If you’re a fan of house grooves, acid vibes, and disco-fueled energy, buckle up—Black Pomade is here to deliver. Hailing from Milan, making waves in Lisbon, and now lighting up New York, this DJ and producer has crafted a globe-trotting career that feels as dynamic as his sets. Whether it’s his vinyl-only Manzo Edits series, his killer remixes, or his packed-out gigs from Tokyo to São Paulo, Black Pomade has earned his spot in the pantheon of must-know modern selectors. Oh, and did we mention he’s shared the stage with icons like Nicky Siano and Hunee? In this interview, we dive into what fuels his creative journey, his mixed feelings about hard techno at sunset, and what’s coming next for the star of the underground dance scene. From vinyl obsessions to dance floor philosophy, get ready to meet the mastermind behind Ruínas and Whoopee—the one and only Black Pomade!

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Can you tell us where you are in the world?

At the moment, I’m flying from New York to Milan, which feels like a pretty accurate snapshot of my life right now. I’ve recently relocated to New York City, which, as everyone knows, is a great but also slightly mad place.

I’m just starting to find my way in the local scene, working to build a community and leave my mark. That said, my roots are still in Milan, Italy, where I was born and where my family and closest friends are.

As if that weren’t enough, I spent eight years in Lisbon before moving to New York, building strong ties there, particularly with Succo Agency, my booking and event production agency. We’re doing some fantastic work, check us out!

You recently released Manzo Edits Vol. 4 on vinyl. Can you tell us about the series and what it represents for you?

Manzo Edits is a fun project, not something to be taken too seriously, exactly as the cheeky bull on the label implies. It began as a way to share some brilliant edits, mostly my own and from friends, which I was playing in clubs and felt deserved proper distribution.

While I’ve drifted a bit from that sound, there’s still a loyal audience eager for more. Volumes 5 and 6 are already done, so you’ll see them in your favourite record stores sometime in 2025.

I believe you have a few releases coming up. What can you tell us about those. What can Black Pomade fans expect?

I’ve just released a track on Wilson Records, which feels like a big achievement for me: I really respect that label. Beyond that, as I mentioned, there’ll be at least two new Manzo Edits volumes in 2025.

I’m also working on a track featuring a vocalist, which is new territory for me since I’ve mostly worked with samples so far. On top of that, there’s another EP in the works, which will showcase the direction my sound is heading: more minimalist, heavily club-focused, and all about crafting the perfect groove.

How do you get started when you make new music?

Ideally, I’d have daily studio sessions where I could sit down, experiment, explore ideas, and see where they take me, developing the most promising ones into full tracks.

The reality, though, is that life gets hectic, and other commitments tend to take priority. I work best under deadlines: they force me to make decisions.

When I’ve got a deadline, I jump on an idea, explore it deeply, strip away anything that doesn’t excite me, and refine it until only the strongest elements remain.

What’s the most unusual object or gadget you keep in the studio?

There’s a Japanese pancake-shaped magnet stuck to one of my desk legs that my wife gave me while we were touring

Asia together. It doesn’t have any particular function other than making me smile and reminding me of the amazing time we had on that trip. I’m hoping to return to Asia at the end of 2025. Fingers crossed we can make it happen!

What advice would you give yourself if you were starting today?

Put yourself out there and play in front of people.

Real DJ skills are built on the dance floor, not in your bedroom. A flawless transition doesn’t mean anything if you can’t read the crowd or create an emotional connection. Even if the only gig you can get isn’t some underground spot where you can play all your weird tracks, take it.

Honestly, it’s even better because it teaches you to balance what you love with what works in that setting. (And please, no more 140 BPM hard techno at sunset rooftop parties.)

Playing live is also the best way to meet people. Like it or not, who you know often matters just as much, if not more, than your technical skills. I’m not saying that’s good or bad, it’s just the way it is.

What would be your desert island plugins and/or digital tools? Are there VSTs you couldn’t live without? What do you like about using them?

This might be a boring answer, but I’d choose Ableton itself.

Its native plugins are fantastic, you can create amazing tracks with just those, and they’re super resource-efficient, which is ideal if you’re stuck on a desert island with limited battery life :)

What are your favorite hardware tools?

My setup is pretty straightforward. I work mostly “in the box,” meaning I’ve chosen not to have any external analogue gear for now, given all the recent changes in my life. Plus, some modern VSTs sound incredible and offer far more creative freedom than hardware (cue angry messages from the analogue purists).

My only external tools are MIDI keyboards, an Ableton Push, and headphones. When I’m travelling, I use a Korg nanoKEY as my go-to MIDI device. My turntables and records are always nearby, though the collection’s grown out of control, I’ve had to move some of it into storage. Selling a few on Discogs is probably in my near future!

What was the last track by another artist you were obsessed with? Tell us how you encountered it, when you would listen to it, and why it obsessed you.

It’s got to be the C2 side of Volume 10 in the Rilis series by Rino Cerrone.

His recent passing prompted me to dive back into his discography, and the whole Rilis series is an absolute masterclass in minimalist, groove-heavy tracks. Every element just falls perfectly into place, making you dance and leaving you wanting more.

Rediscovering his work has been a joy: he was a big part of my teenage years, and now that I’m focusing more on groove-driven sounds, his tracks have become a key reference for me and a regular feature in my sets.

What do you have coming up in the next few months? Feel free to plug anything!

I’ve got gigs lined up in Europe, including stops in Milan and Lisbon. It’s important to stay visible there so people don’t forget about me. In Lisbon, Succo Agency is putting together some incredible events with some very exciting collaborations.

Back in New York, I’ve got gigs planned and I’m looking to play in other US cities. I’m also working on hosting parties in NYC to help build a stronger community. On top of that, I’m focusing on creating resources to help music lovers find the right spots to dance and support underground clubs and collectives doing great work.

Too often, the places that are best at marketing dominate the scene, pushing out venues and artists who truly deserve attention. That’s why I’m working on projects like maps of underground clubs, record shops, and curated playlists to share with my followers.

Lastly, I’m planning to return to Asia at the end of 2025. It’s still in the early stages, but I can’t wait to reconnect with the scenes I explored before.

Find Black Pomade Online

Instagram | Soundcloud | Bandcamp | Spotify

Disclosure: This blog contains affiliate links, which means Internet Tattoo may receive a commission if you purchase through these links at no additional cost to you.