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Dirty Disco Episode 589: Your Ultimate Deep House Podcast & Nu-Disco Mix Guide for 2025 Kono Vidovic
Hey, everyone! It’s always a thrill to connect with artists who bring such energy and versatility to the dance floor, and today, I’ve got a real treat for you. I had the pleasure of catching up with Black Pomade, who’s recently made the leap from Lisbon to NYC after an unforgettable Asia tour. We dive into how the move has sparked his creativity, the unforgettable experiences he’s gathered from Asia’s unique dance culture, and how he’s blending these influences into his sets and upcoming projects. Let’s get into it!
It’s been quite the whirlwind, to be honest! Constantly being on the move without setting down roots can be challenging, and having to reintroduce myself to each local scene is always a bit draining. I’ve built up enough of a network and reputation that it’s not quite like starting from scratch, as I did when I first moved to Lisbon, but it’s still quite time-consuming. I’m looking forward to being a bit more settled. On the flip side, all this moving about has allowed me to meet some of the best people in the business and measure myself against some incredible talent. Not to take anything away from Lisbon, but once I started playing more abroad, I realised I was getting too comfortable there. So yes, it’s been intense, but I’m genuinely excited to see where this journey takes me!
The Asia tour was absolutely phenomenal, I think about it all the time. I had the chance to explore so many incredible places and connect with various scenes in such a short span. I’d recommend it to anyone who has the opportunity. One thing I took away was shedding a bit of that Eurocentric mindset that’s often prevalent in the scene. People focus on Berlin, London, Paris, Barcelona, Lisbon… but in places you wouldn’t think of first, like Kuala Lumpur and Saigon, I found such unique reinterpretations of dance music and a genuine hunger for fresh sounds. Another thing that struck me was how approachable and open everyone was: far less cliquey than in Europe, it was so easy to connect with people despite the language barriers in some areas. Quite refreshing.
Asia is such a diverse place, and it’s impossible to lump it all together as one. Each culture has its own way of expressing joy on the dance floor. In Japan, for instance, people are quite mindful of those around them, so you’ll rarely see anyone completely lose themselves (unless they’ve had enough oolong-hai!) Bangkok, on the other hand, was full of people shouting at every drop, while in Vietnam, they seemed to float, inebriated by laughing gas. I thought Seoul would be similar to Tokyo, but it turned out to be one of the warmest and wildest receptions I’ve had. Singapore felt the most European to me, and Kuala Lumpur had this wonderfully diverse crowd that was eager to let loose, which felt quite bold against the more restrained image of the city.
In my early teenage years, I didn’t know much about the history of DJing; I was just tuning into whatever was playing on the radio specialised in dance music and vibing. I felt the beat and bass deep down, and it just resonated with me. I started delving into whatever I could find in the shops, like Coccoluto’s and Joe T Vannelli’s compilations, and recordings from parties like Les Folies De Pigalle. Then, around the age of 15, I stumbled upon ‘Last Night A DJ Saved My Life’ by Bill Brewster, and it felt like Pandora’s box had been opened. It was fascinating to see how so much of what I had been drawn to was rooted in the early disco and house scenes. Even today, tracks from that era sneak into my sets, still sounding fresh after all these years.
Both were instrumental in shaping my path within Lisbon’s scene. Ruínas was where I started when no one knew me or wanted to book me. I thought, ‘Why not do it myself?’ and we ended up hosting some legendary parties: dodgy speakers, warm Lidl booze, all packed in a rented compact car, the works! Whoopee was my transition into a more professional space, organising events at top-tier venues like a 100+ years old Portuguese pavilion and a massive beach party at Praia Irmão with Antal and the Rainbow Disco Club collective. It all happened within just a couple of years, an experience that would have taken a decade if not for the fantastic Whoopee team.
Honestly, I don’t overthink it. I’m always on the lookout for new sounds and tracks, constantly evolving. Anyone who’s followed my sets over the years knows how much my sound has shifted. Even listening back to mixes from just three or four years ago, I’m surprised at how much things have changed. I can spot those who haven’t been keeping up: they still think I’m playing Italo Disco. Nice try!
I can’t say too much about NYC yet, as I’m still exploring, but I’ve noticed the music here tends to have a much quicker pace. Lisbon’s crowd has this incredible vibe: very international, with people from every continent and every age group getting down on the dance floor. There’s no “mainstream” to follow, so everyone feels free to express themselves. Milan, in contrast, is a bit more insular, and despite being Italy’s most international city, you’re still largely surrounded by Italians. There’s a subtle pressure to conform, and because it’s the fashion capital, people often go out to be seen rather than to let loose.
It’s been a confidence boost, seeing these top-tier artists perform and realising they’re just human, after all. Don’t get me wrong—they’re incredible, and I’ve got a way to go to reach their level, but it feels at reach. It’s when you rub shoulders with the best that you truly see where your strengths lie and what you need to work on.
It was incredibly rewarding and much-needed for both scenes. Italian artists, often brimming with talent, don’t always get the exposure they deserve abroad. Meanwhile, the Portuguese scene, which often leans towards French and UK influences, could do with some fresh air. Nights with artists like Emmanuelle and Sam Ruffillo were brilliant, full of hardcore fans and curious newcomers alike.
Back in 2019/2020, just before the lockdowns, I was deep into digging for disco edits. I had this love-hate relationship with those limited-run, vinyl-only releases. Love when I could get my hands on them, hate when they were sold out and priced ridiculously high on Discogs. When a few friends started sending me their own edits, I felt they deserved a proper platform. So, I pitched the idea to a distributor, and they were immediately on board. The response has been fantastic: Vol.1 is pretty much sold out everywhere, and the following volumes are going fast too. Names like Laurent Garnier, Bill Brewster, Yu Su, and Scarlett O’Malley have been spinning the tracks, and more artists are starting to send their demos. Keep an eye out for Vol. 5 and 6, they’re going to be something special.
Apart from the Asian cities I’ve mentioned, Sofia in Bulgaria completely blew me away. I didn’t expect much, but I’ve had some of my best nights there. The vibe is raw and genuine. Places like Tell Me, Micro, and Kupé are must-visits if you find yourself in town.
It’s been a mad couple of years: touring, moving twice, life has been non-stop! I’ve kept releasing tracks on Manzo Edits and a few various artists’ compilations, but I haven’t put out a solo EP of original material in 2023 or 2024. That said, I’ve got some stuff in the works that I’m aiming to release in 2025. You’ll be hearing some fresh sounds soon, just as soon as I’m happy with them, and that can take a bit of time!
Mitsuki’s a great example of a venue that feels both grand and cozy. That, for me, is the ideal balance. Playing in front of massive crowds, like at Nightstories in Lisbon or La Terrrazza in Barcelona, is an unbeatable rush. The energy is palpable when thousands are moving in unison. But my preference leans towards places where you’re right up close with the crowd and everyone leaves feeling like they’ve met the entire dancefloor by the end of the night.
I’ve been toying with the idea of compiling my record shop finds to help others when they’re exploring a new city. It’s such a crucial part of connecting with the local scene. The problem is, finding the right spots can be a bit hit-and-miss. There are online databases, but they’re often outdated or not user-friendly. As for hidden gems, while traveling through Asia, I found some fantastic spots—More Rice in Bangkok, Rare Grooves in Osaka, Lighthouse Records in Tokyo, Junction Forest in Seoul, and Sputnik Rekordz in Kuala Lumpur, where I even recorded an in-store session that’s up on YouTube.
‘New Me’ is something I’m particularly excited about. I can’t spill all the details just yet, as the label is still ironing out the contract, but it’s the first time I’ve collaborated with a vocalist. The feedback’s been positive: every DJ I’ve shared the demo with has asked for the master to play in their sets, so that’s a good sign! As for ‘This Feeling,’ it began as a collab with another artist that nudged me into a more minimal, groove-focused sound. Although the project didn’t pan out, it sparked ideas that I’m carrying into other releases. Overall, I’m gravitating towards a club-centric vibe, whether it’s warm-up, peak time, or after-party tracks. I’m especially drawn to exploring the latter because I feel there’s still so much to uncover there.
Big thanks to Black Pomade for sharing his journey and insights with us! It’s always inspiring to see an artist push boundaries and explore new frontiers. Make sure to keep an eye out for his upcoming releases, and don’t forget to follow him on all platforms for the latest updates. Stay tuned for more from this incredible talent!
DJ | MUSIC CURATOR & SELECTOR | PODCAST MAKER | BLOGGER Professional online interpreneur. Coffee practitioner. Electronic music culture maven. Total music guru. Infuriatingly humble problem solver. Food & sports fanatic.
DJ Kono Vidovic is back with Dirty Disco 568, and this week’s episode is packed with deep grooves, funky rhythms, and future-forward beats. Whether you’re unwinding or gearing up for […]
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