Deep House Mix 2026: Dirty Disco 650, Afro Grooves and The Chemical Brothers’ Go Revival

650 episodes. Let that sink in for a second.

Dirty Disco 650 is not just another deep house mix. For me, this episode feels like a small milestone wrapped in warm basslines, global percussion, broken beat energy, Balearic sunshine, soulful house vocals and one unexpected viral Chemical Brothers moment that somehow connects Netflix, TikTok, classic electronic music and the modern remix culture in one slightly unhinged package.

That is exactly what I love about music. A track can come from São Paulo, Berlin, London, Detroit, Dublin, Munich or somewhere between a beach club and a sweaty basement, and still make perfect sense when it lands in the right mix at the right time.

This week’s Dirty Disco episode moves through deep house, Afro-Latin grooves, Balearic textures, nu-disco, future jazz, broken beat, soulful electronic music and warm summer club energy. You will hear music from Earthtones, Ubaruh, Gabriele Poso, Ilija Rudman, John Beltran, Gene Siewing, Barrio B, David Morales, Holo, STREETON, The Chemical Brothers, Christian Prommer and many more.

As always, this is not a random playlist. This is a curated DJ journey with flow, feeling and context. The kind of mix that starts like sunshine through open windows and ends somewhere deeper, more reflective and maybe even a little emotional. Do not worry, I will not make it too dramatic. We are still here for grooves, not group therapy. Although, honestly, some basslines do more healing than half the advice on the internet.

Quick Take: What Is Dirty Disco 650 About?

Dirty Disco 650 is a hosted deep house and electronic music mix built around warm summer grooves, soulful percussion, Afro-Latin rhythms, broken beat, Balearic house and future-jazz energy. The episode includes new and forthcoming releases from underground electronic artists and respected labels, plus a timely spotlight on The Chemical Brothers’ “Go”, which is experiencing a new wave of attention through Netflix, TikTok and Instagram.

If you are searching for a deep house mix 2026, a soulful house podcast, a Balearic summer DJ mix, an Afro house and broken beat selection, or a curated electronic music show with real music stories, this episode is built for you.

The full tracklist with timestamps is included below.

A 650 Episode Milestone Built on Real Curation

Reaching episode 650 feels good, but also slightly absurd. Every week there is the same beautiful madness: digging for music, checking promos, building the mix, recording voice-overs, researching artists, writing tracklists, creating upload texts, editing the blog, rendering files that take longer than they should and then thinking, “next week we do it again.”

That is Dirty Disco.

Not because it is easy, but because music culture still needs people who listen properly. DJs who dig deeper than the obvious hype. Writers who give context. Curators who connect music from different scenes without flattening everything into one algorithm-friendly soup.

This episode captures that idea clearly. It does not stay in one lane. It starts global and organic, moves through deeper house territory, touches Afro and Latin-rooted club energy, picks up broken beat and future jazz textures, flirts with viral remix culture and closes with Christian Prommer turning a protest-soul classic into something between jazz, club music and late-night reflection.

That is a lot of ground to cover. Luckily, I brought good shoes.

The Opening: Global Grooves, Balearic Heat and Percussion With Soul

We begin with Earthtones and “Limones” on Wonderwheel Recordings. That already tells you something about the color of this episode. It is warm, organic and rhythmically open. Not a cold start, not a big-room punch in the face, but a groove that invites you in.

From there, Ubaruh enters with “Ubaruh Theme”. Ubaruh is the São Paulo-based project of producer Phillipi Alves, known from Fatnotronic and DEEWEE circles, and musician-producer Emmo Martins. Their sound draws from psychedelic house, nu-disco, Brazilian and Caribbean rhythms, live bass, guitar, percussion, acid arpeggios and dancefloor experimentation.

What I like about Ubaruh is that the music feels both playful and serious. It is not retro cosplay. It has live energy, odd angles and a proper groove architecture underneath. You can hear the musicianship, but it still works on a dancefloor. That balance is harder than people think. Many tracks are either too clever to dance to or too obvious to care about. Ubaruh sits in that sweet middle.

Then Gabriele Poso brings “Be Water My Friend” on AG Records. Poso’s background as a percussionist and global groove artist is important here. Born in Sardinia and raised in Lecce, he developed a deep connection with Afro-Latin, jazz, soul and percussive traditions. His work has moved through labels such as Yoruba Records, BBE, Soundway, Wonderwheel and Mr Bongo, and his new chapter with AG Records continues that Mediterranean, Afro-Caribbean and jazz-informed language.

In this opening section, the mix is not in a rush. It breathes. It moves like a late afternoon that slowly becomes evening. Which is basically my favorite time of day, especially if there is decent food nearby and nobody asks me to fix a printer.

For more background stories on artists and releases beyond this episode, you can also explore my music reviews where I regularly go deeper into the records that shape the Dirty Disco sound.

Ilija Rudman, Motor Mouth Drum Ensemble and the Shift Into Deeper House

After Gryph’s “St Barts”, the show moves into Ilija Rudman with “Late Checkout” and later “Euphonia”, both on Exploited. Rudman is the kind of producer who understands the physical side of electronic music. His tracks often carry that disco and boogie-informed weight, but they do not feel like museum pieces. The drums move. The bass has body. The arrangements have swing without becoming messy.

That is the sound of experience.

Motor Mouth Drum Ensemble’s “Singapore Ray” sits beautifully in this section too. It gives the mix a loose, percussive, beach-club type of character before we slide into the more late-night pulse of “Euphonia”. This is where Dirty Disco 650 starts to change shape. The opening was sunny and global. Around the thirty-minute mark, the mix becomes deeper, more grounded, more house-driven.

Alonso Gonzalez follows with “Memories” on Chuggy Traxx, and the title fits perfectly. Some tracks do not just make you move. They bring back a place, a person, a summer, a room, a feeling. That is one of the reasons I still love DJing after all these years. You are not only mixing records. You are mixing memory, mood and timing.

Gene Siewing and the Human Side of House Music

One of the deeper highlights in the first hour is Gene Siewing’s “The Kingdom Of Heaven”, heard here in the Warehouse Cut.

Siewing is originally from St. Louis and now based in Berlin, where his work moves through the emotional and musical spaces within house. His sound leans into soulful, jazzy and vocally rich territory, but with enough rhythmic detail to keep it firmly connected to the floor.

“The Kingdom Of Heaven” featuring Joy Storm is a strong example of house music with emotional architecture. Joy Storm, from Chicago, brings a vocal presence that immediately connects the record to the roots of the genre. The release moves through soulful warmth, warehouse pressure, 2-step motion, garage swing and deep house textures. Live bass from Martin Stumpf and piano from Carly Quiroz give the record an extra human layer.

That matters. In a time where so much music is technically perfect but emotionally flat, live touches can still change everything. A bassline that breathes. A piano phrase that does not feel quantized into submission. A vocal that has lived a little.

House music was never only about machines. It was about machines becoming human through the people behind them.

Afro-Latin Energy: Barrio B, David Morales and the Power of Repetition

Around the second hour, Dirty Disco 650 moves into a more rhythmically direct zone. Barrio B’s “Nsa Yuka”, featuring Ameh Fashi and Basil Isaac on Rhythm People Recordings, brings a summer-ready Afro house pulse. “Nsa Yuka” means “No Worries”, and honestly, that is the kind of message I can get behind. Less stress, more rhythm. Less doomscrolling, more percussion. I know, easier said than done, but we have to start somewhere.

Barrio B is the project of Dublin-born, London-based producer Barry O’Brien. His sound blends Afro-Latin house, soul, live instrumentation and stripped-back club energy. On “Nsa Yuka”, Ameh Fashi adds the vocal presence while Basil Isaac brings the percussive human touch.

Then David Morales and Georgia Cee follow with “SABALALA” on DIRIDIM. David Morales does not need a long introduction. He is part of house music history. What I appreciate here is that “SABALALA” does not feel like an artist looking back at his own legacy. It feels current, percussive and hypnotic, with that repetition that can turn a good groove into something almost ritualistic.

That is one of the big lessons in house music. Repetition is not boring when it is done well. Repetition is where the body starts understanding things before the brain does. And frankly, the brain could use a break sometimes.

Holo and the Houseum Records Sound: Melody, Texture and Breakbeat Pressure

Holo appears twice in this episode, first with “Poznan” and later with “Thunder”, both connected to Houseum Records. His “Thunder EP” is built around melody, texture and a split personality that works very well in the Dirty Disco flow.

The A-side of the EP leans into groovy house and breakbeat energy, while the B-side moves deeper into progressive, electronic, IDM, ambient and dub techno-influenced soundscapes. “Thunder” itself has a big vocal character, rolling textures and that kind of breakbeat force that can lift a mix without turning it into a full rave detour.

What I like about Holo in this episode is that his tracks help bridge the musical and the electronic sides of the show. The music has emotion, but it is still functional. It has atmosphere, but it still moves. It is not just pretty background texture. It has teeth, but friendly teeth. Like a club track that remembered to moisturize.

The Chemical Brothers’ “Go” and the Strange Power of Viral Rediscovery

One of the more unexpected moments in Dirty Disco 650 is The Chemical Brothers’ “Go”, here in the Dansyn Remix.

“Go” originally came out in 2015 with Q-Tip on vocals and was part of The Chemical Brothers’ album “Born in the Echoes”. It was already a big electronic track, but in 2026 it found a new life through the Netflix action thriller “Apex”, starring Charlize Theron and Taron Egerton.

In the film, “Go” appears in a tense and strange scene where Egerton’s character plays the track and dances to it. The moment became a meme, a TikTok sound, an Instagram edit trigger and a new entry point for people discovering the track for the first time.

This is what modern music culture does now. A song can live in clubs, festivals and DJ sets for years, and then one film scene pushes it into a completely new context. Suddenly, a younger audience hears it not as a 2015 electronic record, but as the soundtrack to a viral moment.

As a DJ, I find that fascinating. Also slightly chaotic, but that is the internet. It can ruin your attention span and revive a Chemical Brothers track in the same afternoon.

The Dansyn Remix works in this episode because it does not just rely on nostalgia. It adds club pressure and gives the track a new place inside a modern deep house and electronic mix. That is the key with edits and remixes of big records. If you are going to touch something iconic, bring a reason. Otherwise, leave it alone and step away from the laptop.

STREETON, David Kayode and the Future-Jazz Direction

Near the end of the episode, STREETON’s “Where We Started” featuring David Kayode on Sonar Kollektiv becomes one of the most meaningful moments in the mix.

STREETON is a British DJ and producer working in the space between jazz-influenced house, broken beat, Afro-Latin percussion and UK future-jazz energy. “Where We Started” is part of the rollout toward his debut album “Iridescence”, a project shaped by collaboration, storytelling and the communities around London’s contemporary music culture.

David Kayode’s saxophone gives the track a strong human identity. The percussion is relentless, the spoken word element feels hypnotic, the synths are sunny, and the bassline keeps pushing forward. But the title and repeated vocal refrain also add something reflective. It is not only a club track. It is about cycles, roots, movement and returning to the beginning with new understanding.

That is a beautiful place to arrive after nearly two hours of music.

It also connects with the way I see Dirty Disco. Every episode moves forward, but it also returns to the same core values: soulful music, real groove, context, warmth, discovery and a little bit of humor because life is serious enough already.

You can find more artist-focused stories and long-form features in my Track Talks and interviews, where artists share the records, ideas and scenes that shaped their music.

Christian Prommer Closes With Jazz, Protest Soul and Compost Records Depth

The final major statement in this episode comes from Christian Prommer featuring Justine Hoerwarth with “Tryin’ Times” on Compost Records.

This is not a lightweight closer. “Tryin’ Times” is a re-imagining of Roberta Flack’s 1969 protest-soul classic, transformed into a modern jazz-rave invocation. Prommer loops, fragments and deconstructs elements of the original spirit, turning it into something darker, urgent and hypnotic. Justine Hoerwarth recreates the vocal atmosphere with respect, while Berlin-based Mosés Yoofee adds piano fire.

There is also a beautiful personal detail in the recording: Prommer’s snare fills were played on the first snare drum he ever touched as a child in Styria, inherited from his marching-band uncle. That kind of detail matters because you can hear it in the intention. The track is not just a clever cover or a dancefloor tool. It carries memory, politics, jazz vocabulary and club pressure in one place.

Prommer himself has spent decades dissolving the borders between jazz, electronics, broken beat, techno and live musicianship. His history with Compost, Fauna Flash, Trüby Trio, Voom and Christian Prommer’s Drumlesson makes him one of those artists who does not simply cross genres. He treats genre as a room with multiple doors.

That makes “Tryin’ Times” a fitting closer for Dirty Disco 650. After a journey through global grooves, house, broken beat, Afro-Latin rhythms, viral remix culture and future jazz, we end with a track that reminds us electronic music can still carry depth, message and musicianship.

Full Tracklist: Dirty Disco 650

00:00:00 01. Earthtones – Limones [Wonderwheel Recordings]
00:05:45 02. Ubaruh – Ubaruh Theme
00:09:49 03. Gabriele Poso – Be Water My Friend [AG Records]
00:12:28 04. Gryph – St Barts
00:17:03 05. Ilija Rudman – Late Checkout [Exploited]
00:22:19 06. Motor Mouth Drum Ensemble – Singapore Ray
00:29:16 07. Ilija Rudman – Euphonia [Exploited]
00:34:40 08. Alonso Gonzalez – Memories (Original Mix) [Chuggy Traxx]
00:40:15 09. John Beltran – Sunrise & The Life We Live
00:43:58 10. Gene Siewing – The Kingdom Of Heaven (Warehouse Cut)
00:48:30 11. Retrofract – Higher
00:53:21 12. D.A. Larson – Good Love (Extended Mix) [Hyperboy Records]
00:57:28 13. Adham Zahran – We Meet Again [Dealt With Records]
01:02:20 14. CamelPhat & Josh Gigante feat. Kuuda – So Good (Extended) [When Stars Align]
01:06:09 15. Barrio B feat. Ameh Fashi & Basil Isaac – Nsa Yuka [Rhythm People Recordings]
01:11:20 16. David Morales & Georgia Cee – SABALALA (Demo Mix) [DIRIDIM]
01:17:04 17. Ben Arsenal, Patrick Richards & Major Van Winkle – Back Home (Extended Mix) [Departed]
01:21:41 18. Holo – Poznan [Houseum Records]
01:25:49 19. Rotsch – Keep It Simple
01:31:35 20. Tree Threes – Peace at Hand [Feedasoul Records]
01:37:13 21. Le Hutin – I’m Just Not Sure About It (Your Love)
01:41:53 22. The Chemical Brothers – Go (Dansyn Remix) [White Label]
01:46:44 23. Holo – Thunder [Houseum Records]
01:51:05 24. STREETON feat. David Kayode – Where We Started [Sonar Kollektiv]
01:54:38 25. Jon Gravy & Paige Turner – Listen Babe
01:57:30 26. Ubaruh – Vem com Ubaruh
02:00:47 27. Christian Prommer feat. Justine Hoerwarth – Tryin’ Times [Compost Records]

Listen, Share and Join the Dirty Disco Community

Dirty Disco is available through the official website, Apple Podcasts, Mixcloud, SoundCloud, YouTube and many other podcast apps. The hosted version gives you the full guided experience with music stories, release context and personal notes from me.

For members, there is also the extended DJ-only version. No voice-overs. No interruptions. Just the uninterrupted ride. The best way to get that version and support Dirty Disco is through Apple Podcasts membership. You can also find member options through Mixcloud Select.

If you enjoy this episode, share it with someone who needs better music in their life. We all know at least one person still relying on random algorithm playlists. Help them. Be a good friend.

Also, ratings and reviews help the show grow. If you listen on Apple Podcasts, Spotify or another platform where ratings are possible, leaving one takes a few seconds and makes a real difference for independent music discovery.

DJ Bookings, Custom Mixes and Music Curation

Dirty Disco is not only a podcast. I also offer DJ bookings, custom DJ mixes and personalized music curation for private events, brand activations, stores, restaurants, beach parties, rooftop sessions, weddings, creative campaigns and personal listening experiences.

The idea is simple: music should fit the moment. Not too obvious, not too generic, not the same playlist everybody else is using. Whether you need warm deep house for a stylish event, a soulful disco and house soundtrack for a brand, or a custom mix that actually feels personal, I can help create that Dirty Disco atmosphere.

Get in touch through dirtydiscoradio.com if you want the Dirty Disco sound at your own event or project.

And if you love digging culture beyond the weekly mix, check out my city guides to the best record stores in Berlin and the best record shops in Amsterdam. Because yes, streaming is convenient, but nothing beats walking into a proper record shop and pretending you are “just browsing” while knowing very well you are about to spend money.

Final Thoughts: Dirty Disco 650 Is About Movement

Dirty Disco 650 is a journey through movement.

Physical movement, because these tracks make you move. Cultural movement, because the episode connects Brazilian rhythms, Mediterranean percussion, Berlin house, UK broken beat, Afro-Latin club energy and Munich jazz-electronic experimentation. Emotional movement, because the best records do not only fill time. They shift something.

That is why I keep doing this.

After 650 episodes, the mission is still the same: dig deeper, connect the dots, support artists, tell the story, keep the groove alive and make sure the music feels human.

So press play, read through the tracklist, discover something new, share the episode, leave a rating, send me your favorite moment and stay curious.

This is Dirty Disco 650. Warm, soulful, global, slightly unpredictable and still moving forward.

FAQ: Dirty Disco 650