Black Pomade is a DJ and producer whose journey spans Milan, Lisbon, and New York, shaping a sound deeply rooted in the NY disco scene and Chicago house pioneers. Founder of the Ruínas collective and Whoopee parties, he blends analog synths, groovy basslines, and syncopated beats into sets that traverse house, disco, and acid, leaving dance floors buzzing with energy.
From a pivotal residency at Lisbon’s MusicBox to stages across Europe and Asia, he’s shared the spotlight with legends like Hunee, Nicky Siano, and Josey Rebelle. His studio work includes releases on Last Forever Records, Rollover Milano, and Dig This Way, alongside his vinyl-only Manzo Edits series and a remix featured in Apple TV’s Platonic. With upcoming projects on Whoopee Rec and Wilson Records, Black Pomade continues to bridge eras and continents with a sound that’s as timeless as it is forward-thinking.
2025 sees Black Pomade touring. I talked to him about the tour and also got to talk about his acclaimed Manzo Edits series.
Hi Christian. Tell us about your current tour. What kind of gigs are you looking most forward to. Are you going all new places? Are you returning to some venues?
The tour is happening right now. I recently did a label showcase at Fred Records in Milan and played at Bluesquare, a fantastic new venue curated by Turbojazz.
It was a special night with local legend Carloalberto, great energy all around.
Next, I’m heading to Lisbon, where I’ll be playing with Trol2000 at Mirari. Rodrigo (Trol2000) owns the incredible PeekabooRecords, a small but mighty record shop in Lisbon that’s been a staple for me.
On February 1st, I’ll play at Duro De Matar for SuccoMáximo, which is a showcase by my agency, Succo. Then I’m back in New York on February 8th for my debut at Café Balearica a spot I’m really excited about.
Speaking of New York, I recently relocated there, so maybe that’s something we could touch on. It’s been such a vibrant and inspiring shift for me musically and personally.
Your music spans connections between Milan, Lisbon, and NYC—three cities with rich musical histories. How do these cultural influences shape the vibe of your tracks, especially within the ‘Manzo Edits’ series?”
As for the influences on the ManzoEdits, they’re definitely rooted in the Italian disco and Italo disco traditions, it’s what I grew up listening to, mostly thanks to my mom playing it while driving or cleaning the house. It’s a bit of a guilty pleasure, even though my sound has evolved. You’ll still hear hints of that influence in my tracks.
Lisbon, on the other hand, shaped my attitude and vibe. When I left Milan, I was a bit disillusioned with the scene there, it felt dry and posery. Lisbon had this raw, DIY energy at the time, with free parties popping up around old, cranky speakers that somehow had more soul than clubs with fancy setups. That casual, fun atmosphere really stuck with me, and I try to bring that into every set I play.
As for NYC, it’s been a huge influence on me, even before I moved there. The birthplace of disco, the Paradise Garage, and the house scene… it’s such an inspiring musical legacy. Now that I’m here, I’m loving the mix of tradition and innovation. Whether it’s hearing legendary names play decades-spanning sets or discovering new scenes bubbling up, there’s always something fresh. Each space, whether it’s a micro club in Manhattan, a warehouse in Bushwick, or a quirky spot in Greenpoint, brings its own flavor, and I’m just starting to soak it all in as a newcomer. It’s a bit overwhelming but also very inspiring.
I’ve also got a couple of Manzo releases lined up for this year (vol 5 and 6) alongside a few digital freebies, no firm dates yet, but they’re coming 🙂
Having experienced such diverse musical landscapes, from Milan to Lisbon and now NYC, how do you think these influences will shape your future productions and the direction of Manzo Edits?
This is a tough question 🙂
Definitely, my time in Italy and Portugal has nudged me heavily towards the disco, fun, and cheeky side. It was also a moment where that kind of sound was very popular. My recent tour to Asia exposed me to a different sound—much more electronic and club-oriented. Then there’s NYC which has a very diverse scene, where you can find anything on the spectrum, from the old-school disco vibe true to the original sound to more edgy, smoky warehouse parties, so I feel like I’m sitting somewhere in the middle.
Moving forward, I’ll focus much less on complex melodies and harmonies—I want to be more minimalistic, focusing on the groove, on a bass and drum section that moves your body and hypnotizes your mind. Even the disco-friendly stuff will be more dubby, using fewer and shorter samples and stretching them as far as possible, with minimal exaggeration of builds and drops—something much more subtle, underground, and club-friendly.
Moreover, I definitely want to work more on originals. Edits are fun tools to put together, but I feel like I have much more to say when I build something from scratch.
Thanks for chatting to Discoholics Anonymous, Christian!
Check out more Black Pomade:
SoundCloud: https://soundcloud.com/blackpomade
Instagram: https://www.instagram.com/black.pomade
Bandcamp: https://blackpomade.bandcamp.com
