Acclaimed French DJ and producer HUGEL unveils his latest single, ‘Las Avispas’, on May 23rd, delivering a bold and electrifying reinterpretation of the legendary Juan Luis Guerra classic. Released via his own imprint, Make The Girls Dance Records, the track features powerhouse collaborators BRØDER and Spijker, uniting French, Dutch, and Afro House influences into a global sonic celebration.

A trailblazer in the Afro-Latin House movement, HUGEL has become one of the most influential names in electronic music. With over 4 billion streams, multiple multi-platinum certifications, and a string of #1 hits on Beatport, his sound dominates clubs and festivals around the world. His label, Make The Girls Dance Records, has become a hub for cutting-edge Afro-infused dance music.

‘Las Avispas’, originally penned by Dominican icon Juan Luis Guerra, is a joyful anthem of faith, resilience, and divine protection. Released in 2004 on the Grammy-winning album ‘Para Ti’, the original fused merengue with gospel elements and earned critical acclaim, including Latin Grammy Awards for Best Tropical Song and Best Christian Album, along with Billboard Latin Music Awards for Gospel-Pop and Tropical-Merengue Song of the Year.

In this 2025 reimagining, HUGEL injects the track with an energetic Afro House pulse while honoring its soulful essence. He is joined by BRØDER, the French electronic duo of brothers Thibault and Arnaud from Marseille, known for their cross-genre innovations, high-profile remixes, and over 60 million Spotify streams, and Spijker, a rising Dutch DJ and producer whose Afro-Tech fusion and global performances, from Burning Man to Brazil, have marked him as one to watch.

‘Las Avispas’ is more than a cover, it’s a tribute to a legendary artist, reinterpreted through a modern, global lens.

AVAION: Breaking Boundaries with ‘Wacuka’ and the 360° Experience

In the ever-evolving world of electronic music, few artists have managed to create such a distinctive fusion of sounds as AVAION. His track “Wacuka,” featuring Kenyan artist Sofiya Nzau, has become a global sensation, catching the attention of industry giants like Calvin Harris while bridging cultural influences with electronic beats.

In this exclusive interview, AVAION takes us behind the scenes of his creative process, discussing how the collaboration with Sofiya Nzau came together almost effortlessly, resulting in a sound that defies traditional genre classifications. He also reveals details about his ambitious “You Are Seen” tour featuring an innovative 360-degree setup that promises to deliver a more intimate and energetic experience for fans.

Your track “Wacuka” has become a massive success. What was the collaborative process like working with Sofiya Nzau and the Kenyan influence she brought to the track, and how did you maintain your signature sound while exploring these new rhythmic elements?

It was actually really easy. I was already familiar with her vocals from a previous song of hers. She had released some vocal packs online that many producers were using, and I had used them before because I’m a big fan of her voice and the Kenyan African vibe.

Her management reached out to us, saying she had some material available, and she sent me the vocal take of ‘Wacuka.’ It was perfectly recorded in one take, everything sounded good, and I immediately knew I could work with it. I think the song was finished after just two days—everything flowed naturally.

It’s a nice combination of her vocals and the emotions she puts into them, paired with the drop I created and the synthesizers that establish the overall vibe. It’s somewhere between Afro house and deep house, but also neither of those genres—it’s many styles combined. I think that’s what makes it something new and refreshing that people can connect with. You can feel melancholic listening to it, but you can also dance to it. And I appreciate the meaningful message of female empowerment that Sofiya brings to the track.”

Artists like Calvin Harris reaching out personally about “Wacuka” must have been validating. Who did you look to for inspiration when you were starting out, and how has their influence shaped your sound?

When I started out around 2012, one of my biggest influences was Tchami—he was like the godfather of deep house. He had these different sounds, and everything he did was unique—I just completely fell in love with it.

These days, I really love The Blaze, Ben Böhmer, and Elderbrook. They’re all amazing artists. I think connecting with many different people and taking small inspirations from here and there to create your own thing is the whole point of being an artist.

Your upcoming “You Are Seen” tour features a 360-degree live setup. What inspired this concept?

I wanted to take a step up from the last tour. We have bigger venues now and a different concept with me in the middle of the space. There’s a platform with lights underneath that can flash, creating more of a visual light show. In the previous tour, we only had the venue’s lighting, but this time we have a specific concept behind it. Having me in the middle with people around me makes it more intimate. It’s going to be insane—still a live show with live vocals and the same setup, but with more energy, more intimacy, and a bigger, better, sweatier experience.

You have a new track that just came out on Sony Music, ‘I Can’t Find You’. Can you share with us and the listeners the story behind the track?

It’s a collaboration with Oscar Matt, a Swedish producer. It started when he released a TikTok with a musical idea he created. People in the comments were tagging me, saying ‘AVAION could fit on this.’ After seeing my name tagged about ten times, I decided to check it out and thought, ‘That’s actually really good.’ So I messaged him to send me the stems so we could make it into a complete song. It’s really nice how it all came together—he was just a guy uploading stuff on TikTok, people thought I would be a good fit, and now we have a song coming out.

To check out the full interview head on over to the 10 Days in Dance podcast:

The Beatport Awards were held on April 24 at Atzaró Agroturismo in Ibiza. The event recognized producers, labels, DJs, and festivals based on actual sales data, voting, and expert decisions. These aren’t just names with hype. These are the people behind the tracks that showed up in DJ sets, stayed on the charts, and got played all year.

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Best Selling Artist of the Year
This award goes to the artist with the most total track sales across all genres on Beatport. It shows who had consistent demand throughout the year, not just one viral moment. It’s a measure of work rate, reach, and relevance.

Winner: HUGEL
HUGEL’s releases dominated several Beatport charts. His blend of Latin house, vocal-driven cuts, and edits made for dance floors kept his catalog in steady demand. DJs from Ibiza to Tulum played his tracks throughout the year. Songs like “Tamo Loco” and collaborations with BLOND:ISH and Nfasis became crowd favorites. This wasn’t a lucky streak. He stayed present every month.

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Best Selling Track of the Year
This is for the one track that sold more than any other on Beatport in the last year. It shows which song stood out enough to be played by DJs across different scenes, whether peak-time or warmup. One track that kept getting picked.

Winner: Adam Port and Stryv – Move (feat. Malachiii)
Move balanced sharp production with a vocal that connected immediately. The drums stayed tight and the groove made it work in a lot of different set styles. It became one of those tracks that kept its spot long after the release buzz faded. DJs stuck with it, and the sales showed that.

Best Selling Remix of the Year
This award goes to the remix that had the most downloads on Beatport. It’s not about who made the original, but who reworked it into something DJs wanted to play. A remix that gave new life to a familiar track.

Winner: FISHER – Jamming (FISHER Rework)
FISHER’s take on Bob Marley and The Wailers’ Jamming brought a classic into club territory. He didn’t overdo it. The groove stayed light but strong, with just enough bounce to keep it moving. The result worked across festivals, clubs, and beach parties. It became one of the most played edits of the year.

Producer of the Year
This award recognizes a producer who consistently put out high-quality music that shaped the sound of the year. It’s not just about volume. It’s about originality, technical skill, and influence across the scene.

Winner: PAWSA
PAWSA kept his sound sharp and reliable. Known for tight, rolling tech-house with a stripped-back edge, he released tracks that worked in clubs without needing big drops or gimmicks. His records landed in the crates of a wide range of DJs, and his approach to production stayed focused on rhythm and function. It was less about flashy edits and more about steady control, which paid off across the year.

Best Live Performer
This award goes to the act whose live shows stood out. Not just for energy but for the way their performance connected with the crowd and built something beyond just playing tracks. It’s about presence, pacing, and how the music hits in real time.

Winner: Chase & Status
Chase & Status have been doing this for years, and in 2024 they returned with a show that reminded everyone why they’re still relevant. Their setup blended drum and bass, grime, and UK rave culture with tight visuals and live vocal features. It wasn’t just loud. It was sharp, deliberate, and designed to hold the crowd from start to finish. Every set felt like a headline moment, no matter where they played.

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Hype Label of the Year
This award goes to the label that made the most noise in the scene over the past year. Not just with chart placements but with identity, consistency, and releases that people talked about and played. A label that stayed present without flooding the space.

Winner: Mood Child
Mood Child stood out by delivering tracks that felt intentional. The releases were spaced, not rushed. The label leaned into rich percussion, deep basslines, and an atmosphere that worked across genres. It became a steady name for selectors who wanted something bold but playable. People paid attention because the quality held up all year.

One to Watch
This category is about new energy. It highlights an artist who isn’t everywhere yet but is clearly building something. A sound, a reputation, a path that people in the scene are starting to notice.

Winner: Rosey Gold
Rosey Gold kept showing up in the right spaces. Her productions carried a mix of emotional depth and rhythmic structure, while her DJ sets showed a good ear for flow and tension. Nothing felt rushed or copy-pasted. She’s building her sound slowly and people are starting to follow along.

Social Impact Award
This award is for someone who used their presence in the scene to help others, push conversations forward, and create space where it didn’t exist before. It’s about contributions outside the charts.

Winner: Bradley Zero
Bradley Zero has been working for years to bring inclusivity and balance into dance music. Through his label, radio shows, and event programming, he continues to support new voices and create platforms for people who have been overlooked. His work doesn’t rely on trends. It stays consistent and rooted in the community.

That’s the full breakdown from this year’s Beatport Awards. Every category was based on real plays, real purchases, and real support. Some of the winners have been steady names in the scene. Others are just starting to cut through. But none of them followed hype. They made music that stuck, that got played, and that mattered to people who actually listen. If you already know these names, this just confirms it. If not, now’s your chance to catch up.