roll with a 1TB USB, so I probably have almost every set I’ve ever played on there. It’s really helpful in case I have to pivot night of or based on the feel of the club. I’ve had nights where I feel the genre needs to shift entirely to get deeper, so it’s been helpful. The biggest part of it all is knowing your music inside and out with the ability to search and find on the fly. After 10 years of building my library, I feel like I’m just getting to this point. It’s an ongoing journey that never ends and still isn’t perfect. DJ LIFE: Have there been any learning experiences or mistakes along the way? MIRAMAR: I don’t know if there’s one in particular that stands out, but I’ve definitely made plenty. I feel like we are always making mistakes as an artist, but they can offer good lessons – it’s never a death sentence. It’s all an opportunity to improve yourself and your craft, so you just have to take them in stride and remain the course with eyes on the prize at all times. DJ LIFE: And when it comes to producing – what can you tell us about your DAW and studio gear? MIRAMAR: I’m in Logic Pro. It’s the sweet spot between Pro Tools and Ableton – creative, but with enough routing power to plug into my engineer’s analog set-up. I live on [Native Instruments] Kontakt – most of my sound is sample libraries that make it feel like you’ve got a live session band playing, but it’s all in the box. Then, everything gets

mixed down through an SSL hybrid console with gear like the Manley Massive Passive [tube EQ], SPL Iron [tube compressor], Fatso [compressor], Elysia [various processors] — and I’ve got a mastering guy in Berlin who always nails it. DJ LIFE: Can you walk us through a typical day in the studio? MIRAMAR: Everything starts on the laptop, whether I’m at home or in my actual studio. I’ve got Logic Pro running Native Instruments Kontakt and Battery first and foremost, and I’m monitoring with my Neumann headphones, which simulate a controlled studio environment. I’ve gotten pretty good at making music on-the-go with this set-up. There’s also a cool new service that I’ve started to test out called Musiversal – it lets you track live instruments from artists around the world in virtual sessions. It’s pretty mind-blowing. Just the other day, I was working with a Colombian guitarist that added some flamenco style to my latest record. Once I have a song all cooked and ready to go, I’ll fire it over to my engineer and together we’ll have live mixing sessions to wrap up the track. DJ LIFE: What can you share about “La Playa,” your recent single? MIRAMAR: It’s just a straight-up party track. I’d been hearing the original [“Vamos a la Playa” by Righeira] a lot in those fun late-night moments, and right around the same time Spooki came to me with the idea of a replay. Took me about three seconds to say yes. DJ LIFE: You closed out the summer with the release of The Edits Vol. 3 – Golden Era. What can you share with us about the series itself? MIRAMAR: As mentioned, the mid2000s was really when I fell head-first into dance music. I did not know it then, but that era was shaping my sound on so many levels. Club culture was exploding and nightlife felt electric back then – too many epic experiences I had in that era to list. As it relates to my own production style, that period was also a golden era for French Touch and indie house. Discovering those records and the artists behind them kept me on my toes. And back then, you found producers because you heard their music

being played out, not just through an algorithm. DJ LIFE: How did you decide which tracks or edits you wanted to include? MIRAMAR: I always keep a running list on my shared Notes app with my team, and these records – Prydz, Goldfish, and Gossip – were just a few that stood out in the moment. When setting up this Edits series, I tried to pick groups of records from different time periods and these three fell into place. My Edits list runs long, and I have some really exciting ones in the works – definitely some fun surprises in store for 2026. DJ LIFE: You recently played New York City, at Elsewhere in Brooklyn. How was that? MIRAMAR: Elsewhere Rooftop is one of my favorite venues in New York. People come to have a good time, sunset vibes are always on point, and the energy is unmatched. Can’t wait to be back. DJ LIFE: You joined Goldroom and Viceroy for tour dates. How was that? MIRAMAR: We’re a natural fit sonically, so it made sense. My sets are always groovy, funky, soulful – and when we go B2B, it definitely ramps up. DJ LIFE: Share your experience playing the Carl Cox stage at Burning Man this year. MIRAMAR: Honestly, it was a dream come true. To play that stage was a huge honor and something I’ll never forget. DJ LIFE: Can you tell us about upcoming shows, releases, or collabs? MIRAMAR: I’m wrapping up my next EP with Sweat It Out. It’s my second one with them and I’ve really taken my time to dial it in. It’s coming together beautifully – excited for people to hear it soon. DJ LIFE: What are some short-term goals for you? MIRAMAR: More production. DJing is fun, but at the end of the day, it’s always been about the music for me. DJ LIFE: And looking five years ahead? MIRAMAR: Keep building, keep creating, and let it take me where it takes me. I want to stay present, keep growing the sound, and share it with as many people as possible. I love what I do, and I’m grateful to be part of pushing this wave forward. – Mark Mancino VOL.5 NO.6 |

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STORY

For more than two decades running, Kaskade has stood front and center of electronic-dance music’s evolution. Not only has the Chicago-born/Cali-based DJ/producer (aka Ryan Raddon, 54) remained at the forefront of the circuit, he’s helped shape the culture and served as a leading contributor to its mainstream rise. With an imprint on the scene that’s undeniable – platinum-selling singles, chart-topping collaborations, and history-making festival moments – Kaskade returns with his newest full-length album, undux, available now through Monstercat and his very-own imprint, Arkade. Without question, over the past few years alone, the influence of the eight-time Grammy-nominated phenom has only intensified. Whether commanding the Coachella crowds, elevating global events like SXSW, or breaking records with Kx5 – his collaborative project with deadmau5 – at the Los Angeles Memorial Coliseum, Kaskade has incessantly expanded both the scale and the soul of electronic music. Kaskade has also successfully crossed into sports entertainment. For example, in 2024, he became the first-ever in-game Super Bowl DJ, performing to over 123 million live viewers from the Vegas game, and later that year, he served as Formula 1’s first-ever starting-grid DJ in Miami. From the X Games to LIV Golf tournaments to New York’s Central Park takeover and surprise festival sets with artists like John Summit and Alison Wonderland, Kaskade’s ability to electrify any stage has transformed him into a fixture of global pop culture. Amid a plethora of recent accomplishments, Kaskade’s newest album, undux, signifies a creative pivot inward – serving as an introspective, storydriven body of work, arriving after years of singles tailored for an always-on streaming world. Crafted through seasons of personal upheaval and artistic recalibration, undux represents a return to the narrative style that shaped Kaskade’s earliest work. Rather than chasing the next explosive drop, he lets vulnerability lead, intertwining themes of memory, renewal, and clarity across deeply emotional tracks. The undux singles released throughout the fall months – “DNCR,” “Imprint,” “I Can’t Make You Love Me,” and “Started Over” – offered a glimpse into the album’s emotional terrain and the tension between holding on and letting go. At its core sits “Obvious,” a track driven by Raddon’s own voice and raw self-reflection, signaling one of the most personal chapters in his career. In many ways, undux serves as less a comeback and more a reconnection – he’s an artist who has nothing left to prove, but he’s rediscovering the power of storytelling through sound. With a legacy that only continues to expand, Kaskade ushers in the latest chapter of his career journey – and we’re here for the ride. Coinciding with the release of undux, Raddon sat down with DJ LIFE to discuss the beginning of a new era, what’s to come, and all things Kaskade. Here’s how it went down… DJ LIFE: Let’s start at the very beginning – and clear up its proper foundation. How, when, and where did the name Kaskade originate? Kaskade: There’s so much lore around this I almost don’t want to answer. It’s pretty simple… I was on the precipice of beginning my professional DJ

DJLIFEMAG.COM

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TELLER

By Mark Mancino

EDM Superstar Kaskade Returns with undux, His Most Emotional Album Yet

VOL.5 NO.6 |

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VOL.5 NO.6

“As I’ve gotten further along in my career, there are a lot less nerves and anxiety… I’m not intimidated by a large crowd anymore – I am invigorated.”

career and loved that you almost had a secret identity as a DJ. The icons that formed my love of house used aliases. Juan Atkins was Model 500, Derrick May was Rhythim Is Rhythim, Kevin Saunderson was E-Dancer, and Richie Hawtin was Plastikman. I read somewhere that the word “Cascade” was one of the most pleasing words, aesthetically, so I leaned into that. Made it my own with a few misplaced K’s and the rest is history. DJ LIFE: Looking back on your career, when did you have your first real “pinch-me” moment, when you realized this might just be bigger than you expected? Kaskade: At Winter Music Conference right after “It’s You, It’s Me” came out [2003]. I played it at a small gig and saw that the room paid attention. This was a room of my peers, and people I looked up to. When this song turned their heads, it was the moment I thought maybe I had a chance. DJ LIFE: What came first for you, DJing or producing? Do you remember what your first or early DJ setup looked like? First studio set-up and gear/DAW? Kaskade: I began DJing early on. I went with the classic Technics 1200s because that’s all there was. I hauled my set-up to and from a club night I had started and shortly moved into producing after that. I lived in a warehouse with a couple of friends, and it seemed like I was doing exactly what that environment demanded. A computer, a copy of Logic Pro and a dream was basically my set-up. DJ LIFE: How about when it comes to pre-show Kaskade. What’s the hour before your DJ set look like and consist of? Do you have any superstitions or rituals/routines? Kaskade: I wish I had some esoteric answer for this, but truthfully it’s very easy. I can be immersed in whatever is going on around me up until about 10 minutes before the set. Then, I like to dive into my own brain and map out what I’m picking up from what’s happening out in the crowd. Are they hype? Are they bored? I like to do a real-time temperature check of what I’m walking into and plan the first few songs accordingly. DJ LIFE: Compare what today’s Kaskade preshow routine consists of as opposed to 10 years ago? 15 years ago? Was it different, and if so, how? Kaskade: As I’ve gotten further along in my career, there are a lot less nerves and anxiety. Not to be confused with apathy, I just definitely feel more aligned with the enjoyable challenge of it all. I’m not intimidated by a large crowd anymore – I am invigorated. DJ LIFE: Leading up to this newest era of Kaskade music came some major career accomplishments and accolades. What was the driving force behind the formation of Kx5 with your longtime friend and collaborator Joel Zimmer-

man [aka deadmau5]? Kaskade: It was bound to happen and eventually the opportunity just revealed itself during COVID. I was able to escape the isolation of being on lockdown by creating music with Joel from two very different parts of the planet. I think the world slowing down gave everyone a chance to do the things they always said they wanted to do. Then we just did those things. DJ LIFE: You recently performed at the Quasar Stage at Coachella with Idris Elba this year and you have a solo set scheduled for Coachella 2026. What can you share with us about the b2b set and how this forthcoming set will be different? Kaskade: Doing a b2b set is always vastly different than a solo set, no matter the stage or the person I’m on with. Working with Idris on our Coachella set was really fun – that guy is a good time. We didn’t have very much planned out, and even up to the last minute didn’t know what our opening number would be. Playing 2026 Coachella will be a big moment for me. I always like to stretch out and see how much I can give the audience. DJ LIFE: When it comes to performing at prominent festivals or events – Coachella, X Games, Super Bowl – how do opportunities like that help advance your career? Kaskade: I’m not sure they advance my career, to be honest. I love these opportunities because obviously I get to appear in front of people who otherwise might not have come across me. But I’ve found more than broadening my base, it energizes my existing base and those are the people I’m here for. If they get stoked to see me on TV and explain to their family – this is the guy they’ve been seeing at these festivals and clubs, I can get with that. DJ LIFE: Tell us about your experience performing during Super Bowl LVIII in Las Vegas. You got the call to replace Tiësto, who was a last-minute scratch. Kaskade: Well, that was fun. It was pretty short notice for such a visible event, but that’s where my team jumps in. I have surrounded myself with people who can execute anything under almost any circumstances and they came through. Playing in the stadium was a dream for me on a personal level. I grew up watching football with my family and the Super Bowl is the Super Bowl, so obviously there were some bragging rights bestowed on me for the next family gathering. Getting to play “Escape” in front of 123.7 million people on their TV sets was awesome. DJ LIFE: Were there added pressures or nerves going into the performance, knowing you’d be playing both before and during the game, making you the first-ever DJ to perform throughout the Super Bowl? Kaskade: I wouldn’t say the nerves were any different than normal. The stadium crowd itself

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“Art persists and finds a way of outsmarting technology and advancement into needing the artist, always. This will continue.”

isn’t that much larger than a normal festival crowd, and the TV watching public is just a sort of ghost in my mind while I was playing. I just knew I needed to play some hits and keep the Redux vibes to a minimum. DJ LIFE: As an 8-time Grammy-nominated artist, describe the feeling you felt when you received your very first nomination… Kaskade: In 2013, when Fire & Ice was nominated for Best Dance/Electronica Album I was still on my way up in this trajectory. Winning a Grammy was less important to me than being nominated. Just the fact that my peers were giving me their support, saying I belonged in this category and in the music industry in general gave me a hit of confidence. Like most people, there have been times where I’ve thought I wasn’t able or capable of succeeding. When that first nomination came through, I did see it as confirmation that I could do this. DJ LIFE: How and when did you come up with the undux concept? Kaskade: The idea of undux came together as I was making the album. I had tried my best to continue creating in the spirit of what I had done before. But my heart and head wouldn’t cooperate with that intention. I was going through a lot of changes in life, and the way I spoke, the way I lived in this world, the things I wanted to do and the things I wanted to rinse out in the process of making music had all shifted. I couldn’t reflect things all being as they were; I had to reflect some new and uncomfortable feelings. That came through in undux. It sort of conceptualized itself and brought me along for the ride. DJ LIFE: Break down the differences between Redux and undux and what they both mean to you… Kaskade: Redux started as a rebellion against the size of a show’s spectacle. I wanted to bring it all back to the sweaty pulsating dark dancefloor where a beat might threaten to drop, but you had to earn it by being let up and down all night. Redux caught on way more than it should have, which is exactly what it should have done. If I’m fatigued by the spectacle of a show overpowering the music, how must the audience feel? So, undux is different. It is in the family of Redux, as it’s not about hands-in-the-air big air-horn moments, but it has some pretty profound moments. It’s a story from front to back and it’s a story about you, the listener. It didn’t need to be specific because I’m sure everyone listening has gone through a change, something they didn’t expect and maybe something they didn’t want, but got to the other side of it and noticed that… hey, it’s actually OK here, I am OK here, and the music got me through. It’s the universality of struggle and triumph. Hopefully, everyone who it speaks to can recognize that. DJ LIFE: If you could only play five of your hits

in your DJ sets for the rest of your career, which are you choosing and why? Kaskade: “Eyes” because it’s a fan favorite. “4 AM” because seeing a “4 AM at 4 AM” post never gets old. “Room for Happiness” because it’s probably the record-holder for lyrics mosttattooed on fans. “Disarm You” because when I dip the volume out and the crowd chimes in on the “whoa-oh-ohhhh” part, it still gives me chills. “On Your Mind” because ending a set with this seems like the proper punctuation. DJ LIFE: You’ve had longevity in an industry that’s known for burnout. What business or career decisions do you feel were pivotal in sustaining that longevity? Kaskade: It’s a boring, but crucial decision I made to prioritize my health. This industry is built to break you. The wild sleep and travel cycles, the big crowds and massive moments. Then, the demand to sleep in the three-hour block you have between shows. It can really burn through a lot of mental and physical health reserves. I’ve had to stay healthy by kicking things out of my life that don’t work for me. I don’t drink; I don’t do drugs. I try to eat as many tacos as I can. I surf and I do yoga. I soak up sun when I can and say “no” to things when I don’t have the bandwidth for them. DJ LIFE: When it comes to AI use in music, do you see it as a tool for creativity or as a potential disruptor? Kaskade: Unpopular opinion… I say let’s go with it. Every so often there is a profound disruption in entertainment… whether it’s movies switching from silent to sound, live action to CGI, 8-tracks to cassettes to CDs, vinyl switching to CDJs and then all of that switching to streaming. And every time, people shake their fist at the sky saying this is going to kill the industry. But art persists and finds a way of outsmarting technology and advancement into needing the artist, always. This will continue. We may feel it shift, but if you move with it, could be that your vantage point improves. DJ LIFE: As you look towards the next five to 10 years… what would you like to be remembered for? What legacy do you hope to leave behind in dance-music history? Kaskade: I’m happy to have been here for what has been the most elegant birth of a music genre. From the love of disco and new wave came the electronic-dance music we have now and being one of the authors of this story is such an exciting thing to reconcile in my mind. Igniting the Las Vegas residency model before Ushuaïa [in Ibiza] was happening, just from an idea I had of doing a seasonal residency and solidifying that DJs are artists and have some leverage changed the music scene from Coachella to Ibiza. Electronic music changed the face of Las Vegas, and that changed the course of this music forever. The fact that I had something to do with that makes me proud and blows my mind all at the same time.

20 25

DJS OF ALL STRIPES OFFER UP THE YEAR’S TOP TRACKS & BEST MUSICAL MOMENTS And so we’ve finally arrived at the end of 2025, a year loaded with omnipresent smashes in several genres that played big in the club, festival and mobile-party circuits. So, as we wrapped up ’25, we conducted a quickie poll to DJs of all stripes and from all over the world, inquiring about the past year. We asked three simple questions: What’s your top tune of the year? What was your best accomplishment? What was the best musical moment you experienced? Here are the responses…

IN REVIEW BY JIM TREMAYNE

Hardwell

Morten

1 Hardwell, Revealed Recordings, Breda, NL Tune: Maddix is a name that has been everywhere these past few years & deservedly so. His track “Move It 2 the Drum” is another killer anthem from my fellow Dutchman. Accomplishment: This was a year full of more development for me. In the studio, I got to dive further into my creativity and work on expanding my soundscape more, & I feel that really showed itself in the music – both in the tracks that have been released, like “Brace for Impact,” “Rave Till My Grave” & “Lift Off,” as well as the music I’ve yet to release. On the road, making a return to the U.S. for a three-city tour at three of the country’s most-iconic, fan-favorite venues: Echostage in Washington, Terminal 5 in NYC, and Grand Park in downtown L.A. was a lot of fun. Moment: The b2b between Dannic & Dyro during our Revealed Label Night at Amsterdam was one for the history books! They’ve been a huge part of the journey of Revealed & we’ve shared so may amazing times together. So, it was great having them part of the ‘Legacy Meets Destiny’ party at ADE. 2 Morten, Future Rave, Lisbon, Portugal Tune: Disco Lines & Tinashe’s “No Broke Boys.” Accomplishment: Releasing “Lucky” with David Guetta, continuing to bring something fresh & forward-thinking to the table. Moment: Amsterdam Music Festival at ADE – that show was amazing! 3 Sara Landry, HEKATE Records, Amsterdam Tune: Lady Gaga’s “Perfect Celebrity.” Accomplishment: Becoming the first female DJ to headline Sphere in Las Vegas during UNITY – an epic history-making night. Moment: Seeing Gaga’s show for the first time in 15 years at Coachella & then meeting her after.

Sara Landry

Doc Martin

played that remix for the first time in our EDC Mexico City mainstage set & it went off straight away. Since then, it is still in our sets & always a highlight moment. Accomplishment: EDC Mexico City. It was like an ocean of people in front of us – 50.000 people or so. The Mexican crowd is just awesome. We were playing brand-new music from our Perspectives album, including our just released single “I’m On Fire.” Such a memorable experience for us even after all those years touring. Moment: After the shock of seeing the huge fires at Tomorrowland, thinking it will have to be canceled & only a few days later see what happened on the main stage – this was just… wow. The crowd was even more excited & energetic than they might’ve have been with the full stage set-up. It was incredible. 6 Alison Wonderland, EMI Music, L.A. Tune: Ninajirachi’s “iPod Touch.” Accomplishment: Giving birth to both a baby & an album within a month. Moment: The couple at Coldplay being caught on camera. 7 Pan-Pot, Second State Audio, Berlin Tune: “Stoked” by Splinter Cell. Even though its official release isn’t scheduled until early 2026, it became a defining record in our sets. We started playing it in nearly every performance from mid-year onward & the crowd response was consistently amazing. Accomplishment: Launching our brand, HUMAN, in 2025 & establishing it as a successful platform for our own music & parties, marked by standout events, a unique atmosphere & exceptional guest artists. Moment: The DJ set of Supergloss at HUMAN last Summer blew our minds – perfect balance between new & old school.

4 Doc Martin, Sublevel, L.A. Tune: Dino Lenny’s “House of Magic” on Bedrock. Accomplishment: Being able to do so many great shows around the globe – from Berlin to Ecuador to the U.K. to home in L.A. Being able to get more studio projects done, as well. Moment: Seeing Maceo Plex into Radio Slave at ADE. It was a night of great music to a dancing crowd.

8 Sidepiece, Lip Service, L.A./Miami Tune: Prospa’s “Don’t Stop.” It’s been everywhere & a really fun one to play live Accomplishment: Selling out almost 90-percent of our shows this year. We’ve been so insanely grateful to everyone who has come out & partied with us. Moment: Being at the Skrillex listening party in Miami for his album, FUS. Not only a unique experience, but really inspired us.

5 Cosmic Gate, Wake Your Mind Records, Miami/NYC Tune: Aaron Hibell & Alex Wann’s “Set Me Free (CamelPhat Remix).” We

9 DJ Mell Starr, Rock the Bells Radio, NYC Tune: Toto & Bob James Edit “Africa Bells” that debuted at the DJX closing

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Cosmic Gate

Alison Wonderland

DJ Mell Starr

Jonas Blue

Pan-Pot

Sidepiece

DJ White Shadow

SID

party. Accomplishment: “Mell Starr & Friends” Party at DJX’25 – a great evening of bridging, connecting & bringing all walks of life together in one room to party, removing all stress while giving a musical medley from my friends. Moment: Although there were many songs played by my friends at the DJX closing party, the most important moment of the evening was seeing DJ ShortKut. This was a monumental moment of bravery and courage & seeing his journey of recovery come alive from his massive stroke. This was a true moment of doing what you love & loving what you do – an absolute honorable & fearless moment for ’25.

Moment: The inaugural Balance Festival in Croatia was a very special event – a celebration of everything that is good about this scene we live & breathe. It’s a timely reminder that the spirit of Acid House is still very much alive.

10 Jonas Blue, Defected/Positiva, Miami Tune: Samm’s “Body Language.” It’s been on repeat all year – such a clean, modern groove that cuts through every set & always shifts the energy in the room. Accomplishment: Being able to take my sound into a new era with “Edge of Desire” was huge. It pushed me creatively, re-energized my sets & showed me that taking risks with my style can actually open the door to a whole new connection with the dancefloor. Moment: Seeing Nic Fanciulli, Dennis Cruz & Carl Cox take the roof off at the UNVRS closing.

15 Yves V, Spinnin’ Records, Antwerp, Belgium Tune: Martin Garrix & Third Party’s “Carry You” feat. OAKS & Declan J. Donovan Accomplishment: Expanding my brand, V Sessions, by hosting our V Sessions stage at Tomorrowland Belgium with a line-up including Third Party & Dubvision, our hosting at ADE, & two V Sessions nights at Ministry Of Sound London. Moment: Alok presents Something Else at Tomorrowland Brasil.

11 DJ White Shadow, DJ/producer, Chicago/L.A. Tune: Leon Knight’s “Yes I Do.” Accomplishment: I am on the cusp releasing the SETSPACE app & I also filled my first music-supervisor role in a big-budget theatrical release. Moment: Kraftwerk live in Chicago. No need to explain. I cried. 12 SID, Slipknot/Vomit Face Records/Futures Past Cliq, Des Moines/Chalfont St. Peter, U.K. Tune: Cash$tarr’s “I Won’t Leave You at the Dance.” Accomplishment: Officially launching my record label, Vomit Face Records, and getting the Osbourne Wilson Farm up and running. Moment: Ozzy’s farewell performance at the Back to the Beginning concert. 13 Dave Seaman, Selador Recordings, Ibiza Tune: DJ Koze’s “Buschtaxi.” Accomplishment: Reaching the milestone of 200 releases on Selador. The label’s achievements are definitely something Steve [Parry] & I are proud of.

14 Mike Walter, Elite Entertainment, Tinton Falls, N.J. Tune: Chappell Roan’s “Pink Pony Club.” It’s the new “I Will Survive.” Accomplishment: Wrote & published a book called “The Greatest Song Ever?” Moment: The Ladies Night DJ Takeover I attended at a conference in April where five incredible female DJs all spun amazing sets.

16 Dave Audé, Audacious Records, Nashville Tune: Disco Lines & Tinashe’s “No Broke Boys.” Accomplishment: World tour with my fave singer of all time, Andy Bell. Moment: Hearing Max Styler’s “I Know You Want To” was one of those instant-goosebump house highlights of ’25. 17 Herbert Holler, Freedom Party, NYC Tune: MOLIY & Silent Addy’s “Shake It to the Max” was a wave in ’25. It put dancehall back on the charts, which I loved to see. Accomplishment: DJing for The Weeknd on the set of “The Tonight Show Starring Jimmy Fallon.” Moment: Seeing JusTheDj’s set at Soul Summit in Ft. Green Park this past July. 18 Notre Dame, Paranormal, Paris Tune: Four Tet’s “Into Dust (Still Falling).” Accomplishment: Launching my label, Paranormal. Moment: Justice’s concert in Paris. 19 DJ Larry D, Astro Event Company, Virginia Beach, Va. Tune: Chappell Roan’s “Pink Pony Club.” Accomplishment: Creating & performing a custom-crafted music-video set VOL.5 NO.6 |

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Dave Seaman

Mike Walter

for my peers at the DJX 25’s closing party. Moment: The level of talent at the DMC Finals never fails to amaze me. Even though I couldn’t attend, I watched every set online & was completely blown away. 20 proppaganda, DJ/Producer, Irvine, Calif. Tune: Dom Dolla’s “Dreamin’” feat. Daya. This track was nailed from A to Z. Accomplishment: Getting almost a million views on our live Sonar Sessions shark set & successfully launching our second stunt set in Brazil 11,200 feet above sea level. Moment: Lady Gaga at Coachella this year. She is on another planet with her production, stage design, outfit-changing & choreography. The entire crowd was locked in. Tears were shed. 21 RENESIS, NEOKANTŌ, L.A. Tune: “Renegade (We Never Run)” by Stefflon Don & Raja Kumari feat. Jarina de Marco. Discovered this track through the “Arcane League of Legends” animated series & it’s been my go-to hype track since then. Accomplishment: Performing live at FuelFest Japan, one of the country’s wildest motorsport events with over 25,000 attendees, & dropping “Sakura,” my hardest-hitting, Japanese-inspired cyberpunk track so far. Moment: The moment I heard the final master of “Overdrive,” my first collab with cyberpunk giant Extra Terra. Hearing how our two worlds seamlessly fused into one heavy cinematic banger was definitely unforgettable. 22 Tony Fernandez, Soundwave Productions, Richmond, Va. Tune: HUGEL, Tom Enzy, Danny Romo x Manrix’s “Alicante” feat. Yuliesky Gonzalvez. Accomplishment: Continuing to be relevant in a market that is everevolving by bringing experience, knowledge & professionalism to all the events I do. Moment: The closing party at DJX ’25. Always a blast to hear & witness Skratch Bastid – just next-level skills & creative music selection. 23 Dean Mraz, Mix On Wheels/Miles DJ Productions, Orlando Tune: Lady Gaga’s “Abracadabra.” It made its way into my rotation for a lot of Universal Studios Mardi Gras-themed events & it has remained a consistent, well-liked track. Best Accomplishment: Universal Orlando Resort opened its newest theme park, Universal Epic Universe, & I had the honor and privilege to be the DJ for the Opening Day Team Member Celebration for the park. Best DJ/Musical Moment: MCing an event for the Florida Citrus Bowl Group, called Feast on the 50. 24 William Black, Lost in Dreams, Denver Tune: Andromedik & Kanine’s “Ascension.” Accomplishment: Releasing my fourth album, The Shadow Realm. Moment: Skrillex at Red Rocks. 25 Chambord, Around Midnight, Paris Tune: Omri Smadar & Jenia Tarsol’s “Lose Your Soul” feat. Nona Choir. Accomplishment: Our first time playing in Pacha Ibiza. It was such a vibe playing there before RÜFÜS DU SOL & for one of the most iconic parties ever… Music On. Moment: Our friend Wahm blew our mind with an electric set at our label 22

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VOL.5 NO.6

Yves V

Dave Audé

night with Around Midnight in Katerblau in Berlin. It was pure fire the whole set. They played during lunch time & the energy inside was insanely good. 26 Michael Bowman, Drop the Mike Productions, Charleston, S.C. Tune: Drake’s “Nokia.” After all the drama with Kendrick & everyone counting him out, Drake came back with a hip-hop/pop smash that dominated clubs. Every girl in the room wanted to hear it. Accomplishment: Crossing the milestone of 400-plus weddings performed in my professional DJ career. Moment: Attending the “Yer Not Down” old-school funk/R&B festival in Pomona, Calif., hosted by DJ Angie Vee & Jon B – an unforgettable celebration of real music. 27 Howard “HK” Kessler, In The Mix With HK, Minneapolis Tune: Sabrina Carpenter’s “Espresso” because every re-drum, remix, bootleg & tempo push still kept the crowd locked – one of the year’s mixfriendly pop records. Accomplishment: Building a consistent weekly blend of chart records & new, emerging tracks that became a go-to reference for program directors & other mixshow DJs across the country. Moment: Watching Sacha go from almost giving up on the music business to being one of the best new singer/songwriters in dance music… thanks to TikTok. 28 Mosimann, Fun Radio France, Paris Tune: Chris Lorenzo, Max Styler & Audio Bullys’ “London’s On Fire (Extended Mix).” Accomplishment: Bringing my DreamTrack concept to life, meeting incredible people like Ariana Grande, Rita Ora or Hugh Jackman, reaching over 180 million views, & feeling truly proud to have pushed the project all the way. Moment: Seeing Fred again… live! He’s an artist who truly put stars in my eyes, creating something unlike anything we’d seen before, with that rare power to turn ordinary moments into something extraordinary. 29 Hypaton, Warner Music, Rome Tune: “Blessings” by Calvin Harris feat. Clementine Douglas perfectly captured ’25. It brought back those warm, classic house vibes in a really fresh way, with groove, feeling & a clean, uplifting sound that you just kept hearing everywhere all summer. Accomplishment: Definitely playing at UNVRS Ibiza during David Guetta’s Galactic Circus night. The design, the lights, the sound system, the whole concept… it’s a revolution in the clubbing world & being part of that moment felt like the beginning of a new era. Moment: Seeing the Tomorrowland team rebuild the entire mainstage in just a few hours, after such a difficult & chaotic situation, so that thousands of people could still live their dream & enjoy their favorite artists. 30 Chris D’Amico, D’Amico Entertainment, Roxbury, N.J. Tune: Chappell Roan’s “Pink Pony Club.” It was nice to have a “song of the summer” after what felt like years without one. Accomplishment: Leveling up in all facets of my business, whether it was my DJ company or band. Moment: Playing to a room of my colleagues at DJX/Hard Rock this past year & seeing them enjoy themselves.

Herbert Holler

RENESIS

Notre Dame

Dean Mraz

31 Avaion, Sony Music, Fürth, Germany Tune: “Talk of the Town” by Fred again… The groove & vibe of it is insane, just makes you wanna move! Accomplishment: Finishing my second album & playing my second big headline tour this year. Everything grew a lot – I think this is just the beginning. Moment: RÜFÜS DU SOL playing Innerbloom live was just something else. 32 R.Korner, Artcore Records, Milan Tune: Paul Kalkbrenner & Stromae’s “Que Ce Soit Clair.” Accomplishment: Being featured three times in one year on Artcore Records. Moment: Throwback to my psytrance musical roots at Modem Festival this summer. 33 Mark Brenneisen, AllWeDoIsEpic.Com, Lake George, N.Y. Tune: Chappell Roan’s “Pink Pony Club.” Accomplishment: Successfully producing Year 3 of FETE ADK – Lake George DJ Takeover Music Festival. Moment: Hanging backstage with all the artists at FETE ADK, including the Disco Fries – all great people & very down-to-earth. 34 Ollie Mundy, OVAVA Music, Ibiza Tune: &LEZ & Robin M’s “Paradise.” Accomplishment: Moving to Ibiza to concentrate on music. Moment: Halloween at Pikes Ibiza. It’s such a mental place anyway, but when you add everyone in full fancy dress, it’s pretty wild. 35 Father Funk, DJ/Producer, Vancouver Tune: GRiZ’s “2-Step Nassau.” Accomplishment: Writing & self-releasing my album, Funk The System. Moment: Playing the Fractal Forest at Shambhala Music Festival. 36 JIGAR, Amour West Hollywood, L.A. Tune: Jonas Blue & Malive’s “Edge of Desire.” A bright, sun-kissed house record with addicting lyrics & a feel-good, uplifting drive that lit up every dancefloor I played. Accomplishment: Playing the closing set in Ibiza for Bedouin, the artist that has inspired me the most in my career. Moment: ANYMA’s End of Genesys performance at The Sphere in Las Vegas delivered a surge of heart-pounding sound & mind-blowing visuals

DJ Larry D

proppaganda

William Black

Chambord

woven into flawless sonic storytelling, making it the most intense & immersive DJ set I experienced. 37 DJ Cova, Tweak Music Tips, Orlando Tune: HUGEL & Diplo’s “Forever” feat. Malou & Yuna Accomplishment: We’ve been grateful to build stronger relationships with manufacturers through our broadcasts, helping us earn trust & respect as a thoughtful & reliable reviewer in the livestream-DJ community. Musical Moment: Hosting Season 5 of our Genre Blend Battle, where DJs from around the world – both rising young talent & seasoned veterans from TikTok, YouTube, Instagram & Twitch – came together to create something truly inspiring for the community. 38 Jay Brannan, Brannan Entertainment/Pioneer DJ, Temecula, Calif. Tune: ROSÉ & Bruno Mars: “APT.” Accomplishment: I was able to travel more as a DJ in ’25 than ever before – I played in 15 states. Moment: The Tiësto all-trance closing set at Dreamstate in Long Beach, Calif. 39 [IVY], Subconscious Audio, Bristol, U.K. Tune: Sub Focus & Grimes’ “Entwined.” Absolutely legendary collab & such an amazing mix of genres. Accomplishment: Launching my techno/trance alias, [SAFYRE], after years of work… that & playing Tomorrowland. Moment: Seeing a 999999999 set for the first time in Berlin – these guys are the GOATs. 40 DJ Anarchy, Houston Texans DJ, Houston Tune: Moliy, Silent Addy, Skillibeng & Shenseea’s “Shake It to the Max (Fly)” (Remix) Accomplishment: Releasing music with my artists Mula Migo & HassaanHTX & watching it take off on radio stations, stadiums & parties all across America & internationally. Hearing our records echo across cities around the world was truly mind-blowing. Moment: DJing at NRG Stadium for the Houston Texans. Every home game felt like a massive festival… feeling the energy from thousands of Texans fans. The turn-up is unmatched! 41 Midnight Generation, Electronic Band, Mexico City Tune: Soulwax’s album All Systems Are Lying. I think it has elements that VOL.5 NO.6 |

DJLIFEMAG.COM

Michael Bowman

Howard “HK” Kessler

blow your mind. The way they choose & arrange synths, for me, is mindblowing. Accomplishment: Growing our social media eight times – a huge accomplishment which led to our first world tour. Moment: Seeing one of my favorite Justice songs, “Stress,” live blew my mind. The visuals & lighting are simply brutal. 42 Kenn Colt, Feels Like Home, Valencia, Spain Tune: “Blessings” by Calvin Harris feat. Clementine Douglas. It’s a clean, club-ready house track that’s been putting dancefloors on fire & it’s hijacked all the radio playlists worldwide. Accomplishment: Playing Tomorrowland for the tenth time & releasing six new tracks, four on my own label, Feels Like Home Records, made it a milestone year I’ll never forget. Moment: Seeing Tomorrowland’s mainstage burn to the ground three days before opening & with all the power they had left, they made a new, improved stage in front of the burned stage. During the two weekends, people were dancing like crazy in front of the burned stage, which looked like a monument. Incredible moment in dance music. 43 DJ Shakey, DJ/Producer, NYC Tune: Cloonee, Young M.A, InntRaw x Gigi Croccante’s “Stephanie” (Disco Dom Refunk). A classic funky disco jam with a modern rap vocal. Accomplishment: One of my favorite festivals, Shambhala in B.C., booked me for both a solo set on the Living Room Beach Stage, a B2B with my pal Illexxandra, & once again, to play some vinyl in the Fractal Forest Funk Jam. Moment: At the Boomtown Fair in the U.K., we stopped by a Jump-Up DnB session in a dome. It was absolutely mobbed with people screaming the lyrics, jumping up & down & begging for rewinds – it could not have been more lit! 44 H.B. Monte, JAMZ 96.3 FM, Albany, N.Y. Tune: Moliy, Silent Addy, Skillibeng & Shenseea’s “Shake It to the Max (Fly)” (Remix). Accomplishment: Producing the official remix for Shaggy & Sting’s “Til A Mawnin,” a version that charted on the Billboard Hot 100 & hit the Top 10 in multiple countries. Moment: Experiencing Shaggy & Pitbull live at The O2 London, where Shaggy performed the “Til A Mawnin” (Remix), & the entire arena went wild – an unforgettable, surreal moment. 45 Mike Williams, DMA Management, Amsterdam Tune: Mesto’s “Caramelle.” Accomplishment: Collab with Audien, “It’s Okay,” & playing it at all key festivals/clubs in the world! Moment: Tiësto bringing back trance. 46 LMNT 115, Quasar Music, Sydney, Australia Tune: Disco Lines & Tinashe’s “No Broke Boys.” A great example of how an incredible beat & killer topline can break boundaries. That’s how you make a dance song a global hit. Accomplishment: Achieving almost 10 million streams across platforms as a newly formed group. Working with French Montana was pretty great, too. Moment: Our fellow Aussie Dom Dolla taking home the ARIA award for Best Dance Recording… plus the track features Daya who we collabo24

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VOL.5 NO.6

Mosimann

Hypaton

rated with on our new single, “Paradise.” 47 Klangkarussell, Bias Beach Records, Vienna Tune: Reznik & Jesse Boykins III’s “Cloudy Eyes (Dance Tonight).” Accomplishment: Finally releasing our long-awaited second studio album, Petrichor, marking an 11-year journey from our debut to this milestone. Moment: Kruder & Dorfmeister playing the K&D Sessions live in Vienna – waited about 25 years for that! 48 James Kennedy, Hexagon Records, Las Vegas Tune: The HNTR Remix of “Stephanie” by Cloonee, Young M.A, InntRaw x Gigi Croccante. This track really kicked off a sound to the entire summer. Accomplishment: Being on the road non-stop, while keeping a healthy routine. Moment: In Ibiza, Anyma’s show at UNVRS was a very immersive experience. 49 DJ Trayze, DJcity, Washington, D.C. Tune: Moliy, Silent Addy, Skillibeng & Shenseea’s “Shake It to the Max (Fly)” (Remix). Accomplishment: Finally releasing the debut “FaceTyme” EP with my partner Lincoln Baio. Moment: Attending DJ Jazzy Jeff’s Playlist Retreat. 50 Trimtone, Love to be…, Leeds, U.K. Tune: Hatiras’ “Hypnotized.” Certified banger that’s been massive in our sets around the globe this year. Accomplishment: Producing the second year of our Love to be… Festival & seeing it grow massively, culminating in the event being nominated in the Access All Areas & Skiddle Awards. Moment: Seeing the crowd react to Sam Divine at our Sheffield Inner City Fest launch at the start of summer was pretty special – lots of love in the air. 51 2ManyModels, Bristol After Dark/Bonnie, Paris Tune: Jain & Solomun’s “Tout le monde est fou.” A highlight of how electronic music & French lyrics can melt together; unique and inspirational for me, as I also love blending progressive, indie dance vibes with the French lyrics I write and sing. Accomplishment: Performing for the first time in Ibiza was a blast & the location Sunset Ashram is quite unique experience. Also, my residency at Bonnie Paris embodies my passions for music & fashion. Moment: Attending the UNIVRS opening this year, witnessing sets from legends like Carl Cox & experiencing a surreal sunrise inside the club – truly a once-in-a-lifetime moment. 52 Shane Osborne, Nu Moda, Montreal Tune: Deca OTA’s “Redemption.” Discovering this track inspired me to bring a jazzier, more soulful element into my productions, which can be heard in my recent release “Want To Go” & in upcoming, unreleased work. Accomplishment: Selling out my L.A. headline show & celebrating that achievement with friends & fans was truly an amazing & memorable experience. Moment: Seeing Sammy Virji play at Hulaween was really insightful. Seeing how he introduces & mashes live a cappellas & adds them onto the tracks live was something I wasn’t expecting & inspired me to do myself.

Chris D’Amico

Ollie Mundy

Avaion

Father Funk

53 DJ Fuckoff, HARD Recs, Berlin Tune: Bomb Shelter Crew’s “No More Pianos!” Proper hardcore rave energy. Accomplishment: Releasing my album, Fucktopia: Character Chronicles, which was also my first-ever solo vinyl release. Moment: While in Berlin, dancing in an emptied pool with my friends listening to Eris Drew b2b Octa Octa live – next level! 54 Lauren Mia, Halcyon/Armada/Interstellar, L.A. Tunes: Linkin Park’s “The Emptiness Machine” & Funk Tribu’s “Azul.” I couldn’t choose just one – both are mega! Accomplishment: Releasing on two of the biggest record labels within electronic music, which set the stage for me to get to play my first EDC Las Vegas this year. Moment: I had an incredible Berghain sesh with one of my best friends from Berlin, Klaudia, this summer – a night I’ll always remember! 55 Blondie, Independent DJ, Detroit Tune: Chase & Status’ “Baddadan.” It’s still an undeniable weapon every time – massive energy. Accomplishment: Being recognized as the Best Female DJ & Queen of Mashups 2025 & earning a return to India in 2026 for the next global DJ battle. Moment: Playing Badian Beach in the Philippines, an open-air festival in my home country, & feeling an entire crowd welcome me back after five years was one of the most humbling, powerful moments. 56 EYVA, UNDR THE RADR, Miami Tune: Vito & Shakti remix of NoCapz’s “Coming for Ya.” Accomplishment: Finishing my latest single, “Fiera.” Moment: Have to go back to that Vito and Shakti remix… I heard it at a time when I hit that creative wall, nothing stuck. The second I heard that track it was like… boom, new ideas! 57 Mia Mendi, Hydera/Armada, Manchester, U.K. Tune: X-Dream feat. Ariel Electron’s “We Interface (Alex Stein & Victor Ruiz Remix)” ended up in every one of our sets this year! Accomplishment: Being signed by Armada Music, a breakthrough that validated years of growth & positioned us for a bigger ’26. Moment: We had preconceived notions of Anyasa as a purely progressive artist, but the unique selection he delivered in his set after ours at Dynamo

R.Korner

Mark Brenneisen

JIGAR

DJ Cova

in Goa became a real standout memory for us. 58 teve Parry, Selador Recordings/SMP3 Music Promo, London Tune: Konvex, Meloko & Garla’s – “If U Ever.” I absolutely love it – the vocal, its hypnotic vibe, the tension, the energy, the build & drops – it’s got the lot. Accomplishment: Being more productive in the studio this year – I released more music than I ever have. I’m proud of that, as I class myself as a DJ, rather than a producer, & I’m extra fussy about the music I release. So, long may this continue! Moment: Balance Festival in Croatia. I was there as a clubber & it was superb! And, to top that, I’ve been booked to play there next year. 59 Hex Cougar, Break Room/Insomniac, LA Tune: “Victory Lap” by Fred again… feat. PlaqueBoyMax & Skepta. Accomplishment: Playing Lollapalooza. Moment: Watching ISOxo at Lollapalooza. 60 Hostage Situation, Ransom Recordings, Denver Tune: LYNY’s “Section” has been on repeat for sure. Everything LYNY’s putting out right now is an instant classic. Accomplishment: Pulling off our first headline tour for the Hostile Frequencies Tour. Moment: Levity at Mission Ballroom had such a wonderful show from start to finish this year, which was very impressive & inspiring to see. 61 S0UNISUN, Back To Mine/Days Of Disco, Ibiza, Spain Tune: Carlita & Calussa’s “Fell In Luv (Black Circle Remix).” Accomplishment: Making my debut & first season residency at the legendary Pikes. Moment: The closing party of Amnesia with Luciano & Josh Baker was incredible & a flashback to the early days of Ibiza. 62 Mona Chrome, Unheard Music, Dubai, UAE Tune: “The Happening” by Tomorrow Comes The Harvest. Accomplishment: I recorded my first only-vinyl DJ set. Moment: The WhoMadeWho show at Pacha Dubai. 63 Stefan Rose, Dear Deer, London Tune: Prunk’s “Heat (Hot Since 82 Remix)” VOL.5 NO.6 |

DJLIFEMAG.COM

Jay Brannan

[IVY]

Accomplishment: Releasing my debut EP with Dear Deer, which hit the No. 3 chart position across all of Beatport. Moment: The 20 years of Innervisions event at Fabric London with Dixon, Âme, etc., where I saw history made in real-time. 64 anika Tenn, Tenn Tonik, London Tune: “The One” by Chloé Caillet & Luke Alessi feat. Jocelyn Brown. Accomplishment: Launching my own label, Tenn Tonik, & releasing my collaboration with Todd Terry. Moment: Seeing Moodymann, Carl Craig & Groove Armada play at the 528 Ibiza day parties this summer felt like the good old days coming back to the island. 65 N1NJA, Tales of Twilight, Lausanne, Switzerland Tue: Juno’s “Heat.” Accomplishment: Launching my own label, Tales of Twilight, from 2500m in The Alps, which samples the sounds of speed & nature. Moment: Bridges For Music at ADE – the energy, purpose & community I experienced in their special room was unlike anything I’d experienced all year. 66 CENTRL, CNTRL Music, Ibiza, Spain Tune: Odee X’s “X Ray.” Accomplishment: Supporting Sasha & Digweed at 528 in Ibiza, which was a historical moment. Moment: Backstage at DC10 with Kevin Saunderson when Seth Troxler & Carl Craig both dropped Inner City tracks in tribute to his impact on the scene – truly emotional. 6 David Ramano, Omkara, Dubai, UAE Tune: Maz & VXSION’s “Amarna.” Accomplishment: The launch of my label Omkara & the signing of over 20 tracks to other labels. Moment: Getting to meet CamelPhat in-person at Pacha. Their support from last year meant a lot to me, so it was great to meet & thank them. 68 pizzaaftersex, Unheard Music, Dubai, UAE Tune: Green Velvet’s “Percolator (Chris Lake Extended Remix).” Accomplishment: Watching Unheard Music form and grow out of a simple concept. Moment: Sphere Las Vegas in all of its musical manifestations. Even if the music itself is sometimes not my style, the events stood completely apart from everything. 6 Cash Only, 555/Famous When Dead Records, London Tune: LEFTI’s “Deep Down” on D-Vine Sounds. Accomplishment: Playing my third Glastonbury set in a row in Shangri-La Eden stage. Moment: To finally see Jordan Peak get the recognition he deserved with “Front 2 Back,” being signed to Defected & doing an official remix of “Dior” for MK was something I was really proud of him for! It’s a strong message to all aspiring producers & DJs out there to believe that their hard work will pay off one day. 70 Nutritious, Liquid Culture Records, NYC Tune: Greg Paulus’ “World Keeps Changing.” 26

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VOL.5 NO.6

DJ Anarchy

Midnight Generation

Accomplishment: My song “Ether” absolutely rinsing on radio. Also, meeting new fans on the road. Moment: I really enjoyed making new friends & collaborators in Ibiza this year. 71 Kahnti, Unquantize, Dallas Tune: Shimza, Camelphat & Idd Aziz’s “Bado.” Accomplishment: Releasing my debut album, One Love, and watching it resonate with listeners around the world. Moment: Being pulled in to play right before the headliner, DJ Spen, when the DJ before him couldn’t make it… felt like a divine, full-circle moment – especially since my journey truly began with Quantize. 72 DJ Rae, Let There Be House, London Tunes: “So Spiritual” by Peverell & Kuuda. It really resonated with me & I signed it for the label straight away. Top tune that smashed it in my sets was Nic Fanciulli & Robert Courtois’ “Set Me Free.” Accomplishment: Finding my balance in my first year of running a label, whilst being a mother and an artist. Moment: David Morales opening night at Pikes Ibiza. Took me back to the best days on the island, right in the beginning. Pikes still has that magic, and David took us with him into that special zone. 73 Kozlow, ANTHR FCKNG PARTY, NYC Tune: Moontalk’s “Slammin’ (I Want U).” Accomplishment: I turned my party series, ANTHR FCKNG PARTY, into a label of the same name. Moment: HAAI’s set at The Life & Death party at the Knockdown Center… about as good as it gets – wow! 74 Maesic, Helix Records, Paris Tune: “Ma Tnsani (Yalla Habibi)” by Vanco feat. AYA.SYSTEM. Accomplishment: Having one of my original songs, “Life is Simple (Move Your Body),” go No. 1 on the Beatport Afro House charts for three months, rack up 65 million global streams, become the most Shazamed song in house music in the world with over a million Shazams, & go viral in over 50 countries… still feels unreal. Moment: Seeing Black Coffee at Space Miami for the first time was mindblowing. The energy & atmosphere he creates is on another level. 75 DJs From Mars, Mashup DJ/Producers, Turin, Italy Tune: Max Styler’s “I Know You Want To” probably started a brand-new sound that’s currently trending. We love those straight bass & drum patterns, & it was probably the most influential track for every producer in the last months. Accomplishment: We released a collab with David Guetta, “Things I Haven’t Told You.” It was definitely a dream come true for us. We’ve waited for a release with David for long time & finally, this year, it happened. Moment: Definitely jumping onstage with David Guetta at Ushuaïa Ibiza to play our collab together for the first time. That was super-emotional and intense. 76 Vic Latino, 4G1B Music, Miami Tune: Bad Bunny’s San Juan residency set the vibe for the year, but Toman’s “Verano en NY” was the Latin- house anthem everyone was talking about. Accomplishment: Getting back in the studio, collaborating with insanely talented artists & hitting the road again to bring the music straight to the

Kenn Colt

DJ Shakey

fans – ’25 has been electric. Moment: EDC Mexico was next-level. Afro/Latin-house dominated the festival & Ibiza kept the energy rolling with artists like Hugel taking the sound global through unforgettable shows & social content. 77 Felix Raphael, [PIAS] Électronique/YION, Berlin Tune: Klur & BJOERN’s “Unbound.” Accomplishment: Definitely my whole album journey so far – basically everything that came with it. It’s called DO YOU. Moment: Bon Iver dropping an album. 78 Luca Guerrieri, Claps Records, Follonica, Italy Tune: Stevie Wonder’s “Superstition” (The Sponges & N2N Remix). Accomplishment: The party I hosted at Tartana, Italy, to celebrate my 30year career. Moment: The DJ sets by Cassius & Badbox in Tartana’s Club House were absolutely unforgettable moments. 79 Becking, mau5trap, Amsterdam Tune: LYNY’s “Section.” It’s a staple across U.K.-bass sets this year – raw energy, proper underground influence. Accomplishment: Releasing my single “Guess Who’s Beck” on mau5trap & seeing my music get played at Boiler Room and a Fred again.. show: Proving that bass-heavy Damsko Garage has a real global pulse. Moment: Hearing my track, “Chop Dat,” at a Fred again… concert in front of 30,000 people & seeing the crowd explode. That moment made me realize how far underground U.K.-bass can actually reach. 80 Citizen Kain, Eversun Records, Montpellier, France Tune: Son Of Son’s “HIDE.” Accomplishment: The launch of my new label, Eversun Records. Moment: I had the opportunity to go to Théâtre antique d’Orange to see Adriatique playing. It’s a mythic place very close to my home in France & their show was outstanding! 81 Lolo Mayhew, Groove Bassment, Tampa Tune: The Sigala Remix of “Like a Prayer.” I discovered this remix of Madonna’s classic & it slays the dancefloor every time. Accomplishment: I am so grateful for touring with Heineken as their celebrity DJ throughout the East Coast, producing my own events such as “Lolo’s Beach House” at Skybeach Hotel & Marina, & releasing heavy-hitting songs like “Supersize It” through Groove Bassment with Lucky Guess. Moment: Wildly impressed with my long-time friend, Willa Ford, & her comeback into music. Excited to create some remixes and mash-ups with her in the new year! 82 Alex Brown, It’s Lit Weddings & Events, Providence, R.I. Tune: Chrystal’s “The Days” (Notion Remix). It brought EDM to the forefront of the younger generation’s music tastes at the peak of prom season. Accomplishment: Speaking at DJX ’25, but specifically the impact that my burnout presentation had on people, with one attendee coming up to me crying afterward, saying how much they needed to hear what I had to say. Musical Moment: The maid of honor at a wedding I did had major stage fright, almost didn’t give her speech. But then, she did a great job with it. But the highlight of the night was 30 minutes into dancing when I played “Shoop,” & she came up & karaoke-sang the whole song from the DJ booth, like a performance. What a 180! 28

DJLIFEMAG.COM

VOL.5 NO.6

H.B. Monte

Mike Williams

83 Akoriz, Artcore Records, Rome Tune: Novah’s “Inner Odyssey.” Accomplishment: Releasing on top labels like Artcore, Hekate & Rave Alert & seeing my music supported at major festivals. Moment: Performing at Hï Ibiza for the Metamorphosi party in the Club Room curated by Indira Paganotto. 84 KICE, Treble Recordings, Chicago Tune: Anthony Keyrouze, JimmX & Idd Aziz’s “Penda.” It does a great job blending Arabic & house elements, defining this year’s movement toward a powerful, global, upbeat sound. Accomplishment: The successful launch & expansion of the Sirocco Sessions event series into key international markets, proving the demand for the Arabic house & Mediterranean sound globally. Moment: Seeing Vanco & AYA’s “Ma Tnsani” quickly rise to the top showed the large potential for authentic vocals to dominate the Afro-house scene on a global scale. 85 Alex Updike, Bass & Bliss, Palm Springs, Calif. Tune: Chappell Roan’s “Pink Pony Club.” Accomplishment: Getting to present for the first time at a conference at DJX ’25. Moment: Playing in Vegas in front of hundreds of wedding professionals. 86 Buka, Diynamic, Tel Aviv, Israel Tune: Rex The Dog’s “Frequency.” Accomplishment: Performing alongside CamelPhat & Innellea at the last ADE. Moment: Seth Troxler’s closing set at Circoloco in Thailand. 87 Far&High, Unheard Music, Dubai, UAE Tunes: Luke Alessi’s “After Five (Original Mix)” & Tiger Stripes’ “Dance For Peace.” Accomplishment: Creation of Unheard Music, a label that aims not to follow trends, but to give artists total creative freedom. Moment: The best show was Underworld on Boiler Room. 88 Dave Lander, DJ Digital Dave, Pittsburgh Tune: Drake’s “Nokia,” with an honorable mention to Taylor Swift’s “The Fate Of Ophelia.” Accomplishment: DJing several matches for the U.S. Men’s National Soccer Team. Moment: Going to Mass at the Salzburg Cathedral in Austria & hearing the most immaculate-sounding choir I have ever heard in my life. 89 Chuck Zerambo, Sir Charles Distinctive Entertainment, Philadelphia Tune: Shaboozey’s “A Bar Song (Tipsy).” It delivered the perfect blend of country & party energy, still packing every floor from clubs to weddings. Accomplishment: Being named VP-Elect of the Greater Philadelphia South Jersey & Delaware Chapter of NACE, while expanding Sir Charles Entertainment to deliver full-scale production for events from 50 to more than 10,000 guests. Moment: Watching a packed room lose themselves in “Pink Pony Club” reminded me how powerful music can be in helping people feel seen, celebrated & unapologetically themselves.

Momentous Fest Brings The Bass

Photos by Carter Kirkland

Ozark Party: Fans fill The Momentary.

Bentonville, Ark. – Some of the globe’s top electronic talents came to the Ozark Mountain foothills this past Oct. 11-12 for Momentous Festival. Held at The Momentary contemporary art space, the third-annual festival presented popular acts like Flux Pavilion, Doctor P, Tycho, and more. Additionally, thousands of festival attendees enjoyed immersive art installations like Touki Delphine’s FIREBIRD, which saw fans donning silver and gold capes, and Rin Peisert’s Relative Intensity Noise, a multi-sensory work. It all looked like this: Funkiest Diplomat: The Polish Ambassador.

Rise Up: Yongi gets grooving.

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Dubstep Duo: Doctor P & Flux Pavilion.

Global Grooves: MEMBA throws down.

Soulful Sooner: Oklahoma’s HeartWerk.

Trippy Tunes: Tripp St. drops a beat.

Late-Night Set: Tycho’s surprise pop-up.

Partytime: Momentous fans get loose.

Momentous fans enjoy the moment. | DJLIFEMAG.COM VOL.5 NO.6

Logo: ADE’s omnipresent “Cube.” Sacha Hoebergen

Amsterdam Dance Event Brings Industry to Europe

’25 HIGHLIGHTS Amsterdam, NL – Held this past Oct. 22-26 at a variety of venues in Holland’s largest city, Amsterdam Dance Event hosted more than 3,400 DJ/artists at over 1,200 events and welcomed over 600,000 visitors. Additionally, it delivered a slate of music-industry panels/keynotes, sponsored activations, and pro-gear exhibitions. (For more on ADE ’25, please see Pg. 3.) It all looked like this:

Plastikman: Richie Hawtin talks tech. Jasper ten Tusscher

Techno Baron: Dave Clarke at Melkweg. Sacha Hoebergen

Armin van Buuren at Dolby Atmos House. Linde Dorenbos

Big Room: John Summit rocks the arena. Stephen van Bokhoven

At The Bajes: Charlotte de Witte in the mix. Jasper ten Tusscher

Canal Scene: ADE attendees cross the bridge. Tom Doms

ADE Lab: Roland shows its wares.

ADE Mixer: Networking at Felix Meritas.

Laura Evy

Jasper ten Tusscher

313 Party: Stacey “Hotwaxx” Hale spins. Enrique Meesters

Theater Show: Paul Kalkbrenner revs it up. Felix Van Leusden

Madness: DGTL pop-up party gets going. Enrique Meesters

Google Session: Music-making tutorial. Linde Dorenbos

Spectacle: Klangkuenstler at Ziggo Dome. Enrique Meesters

Numbers: 3,400-plus DJ/artists played ADE. Jasper ten Tusscher

MUSIC FEST DROPS BIG BEATS

By Chris Caruso

Austin, Texas – Austin City Limits returned to Zilker Metropolitan Park for two rounds of festival delights this past Oct. 3–5 and 10–12, delivering world-class musical talent to the Texas capital for the event’s 23rd annual installment. Broadly, ACL serves as a proverbial Swiss Army Knife sort of festival, offering a wide berth of bigger artists spanning a smorgasbord of genres. Big and bubbling under names across pop, country, rock, and hip hop have historically been the main draws of its sizable lineups, but the electronic contingent has been ticking up considerably in recent years. This year’s edition boasted some big names, including DJ talent like John Summit, LP Giobbi, and Zeds Dead, as well as crossover live acts such as Polo & Pan and Confidence Man. It all looked like this:

Alive: Zeds Dead delivers on the big stage. Roger Ho

Superstar: Sabrina Carpenter connects with fans. Alfredo Flores

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Where You Are: John Summit goes bigtime. Taylor Regulski

Good Good: Disco Lines before the throngs. Taylor Regulski

Sun-Protected: Marina with parasol in hand. Nathan Zucker

Mr. Brightside: The Killers tear it up. Chris Phelps

Confidence Man: Janet Planet & Sugar Bones. Frankie Vergara

Skyline: ACL Fest seen from above. Rylan McCoy

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PLAYBACK

SERATO DJ PRO 4.0: Full Library Overhaul By DJ Mike Marquez

New York City – This past November, I was invited to Sound Collective NYC, right in the heart of Lower Manhattan, for an exclusive behind-the-scenes look at the new features coming to Serato DJ Pro 4.0. The room was packed with some of the most influential and experienced Serato users anywhere, including official Chicago Bulls DJ/Jump Smokers producer DJ Flipside and former Jay-Z tour DJ Neil Armstrong. It was clear from the start that this was not just another software update demo. It was a chance to see how Serato plans to shape DJ workflows for the next several years. The event kicked off with Edwin Paredes, better known as DJ Phenom, Head of Global Artist Relations for Beatsource and President of DJcity, who walked us through the newly streamlined integration of Beatsource and Beatport inside Serato 4.0. After Phenom, the stage belonged to Serato Artist Relations Manager O.P. Miller. What he unveiled was not just an update; it was one of the most meaningful workflow improvements Serato has delivered in years. While some DJs might be looking for flashy new headline features, the true purpose of 4.0 is much deeper. It is designed to speed up library tasks, tighten organization, remove friction, and finally bring streaming and local files together into one modern, unified environment. Most of the changes hit exactly where DJs have been asking for help. Searching is smarter, crate behavior is more intuitive, right-click actions save real time, and Beatsource and Beatport now feel genuinely integrated, instead of bolted-on. Performance-wise, the full release feels rock-solid. But there is also one surprising issue: the removal of the browse filter panel, a foundational tool for big-library DJs. And beyond that, a few long-requested features still have not arrived. So, let’s go through everything Serato rolled out in 4.0, what they nailed, what might still need work, and what I hope 38

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to see in future updates. The Biggest Changes Powerful library search: You can search within crates and across your entire library and streaming services. Favorites and color-coding: Pin and color crates for instant access and visual navigation. Right-click library actions: Bulk analyze, send to Prepare or Stems, change BPM/beatgrid, and more. Streaming plus local files in one crate: Drag Beatsource tracks into your local crates and play them seamlessly. Improved metadata and crate info: See crate duration, track count, and total size at a glance. Optional Files Panel Layout: Side or bottom layout to preserve your muscle memory. Auto backups and faster library load times. Search Crates & Search All: You can now search inside any crate with the magnifying glass in the library panel. Type a genre, artist, or keyword and Serato will show every crate that contains matching tracks. That alone will save you from endless scrolling when you have dozens or hundreds of crates. Use the All option to search your whole local library plus Beatsource streaming content. Find a streaming track, add it to your crate, and when you close the search you’ll return to

the crate you were working in. It keeps you in flow: find a song fast, bring it into your set, and get back to the moment. Favorite Crates & Color-Coding: If you have tons of crates, pin the ones you use most by right-clicking and selecting Favorite Crate. Favorited crates appear at the top of the library as aliases, so you can live there instead of scrolling forever. Color-code crates to visually group genres or moods. Right-click a crate, select a color, and your library becomes easier to scan while you’re performing. Sorting Crates & Crate Placement: You can choose how crates are ordered: Custom, alphabetical, or date created. It’s a long-requested improvement, as new crates no longer default to the bottom of the list. If you create a crate while you are focused on a section, the new crate appears exactly where you are working. That saves a ton of re-organizing time. Crate Details: Length, Track Count & Size… Select a crate and the bottom corner shows track count, total duration, and total file size. Use this to build sets with precise timing (cocktail hour, radio spots, or timed segments) and manage storage when moving files between drives. Better Album Artwork & Visual Navigation: Expand artwork thumbnails to make library navigation more visual. Album art size adjusts the visible meta-

data font, so you can find tracks visually the same way DJs used to do with familiar labels and colors. Right-Click Power: Prepare, stems, analyze, relocate and more… Serato 4.0 adds a lot of right-click functionality that makes library work fast and flexible: Add to Prepare: Send single tracks or entire crates to the Prepare panel for cueing and set building. Add to Stems Crate: Pre-process tracks into stems so older computers do not have to run heavy real-time separation during a gig. Analyze Files: Analyze tracks or whole crates while still connected to your hardware. No need to load tracks one-by-one during a set. Change BPM by Half/Double: Right-click a track and set it to half or double to fit different tempo contexts instantly. Relocate/Show in Finder: Find missing files or see exactly which folder a track lives in. Emoji Ratings: Add custom emoji ratings (including flags) at the track or crate level for quick visual tags. Eject External Drives: Safely eject USBs or SD cards from the Files panel without quitting Serato, as long as no deck is playing from that drive. Delete Choices: Delete from crate, library, or computer – the choice is yours, preventing accidental total deletions. Stems Workflow Improvements: Use the Stems Crate to pre-analyze tracks and have their stems ready without taxing older CPUs during a live performance. This is especially useful if you run an i7-era laptop rather than an MSeries Mac. Once a track is processed in the Stems Crate, Serato will show the stems icon so you know it’s ready to use. Analyze on Import & Faster Library Loads: Toggle Analyze on Import to automatically generate BPM, key, and beatgrid data when you drop files into Serato. Library load times are significantly improved after the initial scan, which makes launching a machine with large libraries feel much faster. Streaming Plus Local Files: Dragand-drop integration with Beatsource… Streaming content from Beatsource now mixes with local files inside a crate. Drag a Beatsource

track directly into a local crate, and it behaves like a regular entry (online access or offline locker permitting). This makes building context-aware sets much faster: pick a streaming track, drop it into your crate, and play. And if you need a track offline, use the Beatsource locker to download it. Prepare Panel Behavior & Metadata Sync: The Prepare panel now keeps items visible after you load them. Toggle library display options to show prepare/main metadata so your prepared cues and notes stay where you expect them. Prepare respects the same metadata fields and right-click options as the main library. Files Panel Layout Options & Muscle Portable Control: Perfect for upstarts Memory: Two layout options give you & hobbyists. control over your workspace – files panel at the side or at the bottom. If you prefer the classic bottom layout, toggle it back. The key was to preserve workflows and give DJs choice instead of forcing a single new interface on everyone. Beatsource & DJcity Integration Highlights: Streaming and pool integration is more than just convenience. Beatsource and DJcity brought curated catalogs, DJ exclusives, and a legal framework for edits and remixes. Important notes: Beatsource and DJcity catalogs are searchable inside Serato. The platform includes DJ exclusives and a library of legal edits, transitions, and remixes from established editors and charting DJs. Royalties and payouts are structured, so major rights-holders receive 70 percent, while the platform retains 30 percent to operate; a portion of that 30 percent is paid out to DJs and editors based on usage. Use the Beatsource offline locker to ensure streaming tracks are available if you expect no Wi-Fi at a gig. Serato supports offline playback for downloaded streaming tracks. To submit remixes and edits to DJcity, start at the submit page on DJcity’s site to be considered for curation and potential placement. But… Browse Filters Are Gone: The removal of the browse filter panel (genre, BPM, key, artist) feels like a step backward and the opposite of making Serato library managementfriendly.

For DJs with large libraries, filtering is essential. Other platforms allow multi-condition filtering (BPM + genre + key + rating). Serato’s browse filters weren’t perfect, but they were critical for fast drill-downs during prep. Removing filters during a library-focused overhaul, I found, was a bit confusing. Additional Issues Beyond browse filters, a couple long-standing issues remain: 1. No dynamic beatgrid analysis — even though Serato supports dynamic grids. Serato supports dynamic grids, particularly in Serato Studio where it automatically analyzes and sets them for unquantized tracks. However, in Serato DJ Pro, you can only manually create a dynamic grid by using the Grid Editor. Essentially, dynamic beatgrids exist in the software, but without either full auto-analysis or full dynamic grid editing tools, well, they’re not very useful. 2. “Related Tracks” Feature. Being that 1 and 2 aren’t related to the library and 4.0 is all about the library, having a Related Tracks feature inside the library is a lost opportunity to really cement this update as a home run. Implanting a built-in way to tag or store “tracks that work well together” would dramatically speed up prep and help DJs remember combinations that crush. Final Verdict: It’s a strong, needed upgrade with room to grow. Serato DJ Pro 4.0 is a focused, practical library overhaul. The update does not rely on a single flashy feature (i.e., stems); instead, it adds many small, thoughtful improvements that combine into a big workflow boost. DJs get faster searches, smarter crate management, tighter streaming integration, better metadata, improved analysis and stems prep, and new right-click tools that move routine prep tasks out of the way. (Editor’s Note: At presstime, Serato offered version 4.0.1, which includes support for AlphaTheta’s new SLAB controller and CDJ-3000X, Pioneer DJ’s DDJ-RB, Native Instruments Traktor Kontrol Z2, macOS 26 Tahoe, Spotify Premium streaming, and RANE ONE MKII, plus use of the new Serato DJ Library.)

PLAYBACK

RELOOP RP-7: Perfect for 7-Inch Vinyl By DJ Mike Marquez Being the son of a DJ has plenty of perks. One of them is the musical education you get without even realizing it. Another perk is inheriting the actual catalog itself. Years ago, my dad decided CDs were the future. (I’ll spare you his rationale.) This was back in the era of Pioneer DJ’s CDJ-500s… yes, 1994, that long ago. So, his record collection, including a mountain of 7-inch singles, sat untouched for decades. Fast-forward to 2023. While cleaning out the basement, he found all of his vinyl 45s: dusty, dirty, forgotten. But a now-older-and-wiser me knew exactly what needed to be done, and so did my dad. I took them home, grabbed a Spin Clean from Amazon, and went to work. Once they were clean, I threw them on my 26-year-old turntables and rediscovered everything from 1950s classics to the soundtrack of my childhood in the ’80s. Then Germany’s Reloop did something I honestly never thought anyone would do: build a turntable with true club-standard DNA, but designed specifically for the DJs who love and respect the art of spinning 45s. For decades, 45 DJs have been stuck playing tiny records on huge platters. So… awkward cueing and tonearms that behave differently with small discs. And the reality that lugging full-size decks for a 45-only set feels like bringing a flatbed truck to deliver a single pizza. Reloop finally said, enough. Let’s build the deck these DJs actually need. The result is the RP-7, the first mass-produced, serious, direct-drive 7-inch turntable that feels like a true DJ tool rather than a novelty. Why This Deck Matters More Than You Think: The RP-7, distributed Stateside by American Music & Sound, is not just a cute miniature turntable. It is proof that DJ culture still has room for niche ideas that are executed at a professional level. And the 45 community deserves it. For anyone who has built a set around 7-inch singles, this is the first

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No Gimmicks: A real turntable for 45 jocks.

time your hardware truly matches your intentions. No adapters. No compromises. No hoping the tonearm plays nice. This is a purpose-built deck that finally respects the format. The Build: Let’s be honest, most small turntables are not great. Beltdrive toys. Lightweight arms. Speed drift. We have all dealt with those flaws. The RP-7 avoids all of that. It feels like a scaled-down pro deck, not a compromised one. Highlights include: direct-drive motor with 2.5 kgf·cm torque, strong enough for confident scratching; stable platter with no noticeable wobble under pressure; legit tonearm with real bearings and height adjustment; fulllength pitch control with plus/minus8-percent, -16 percent, and a hidden plus/minus-35 percent mode (no center click); 33, 45, and 78 speeds; and strobe light and platter dots for visual pitch reference. Outputs & Preamp: The RP-7 includes switchable phono and line outputs, which is extremely helpful for small rigs and portable setups. Notes: the internal preamp is perfectly usable for compact mixers; for best sound quality, phono mode into a proper mixer is the ideal choice; turning the deck off disables the internal preamp, so phono mode is better for permanent installs; and line mode is great for DJs who want to travel light. Tonearm: Straight, Stable & No-Nonsense: Reloop chose a straight tonearm, and it was the right choice for a deck this size. Pair it with a proper spherical stylus, and it tracks very well. Takeaways: works best with straightmount cartridges; spherical styli are recommended; no skipping issues in normal DJ use; surprisingly solid per-

formance for scratching; and if you want to play 45s without worrying about skipping, this tonearm delivers. Real-World Quirks (Because Nothing Is Perfect): The RP-7 is not flawless. Here are the quirks worth mentioning: the platter rings slightly when tapped because it has no rubber lining; no dust cover is included; no reverse mode; and in line mode, turning the power off disables the internal preamp. None of these issues harm the actual DJing experience. They are simply the realities of a specialized deck that focuses on performance first. Isolation & Booth Performance: At 12.5 pounds, the RP-7 is lighter than a full-size Technics SL-1200, but significantly sturdier than any portable deck. In my testing and at my gig, isolation was not an issue at all. The deck uses standard 6-mm feet, which makes aftermarket isolation upgrades simple. With the right feet or booth adjustments, the RP-7 handles high-volume rooms confidently. Who This Deck Is Actually For: If ...you play 45-only sets; you love DVS and want the smallest real-vinyl rig possible; you use Phase and want tiny turntables that still feel like real decks; you want a small scratch station without dedicating half your desk; and/or you are a collector who wants to enjoy your 7-inch stash properly… then the RP-7 is speaking directly to you. These are not meant to be your main decks. Final Verdict: Reloop took a swing and hit a home run. For DJs who love spinning 7-inch vinyl, the RP-7 ($599 for a single unit) fills a real gap in the market.

@ SESSION 3

OUR MISSION GROWTH THROUGH INNOVATION THE EDIT @ DJX reflects the inevitable convergence of DJing, music production, and content creation—driven by technology, collaboration, and the moderncreator economy. Our mission is to expand the community, create opportunity, and unite these worlds to drive the industry forward. Curated, Pre-Built, All-Inclusive Displays allow participating brands to focus on increasing sales, exposure, direct interaction with our audience, not planning and logistics. This exclusive neighborhood is designed for studio-focused brands, showcasing everything from bedroom set-ups to dedicated home and semi-pro studios. From DAWs to desks, mics to monitors, software to storage, plug-ins to preamps, and computers tocables — THE EDIT covers all the essentials for today’s creators.

August 10-13, 2026 Hard Rock Hotel & Casino Atlantic City, New Jersey @DJXShowOfficial (516) 767-2505 X 519 djx@hazanmediagroup.com

STUDIO SESSIONS

BITWIG CONNECT 4/12:

TOTAL STUDIO CONTROL

By Wesley King

It seems that software companies (in the music space, and elsewhere) keep jumping the fence into hardware. Part of it is surely profit motive; but beyond dollars and cents, there are benefits to owning more of the user experience and removing points of friction. We’ve seen it with Ableton’s Push, and more recently with Move. Native Instruments has done it in the studio with Maschine, and for DJs with the Traktor controller line. So, I’ll admit to being both surprised and unsurprised to see Germany’s Bitwig join the fray. And Bitwig, the quietly relentless Berlin-based DAWmaker that’s flown under the radar for years, has stepped into the ring in an equally quiet, but no-less compelling way with the Connect 4/12. It doesn’t just add another interface to the pile; it’s a stake in the ground for a more controlled end-to-end experience for the loyal users of the Bitwig Studio DAW. In practice, the Connect 4/12 is a compact brute of a bus-powered box that moonlights as CV bridge, transport controller, and a precision dial for whatever you’re tweaking at the moment. That combo makes it feel less like another anonymous interface, and more like a daily driver for synth-forward producers. The Basics On paper, the Connect 4/12 is exactly what the name suggests: a four-mono-in, 12-mono-out audio interface, but the split is an interesting one. You get a single combo XLR/TRS suitable for mic, line, or instrument signals (with support for 48V phantom power). A separate balanced TRS that can switch between line and high-impedance instrument levels. Two additional ins on the top panel. Six TRS outs on the back. A stereo TRS plug on the back that consumes two of the outs (to give you left and right, of course), and is designed for stereo headphones. Then, four more outs on the top. But the trick up Bitwig’s sleeve is a nod to the company’s long-standing embrace of modular synth users; the top panel ins and outs double as DC-coupled CV connection points to marry up the world of analog modular sound generation, and the digital world of the modern DAW. Lastly, you’ll find proprietary in and out connections for MIDI, and a USB-C connector for computer connectivity and power. The Connect 4/12 is class-compliant; on macOS and Linux it’s plug-and-play, with an ASIO driver provided for Windows users. It uses highly respected AKM A/D D/A converters, and is designed to provide clean connectivity worthy of any project. The headline workflow feature is the 360-degree, touchsensitive main dial with six mode buttons. In its standard mode, it does some typical things like set input gains,

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Full Features: Software control & bus-powered design.

“Connect 4/12 is a compact brute of a bus-powered box that moonlights as CV bridge, transport controller, and a precision dial.”

Connect 4/12: Four-mono-in, 12-mono-out.

adjust speaker and headphone levels, etc. In its native, Bitwig-specific mode, its bag of tricks expands a bit farther. Transport controls live up top on the unit, and loopback plus direct monitoring cover streaming and zero-latency needs. Hands-On I’ll confess that Bitwig is not my daily driver in the DAW department… and that puts me at a bit of a disadvantage, I suppose, in truly plumbing the depths of the Connect 4/12. But regardless, my first impression was that the preamp’s usable gain range is generous, and the noise floor stayed nicely managed. Headphone amp volume was more than adequate for my usual personalmonitoring choices. All the controls felt solid and smooth, matching the sense of the build you get from merely handling the hardware. The choices Bitwig made in what the Connect 4/12 offers were sensible and added true utility without fluff. While I do have analog synths on hand and genuinely love using them, I’ve not stepped a toe onto the slippery slope of modulars generally, or CV control, specifically, but I can immediately understand the benefits of using the Connect 4/12 for those that have. Tailored specifically for use with Bitwig, the two DC-coupled inputs and four DC-coupled outputs, right on the front, make it a breeze to marry up traditional analog hardware with the modern reality of music production. Bitwig Users Get Outsized ROI With the Connect 4/12 set to its native Bitwig mode and matched up with the software, the unit really comes to life. Hover a parameter in Bitwig Studio and the big dial becomes a first-class controller for it, with high resolution and helpful LED color mirroring. Lock a parameter with a quick double-tap and keep moving. Automationwriting feels unusually deliberate; you’re sculpting curves with your fingertips instead of batting the mouse around. And the MCU-protocol transport means the core play/ stop/record muscle memory transfers to other DAWs when you’re not in Bitwig. Still, the symbiosis here is clearly designed for Bitwig lifers and the Bitwig-curious.

Some Highlights A few things I appreciated in my time with the Connect 4/12: The dial is super-precise. Touch sensitivity plus high resolution means you can do surgical moves on a filter cutoff or threshold without overshooting. The LED ring reflecting target color sounds like a gimmick until you’re working fast; then it’s a lifesaver. Monitor control is “one-tap obvious.” The unit makes flipping monitor settings without thinking. Your ears stay in the music, not the menu. Front-panel CV/audio jacks keep the creative loop tight. There’s no fumbling around behind the desk or whatever just to make some basic changes. Software ties that bind. Gain states can be stored with your Bitwig project, so a session opens with things intact; no scribbling settings on sticky notes. That said, four analog inputs can feel tight. Depending on your use cases, you might end up feeling like you don’t have enough inputs, but then again, I’m used to using an 18/20 interface day-to-day. But for a synth-first, desktopcentric workflow, the 4/12 split is likely to serve you well. Conclusions It’s clear that the Bitwig Connect 4/12 is not trying to win a data-sheet showdown. Instead, it’s making a different argument: that your interface can and should be the fast lane between ideas and finished audio, especially if you live in a hybrid world of a DAW combined with CV-driven analog synths. The I/O mix is pragmatic, the CV is serious, and Bitwig Mode pulls the DAW into the tactile realm without the learning curve of a full control surface. If you’re a producer who values quick decisions, clean sound, and hands-on control (and especially if Bitwig Studio is part of your universe), this little metal slab earns the real estate. At presstime, the street price hovers just under $600, which feels fair given the monitor controller functions and tight DAW integration. If your needs skew toward many simultaneous mic inputs or digital expansion, look elsewhere. But for synth-forward composers and sound designers, Connect 4/12 lands in the sweet spot between interface, controller, and CV nerve center – and it makes the whole setup feel more alive. VOL.5 NO.6 |

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MOBILE DJ PROFILE

Youthful New England DJ on the Rise By Jim Tremayne

North Providence, R.I. – For a young man who hasn’t yet hit 30, Alex Brown has already gained plenty of career and life experience. Always entrepreneurial, Brown, 26, has managed to mix his mobile-DJ business with a marquee-letter business, and the results have IT’S LIT: Alex Brown enjoys a wedding-rich market. been impressive. His IT’S LIT Weddings & Events does about 250 events per year and he’s even begun to impart his youthful wisdom at DJX. After presenting one well-received seminar this past year, he’ll be back for another in 2026. We recently caught up with the New England DJ. DJ LIFE: Where did you grow up and what got you first interested in music? Alex Brown: I grew up in Smithfield, R.I. I actually wanted to go into live audio after going to some concerts at a young age. I was also a musician, playing guitar, piano, and trumpet for many years. DJ LIFE: How did you start DJing and what’s the origin story of your current DJ company? Brown: I became a DJ by accident. I started with an iPod and speakers, and people started asking me to DJ their events. Over time, I got into “real” DJing, learning to do weddings, and high-level DJ skills from club gigs. IT’S LIT Weddings & Events is somewhat of a merge of my personal and pre-existing company brands – DJ Alex Brown Entertainment and DJAB Entertainment – and my purchase in 2021 of the marquee letter company, IT’S LIT R.I. Combining the services of both and creating a really robust company brand generated IT’S LIT Weddings & Events. DJ LIFE: How many events do you do each year? What’s your percentage breakdown? How many DJs do you carry? Brown: Individually, I do approximately 60; as a company, we do about 250. Personally I do almost exclusively weddings, say, 90-percent. As a company, we are about 50-percent weddings, 30-percent corporate, and 20-percent other events. We have four DJs right now. DJ LIFE: What makes your company unique within the market? What is its range of services? How many DJs do you carry? Brown: By far our uniqueness comes from our marqueeletter offerings – we are still the only DJ company in Rhode Island that offers such a wide range of marquee letters. We are also known for having really high-level automations 44

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and technology in operating the company, which helps to deliver great experiences. DJ LIFE: And what’s unique, interesting or particular about your market area? Brown: Rhode Island has a ton of weddings, but Newport is our “Wedding Capital.” Newport is a destination-wedding location for many New Yorkers, and people across the United States. As we have many schools in the area – like Providence College, University of Rhode Island, Johnson & Wales, Rhode Island School of Design and Brown – many couples who went to college here will also return to the area for their weddings. DJ LIFE: How does your company market itself? What works best? Brown: We market very heavily first and foremost through word-of-mouth. We have operated this way for years, and interestingly, we don’t pay for WeddingWire or The Knot marketing. DJ LIFE: How has the DJ business changed for you in the past few years? What have been its challenges? Brown: I think the biggest change to my business has been the wider variation of weddings. To me, there seem to be two types of clients… the “typical wedding client,” who’s willing to spend heavily to create the experience they want, especially on the dancefloor, and the “budgetwedding client,” who wants to save where they can on the DJ, but also wants unique experiences. Often, we have to heavily customize these packages and it’s very difficult to do these kinds of events with staff because they are so highly customized. DJ LIFE: What DJ gear set-up do you usually use? Brown: Serato DJ software and Pioneer DJ DDJ-1000SRT. I use 80-percent QSC Speakers, varying form K12s to KC12s to KS118s. I have Pioneer HDJ-X5 headphones. For microphones, it’s Shure all the way – we use the BLX range, which is great on affordability, and it allows great flexibility with the removable antenna. For lights, we now use Chinese lights, plus ADJ pars and ADJ WMX1 controller. DJ LIFE: What events do you most enjoy and why? Brown: Events that can really connect with my musical taste and allow me to have some fun with the music. I have a high level of skill, from clean mashups to wordplays, and I do a lot of it live. I also love remixes and EDM. Regardless of the type of event – club, wedding, whatever – it’s about what I get to express as a DJ. DJ LIFE: Where do you see yourself and your company in five years? Brown: I hope to have more control over the gigs I take and grow my company to double or triple the size in that time.

YOUR TRUSTED GATEWAY TO ACCESS THE DJ INDUSTRY, INFLUENCE, & CULTURE

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+1 (516) 767-2505 X 517 Shawn Hazan - President & CEO shazan@hazanmediagroup.com

Insights

DJ BUSINESS

Easy Needle Moving:

Website & SEO Tips for ’26 By Brian Lawrence

I speak to DJs almost every single day about their websites and SEO. Most look at SEO and their website independently. That’s a mistake. They feed off each other. Let’s say you are in Delray Beach, Fla., and a couple is searching for “A Wedding DJ in Delray Beach.” They visit your website and they find it busy or outdated – and the couple leaves. That is signaling to Google that your site is not a good choice for that search term. A Website is More Than A Pretty Face of Your Brand: Your website doesn’t only need to look nice or be easy to navigate. It needs presence. When couples land on your site, they should get a sense of your approach within seconds. They need to see: Clear headlines drawn from your reviews. Sections that are organized the way couples think, not the way designers prefer. Examples from real weddings. Photos that couples can imagine themselves in. Radiating trust that you can run the night and still make them the stars of the show. When your website finally reflects the version of you that couples actually meet during consultations, they can understand who you are. They picture you at their wedding without you having to brag about yourself. Why Some DJs Are Ranking Without Thinking About Keywords: Not too long ago, I spoke to a DJ who was convinced he needed more keywords on his homepage. He was looking at competitors who repeated “wedding DJ in ___” endlessly and felt he was missing something. I asked him to run a few searches on his own. Every phrase he thought was missing? He was already ranking for it. Google doesn’t rely on those literal repetitions. It looks at his reviews – how clients described his approach, his cultural versatility, and his professionalism. Google connected the dots. That’s where SEO is heading: Toward an alignment between who you are and how clearly you communicate it, not how many times you can cram a location into a sentence. Being A Preferred Vendor at Venues Carries More Weight Than Awards Ever Will: Couples trust venues long before they trust you. If you are on a vendor list, you can proactively leverage that credibility. Add it to your website. Put it proudly. Put it clearly. On your home page, your wedding page, and even your about page. It is more important than you think. Depending on how far in advance a couple books their wedding, there might be a pause in planning before they resume researching vendors. Even if you are on a venue list, months later they may search Google or AI, check a wedding platform, ask friends, or attend a wedding show. When they see you are the recommended

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vendor for their wedding, it can be a direct path to them filling out a contact form or reaching out to you. Showcasing preferred venues is much more powerful than WeddingWire and The Knot badges. Listing the venues is only the start of the potential benefit. You can publish real wedding blog posts or create an additional page for each venue. One of the strongest new Google and AI ranking factors is sharing content that postures trust, credibility, authority, and expertise. If Google thinks you are an expert on a venue, you can actually be visible when a couple searches for that venue by name. Most importantly, there is undeniable proof of your experience at that venue, which you can use as a sales tool in lead follow-up. AI Isn’t Replacing Search—It’s Revealing the Strength of Your Brand: Couples are speaking to AI tools the way they speak to an actual person. They’ll say: “Who’s a DJ near me who is bilingual?” Or, “Can you help me find a DJ who is LGBTQ-friendly?” Or, “Where can I find a DJ that also has live musicians?” These tools respond conversationally, which is exactly what users want. Google has blended AI Overviews into traditional results because it knows people now expect more elaborate answers. But here’s the reality: For local wedding DJs, Google is still the main stage. It receives several thousand times as many searches as ChatGPT. Make Sure Your Contact Information Is Accurate Everywhere: If you have moved in the last one to 10 years, you can search for yourself online and find that you are still listed at your old address. If your address, phone number, category, or service area is inconsistent across these platforms – even in old directories you forgot existed – you dilute your credibility with Google. That inconsistency is enough to push a competitor above you without either of you ever touching your websites. “Near Me” Searches & Ask-Based Optimization: “Near me” is no longer an afterthought. It’s central to how couples search: “Best wedding DJ near me who plays Latin and hip-hop” “Wedding DJ near me with good ceremony audio” To show up in these results, your website has to speak the way couples speak. Your FAQs, service pages, and blog posts should reflect the questions you answer every week. I have only scratched the surface with action steps you can take to improve your website and visibility. These can be implemented relatively easily. For more ideas, here’s a link to request free access to the chapters of my book, “From Browsing To Booking,” which I wrote with Alan Berg. Brian D. Lawrence is a pioneer, educator, and senior-level marketing consultant to the wedding & stationery industry. Please visit www.brianlawrence.com.

GEAR

HAVE A SLAB AlphaTheta, in collaboration with Serato, has released SLAB, the first-ever piece of MIDI hardware specifically designed to control Serato Studio, a beat-making DAW. When SLAB is plugged in, Serato Studio unlocks in full, for free. SLAB’s layout is focused on intuitive control, with carefully selected functions and a design that emphasizes a streamlined hands-on workflow. With SLAB, DJs can also transition seamlessly from production to performance whenever they want. SLAB also supports a variety of applications through its general-purpose MIDI mode, including Serato Sample, Serato DJ Pro, and various DAWs. And, with the built-in Stems Level feature, which expands on Serato Studio’s proprietary Stems capabilities, DJs can isolate and finely control the volume of individual track stems in a sample. AlphaTheta Corp. 2050 W 190th St #109 Torrance, CA 90504 (424) 488-0480 www.alphatheta.com

IN THE XONE Allen & Heath, distributed Stateside by American Music & Sound, has launched Xone:K3, a fully customizable MIDI controller giving DJs, producers, and performers professional control over both software and hardware setups. The K3’s diecast metal chassis, nutted pots, and tactile switches are built to withstand the demands of touring, while USB-C and X:Link connectivity make it simple to integrate with Allen & Heath mixers including the Xone:96, PX5, 43C, and 23C. Support for star-topology USB setups allows multiple K3 units to be connected and recognized independently for expanded control surfaces. With 52 physical controls, including faders, pots, encoders, and backlit buttons, and three fully independent user layers, the K3 offers up to 174 assignable MIDI parameters per map. Allen & Heath/American Music & Sound 310 W. Newberry Road Bloomfield, CT 06002 (800) 431-2609 www.americanmusicandsound.com

GO VIRTUAL Atomic Productions has announced the release of the latest version of its flagship software, VirtualDJ 2026. Thanks to the advances of AI, VirtualDJ will now automatically extract the lyrics from any audio track and display them as part of the waveform. This makes navigating the waveform easier than ever and, for DJs who like to push the boundaries of their art, it brings word-play mixing to another level. VirtualDJ 2026 leverages the power of LLM and integrates your very own AI Assistant directly inside VirtualDJ. Ask it any question, and the AI will give you a nicely formatted list of tracks recommendations, with its explanation for each track, all ready to be dragged directly to a deck and played. VirtualDJ FX engine now offers more than 122 effects. Atomix Productions 2221 NE 164th St Ste 1253 Miami, Florida, 33160 (510) 953-5280 www.virtualdj.com

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TAKE THE STAND Headliner, a Mixware brand, has released its Desktop Production Stands. Designed to optimize workspace organization, improve accessibility and enhance music-making workflows, these stands can accommodate a variety of small devices, including synthesizers, samplers, and drum machines. Each stand features a sturdy steel construction and non-slip rubber pads for stability. Key features include adjustable width to fit different devices and angled design for improved ergonomics. Three models are available: Desktop Production Stand Small (adjustable from 5.75- to 8.25-inches); Desktop Production Stand Large (adjustable from 8.25- to 13-inches); and Desktop Production Stand 55° (features a steep 55-degree angle for keyboard players). Headliner/Mixware 11070 Fleetwood St., Unit F Sun Valley, CA 91352 (818) 578-4030 www.mixware.net

COOL CANS With the launch of the DJ 300 PRO X and the DJ 300 PRO X CLUB, berdynamic has released its first DJ headphones in over a decade. Both headphones feature a unique 2-in-1 modular design that can instantly switch between on-ear and over-ear configurations, giving DJs the freedom to choose their preferred fit. Each model can also be personalized through the beyerdynamic online configurator, allowing wearers to create ear-cup designs that match their individual style. The DJ 300 PRO X delivers a clean, minimalist aesthetic built for professionals who value understated style. The DJ 300 PRO X CLUB adds a bold edge with its silver fork, vibrant orange “CLUB” lettering, and street-inspired look – bridging studio precision with stage presence. beyerdyamic North America 56 Central Ave Farmingdale NY 11735 (631) 293-3200 www.beyerdynamic.com

RIDE THE TRAKTOR Germany’s Native Instruments has introduced the Traktor MX2, a next-generation 2-channel DJ controller built for creative performance. Features include: Nine knob FXs, from filters to reverbs and delays; Deck FX for deeper shaping; 16 RGB performance pads; hot cues; Flux Loops; Pattern Player; and Stems. Also, the illuminated bottom shell warns DJ when a track is running out or looping and customizable color pads let DJs personalize their set-up. MX2 delivers 24-bit/96kHz audio through its built-in interface. Powered by iZotope’s Ozone Maximizer in Traktor Pro 4, your mixes stay punchy, polished, and distortion-free. MX2 comes free with a two-month Beatport Streaming subscription for new customers. Native Instruments North America 6725 Sunset Boulevard, 5th Floor Los Angeles, CA 90028 (866) 556-6487 www.native-instruments.com

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COLUMN ARRAYS Alto Professional, an inMusic brand, has released a pair of column array speakers designed for DJs and venues – the 600-watt TS-108C and the 1,200-watt TS-112C. TS-108C features include: 8-inch sub plus 6 x 2.75 columnar array; 3-channel mixer with dual combo inputs; 2-band channel EQ and reverb; and balanced XLR mix output. TS-112C features include: 12-inch sub plus 8 x 2.75 columnar array; precision-DSP tuning and protection; 5-channel mixer with dual combo inputs; Bluetooth streaming; Bluetooth TWS wireless stereo speaker linking; and wireless control with Alto Pro App. Alto/inMusic 200 Scenic View Dr. Cumberland, R.I., 02864 (401) 658-3131 www.altoprofessional.com

RIGHTEOUS TOOLS Avid has released Pro Tools 2025.10, a feature-rich update that delivers key advances in immersive music creation and workflow efficiency. Designed for music creators, the latest Pro Tools introduces powerful new immersive audio capabilities with Sony’s 360 Reality Audio, integrated SoundFlow automation, in-app tutorials, and six new Inner Circle Rewards. A new “Learn” tab, powered by SoundFlow, offers interactive tutorials that walk users through key workflows such as audio recording, MIDI editing, and navigating the UI. These hands-on demos make Pro Tools more approachable for new users and faster to master for pros looking to expand their skills. Other enhancements include: speech-to-text enhancements, including offline and batch transcription and UI Customization, Dark Mode support, and MIDI workflow optimizations. Avid 75 Network Dr. Burlington, MA 01803 (978) 640-3000 www.avid.com

SPEAKING OF SPEAKERS RCF has released Compact C-WP Series speakers, which combine elegant design, rugged reliability, and exceptional audio performance for a wide range of environments. The Compact C 45 and Compact C 32 are multipurpose 2-way point source speakers designed for near- and mid-distance applications in venues like nightclubs and performance spaces. Both models feature a neodymium compression driver (4-inch in the C 45, 3-inch in the C 32), paired with a neodymium woofer (15-inch in the C 45, 12-inch in the C 32) and a constant directivity rotatable waveguide to deliver coherent 100-degree-by-50-degree coverage with high SPL and distortion-free sound. Their sleek, lightweight wood cabinets are finished with a durable polyurea coating and protected by a powder-coated grille with internal foam. RCF USA 101 Circle Drive N. Piscataway, NJ 08854 (732) 902-6100 www.rcf-usa.com

GEAR

HANDS-ON SYNTHESIS Behringer has released the CZ-1 MINI, a powerful 3-voice hybrid phase distortion synthesizer with an analog low-pass filter, built-in sequencer, arpeggiator, and more. Whether you’re producing in the studio or jamming on the go, the CZ-1 MINI delivers bold, expressive sound in a portable, USB-C powered package. Highlights include: 27 touch-sensitive keys for expressive play; 16-step sequencer and 3-pattern arpeggiator; studio-grade chorus and rich analog filtering; and full MIDI + USB-C power for easy setup anywhere. With real-time controls and deep compatibility, it’s everything users need for handson synthesis. Behringer/Music Tribe 18912 N Creek Pkwy Ste 200 Bothell, WA 98011 (425) 672-0816 www.behringer.com

FX APLENTY ADJ has introduced the Vizi Piz Z19 pixel-mappable LED wash beam fixture – with three effects in one. The unit can generate everything from a tight column of dense light to a wide wash of vibrant color, as well as dazzling pixel effects. It also features two independent sets of eye-candy-generating LEDs: Background color mixing LEDs and an additional outer ring of RGB LEDs provide dynamic tools for further artistic expression. Providing the fixture’s powerhouse are 19 30-watt RGBL color-mixing LEDs, which deliver an output of up to 15,000 Lux. Through independent dimming of the red, green, blue and lime LED chips, a vast palette of output colors can be achieved. Each LED can also be controlled independently, allowing for pixel-mapping, while in-built effects and color macros allow creation of impressive effects. ADJ 6122 S. Eastern Ave Los Angeles, CA 90040 (323) 316-9722 www.adj.com

MAKING MUSIC Akai, an inMusic brand, has released the MPK Mini IV controller. The unit delivers professional-grade tactile control and premium sound access with real pitch and modulation wheels. Combined with Akai Professional’s third-generation keybed technology and redesigned velocity-sensitive RGB backlit MPC pads, it delivers the tactile authenticity that has defined hip-hop and electronic production for decades. Plus, an all-new Studio Instrument Collection features over 1,000 professionally crafted sounds from Akai Professional, Moog, and AIR, with 1-to-1 parameter mapping that enables producers to be fully operational within 15 minutes of unboxing. Other features include eight assignable rotary knobs for tactile sound manipulation, full-color display for real-time visual feedback, and enhanced arpeggiator with Pattern, Arp Freeze, and Mutate functions. Akai/inMusic 200 Scenic View Dr. Cumberland, R.I., 02864 (401) 658-3131 www.akaiprofessional.com

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TRACKS Yousef

“I Feel Good” Yousef feat. Alexx Circus Recordings Piano-pounding chords and snappy string stabs power this upbeat cut from U.K. dance legend, DJ Yousef on his Circus imprint. Dripping with vocal R&B-mainroom flair, the rhythm snaps, the hooks come in layers, and the chord progression hits just right. And with Hollywood songstress Alexx channeling a modern-day Whitney Houston vibe in tone, range, and cadence, its pop-house crossover sensibility turns into a full-on mood-lifter. Something we can all use these days. – Joe Berinato Late Nite City

Mr. Pauer

“Revolu” Mr. Pauer & Fulanito Orianna/SONY España “Revolu” is more than just a track; it’s a celebration. Blending Mr. Pauer’s signature Afro/Latin-House energy with Fulanito’s iconic merengue-house style, this release bursts with rhythm, sweat, and sabor. The track evokes the feeling of a packed Caribbean party where the beats are hot, the feet never stop moving, and the joy is contagious. Pure energy and an invitation to connect, this is a definite banger to add to your sets. – DJ Mike Márquez Dave Lee

“Beside Myself” (Dave Lee Cowbell Party Mix) Foremost Poets feat. Johnny Dangerous Z Records Originally released just under 20 years ago on Soul Groove, this is one revival even the most selective househeads will savor. The masterful Dave Lee picked this tune up for his Z Records imprint and gave it a good spin of his own. 54

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“Hold Me” Late Nite City feat. Freya Late Nites A truly gifted rising act from the U.K. delivers a soulful stunner that cements their place in the house scene. The Late Nite City trio tap into feel-good deep-house production know-how, lifting the tempo and layering it with fellow singer/songwriter Freya’s achingly beautiful vocals – akin to Jorja Smith and Sia – infusing the track with undeniable groove and sensuality. The Brits are sure as hell known for crafting proper vibes, and this one easily stands among the vibiest. – Joe Berinato

Just as the name of the mix states, it’s a party with a (light) cowbell, rhythmic Rhodes and that housey-soul smackin’ rhythm-riding under beat-that-bitch-with-a-bat house poet himself, the incomparable Johnny Dangerous. Best of all, the original spirit of the track remains intact, complete with Johnny’s signature low-end, multi-layered harmonies. Sharp. – Joe Berinato

TRACKS Cavego

“Get On Up” (Cavego Remixes) Okplus x Emél Oysterdale In its original extended mix, this collaboration was already a vibey, disco-laced hit, but this release finds a new gear with a fresh set of remixes from Norway’s “disco wizard” Cavego. Rewarding the track’s sing-along appeal with his signature Scandi-disco sound, Cavego delivers a fresh interpretation that gives the tune a harder edge. Driven by a rubbery bassline and crystalline synth melodies, he manages to inject this tougher drive without losing the funky vibe or the catchy lyrics that made the original so infectious. Definitely a heater for your disco-flavored sets. – DJ Mike Márquez

ManyFew

“Wanna Feel U” ManyFew ManyFew Records This one sits right at the intersection of aboveground, big-room, and indie, as Swedish brother duo ManyFew hits the dancefloor with undeniable power. In a moment when overly aggressive electronic tracks can lose their charm, it’s artists like these – who deliver just the right amount of pump, while keeping their production skills intact – that we rely on. This synth-driven, high-energy, festival cut does the business. – Joe Berinato

Jet Boot Jack

“We’ll Get By” [The Remix EP] Jet Boot Jack, Ben Banjo Field & Mishell Ivon The Discography Lessons Released earlier this year as a sun-soaked summer anthem, this collab returns with a robust remix package offering everything from slinky Nu Disco cuts to driving, classic fourto-the-floor weapons. Channeling the golden era of mid-’90s NYC garage house, the Ian G mix stands out, as he constructs a rich soundscape defined by lush piano stabs and a creative, dubby manipulation of Ivon’s vocals. The use of vocal overdubs atop the piano work creates a soulful, nostalgic atmosphere that elevates this mix above the rest. – DJ Mike Márquez

Black Coffee

Deep In The Bottom (Of Africa) The Remixes [Pt. 1] Monique Bingham & Black Coffee KLTR Music Brilliant singer-songwriter Monique Bingham returns with a full suite of remixes from her most-celebrated collaboration with Black Coffee. A decade after the original, this anniversary release arrives with a massive package of 12 remixes by a star-studded lineup of South Africa’s most exciting DJ/producers. Thandi Draai’s high-energy Afro-tech rework, Jazzworx’s melodic 3Step twist, Sir LSG’s sophisticated deep-house journey, Citizen Deep’s signature Afro-house/3Step fusion, 2wo Bunnies’ gritty “Street” Amapiano version, and DBN Gogo’s exclusive “private school” Amapiano retake all have reignited this anthem in their own special way. – Joe Berinato 55

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CLUB PLAY CHART

Compiled As of December 15, 2025

Listen to the DJ LIFE National Dance/Crossover Chart on SPOTIFY! LISTEN NOW!

National Latin Dance Pool Chart

National Crossover Pool Chart

1 Taylor Swift 2 Disco Lines & Tinashe 3 David Guetta, Teddy Swims 4 Katseye 5 Madison Beer 6 Olivia Dean 7 Zara Larsson 8 Doja Cat 9 Moliy & Silent Addy 10 Tyler The Creator 11 Illenium, Tom Grennan 12 Sabrina Carpenter 13 Lady Gaga 14 Raye 15 Calvin Harris & J Reyez 16 Sidepiece 17 Huntrix F/ Jae, A. Nuna 18 Will Sass & Malou 19 Armin Van Buuren & Sacha 20 Justin Bieber 21 Tate Mcrae 22 Myles Smith 23 Sabrina Carpenter 24 Russell Dickerson 25 sombr 26 Delerium / Sarah Mclachlan 27 Ed Sheeran 28 Oliver Heldens 29 Kaskade 30 Lewis Martinee & France Joli 31 Cloonee & Robin S 32 Britney Spears 33 Steven Malcolm 34 Lewis Martinee & O-Baby 35 BlackPink 36 Justin Bieber 37 Alex Warren 38 Morgan Wallen 39 Taylor Swift 40 Parcels

The Fate Of Ophelia Republic No Broke Boys Atlantic Gone Gone Gone Atlantic Gabriela Interscope Yes Baby Epic Man I Need Capitol Crush Epic Jealous Type Kemosabe Shake It To The Max Gamma Sugar On My Tongue Columbia Forever Republic Tears Seismic The Dead Dance Interscope Where Is My Husband HRS Ocean Columbia Cry For You (2025) Lip Service Golden Republic What If It Takes You Away Song Vault Set Me Free Armada Yukon Def Jam Tit For Tat RCA Nice To Meet You Warner Manchild Island Happen To Me Triple Tigers Back To Friends Warner Silence Experts Only Camera Atlantic Lady (Hear Me Tonight) Heldeep DNCR Arkade My Everlasting Love Drag & Drop Not Gonna Be Your Boo Hellbent I Wanna Go Experts Only Yes Curb Point of No Return Drag & Drop Jump Orchard Dasies Def Jam Ordinary Atlantic What I Want Warner Opalite Republic Yougotmefeeling Parcels

Most Added Tracks

1 Parcels Yougotmefeeling 2 Illenium, Tom Grennan & Alna Forever 3 Lewis Martinee & O-Baby Point Of No Return 4 Meghan Trainor Still Don’t Care 5 Lewis Martinee & France Joli My Everlasting Love 6 Robyn Dopamine 7 Raye Where Is My Husband 8 Tate Mcrae Tit For Tat 9 Fallon Diet Coke 10 Taylor Swift Opalite

REPORTERS ■ Gary Canavo ■ DJ Sticky Boots ■ Dan Mathews ■ Manny Esparza ■ Howard HK Kessler ■ Randy Schlager ■ DJ Ilan Fong ■ Steve Tsepelis ■ DJ Spawn ■ Peter K. Productions ■ Alan Chasen ■ Brian Stephens

1 George Calle y Orq. Salvaje, feat ADSL Salsa Makossa Savage Worldwide 2 Mike MC + David Music + Mr. Broockes Me Cambio La Suerte Casa Bonita 3 Sally Fer Dembow Sally Fer Music 4 C. Alicea feat Jowell Y Randy, DJ Buddha Carrusel Therapist 5 Piso 21 X Bacilos Como El Sol Tres Sietes Llc / Warner 6 Lios Choko El Dinero (Timba Remix) On Top Records 7 Grupo Cañaveral De Humberto Pabón Fonovisa 8 Pablo Perez Barroso Aprende a Bailar PPB Records 9 Raymix La Cumbia Fresa Fonovisa 10 Farruko feat Louis BPM Oe Oe La 167/Warner 11 Spanish Harlem Orchestra f. Gilberto Santa Rosa LLego El Caballero Ovation 12 Fer Ariza Y Nacho Love Pa Ti No Hay BetoMusic 13 Jose Lorenzo El Piscis Tu Si Compartes El Pisci Music 14 Danny D Xtreme X Karlos Rose X Xtreme Morir De Amor Danny D Xtreme 15 DJ Roy + Cubanito Ella Esta Rulay (Extended Mix) RL 16 Charlie La Soga El Muñeco Charlie Charlie Bachata 17 Karol G Latina Foreva Bichota 18 Gloria Estefan La Vecina (No Se Na’) Crescent Moon 19 Willy Garcia Tan Tan L Y L Prod. 20 Ketchy Perla Yo Creo En El Amor Ketchy Music

Most Added Tracks

1 Natti Natasha, Nando Bloom & Dimelo Flow Dem Bow Sony Music 2 Nell Alvarez Te Necesito Nell 3 Romeo Santos & Prince Royce Lokita Por Mi Sony Music 4 La Arrolladora Banda El Limón De René Camacho Una Noche Contigo Fonovisa 5 Bizarrap & Daddy Yankee Bzrp Music Session, Vol.0/66 Dale Play

Reporting Latin Pools ■ Latinos Unidos Record Pool ■ Salsamania Latin Record Pool ■ Lobo/Bass Record Pool ■ North East Record Pool ■ Mixx Hitts Record Pool ■ Ritmo Camacho Record Pool

■ Ritmo Internacional Record pool ■ DJ Latinos Record Pool ■ MassPool ■ Record Pool Latino ■ Latin Beat Chicago Record Pool ■ All In Music Pool

ATTENTION DJ LIFE READERS: DJ Life is currently looking for DJs that are interested in reporting to the DJ National Dance/Crossover chart and the DJ Times National Urban Dance chart. Reporterships are open to Record Pools and individual DJs. For more information contact: Dan Miller, dmiller@hazanmediagroup.com

Parcels Republic Drag & Drop Epic Drag & Drop Konichiwa HRS RCA Experts Only Republic

masspooldjs

Saugus,MA

The HyperMiXx

Syndicated

Rhythm 105.9FM +

Syndicated

Nexus Radio

Chicago,IL

In The Mix With HK

Syndicated

KNHC 89.5FM

Seattle, WA

Multiple Pod Casts

Columbus, OH

Pacific Coast

Long Beach, CA

Mix 93 FM

Los Angeles, CA

Peter K

Syndicated

OMAP

Washington, DC

Mixmasters

Atlanta, GA

Listen to the DJ LIFE National Dance/Crossover Chart on SPOTIFY! LISTEN NOW!

DJ LIFE MAG 2025, Vol.5 No.6 Featuring Kaskade