Afro House
THE NEIGHBORS & SIMONE VITULLO PRESENT A REIMAGINED VERSION OF BACK TO BLACK (FEAT. CHLOE FLORENCE)
The Neighbors and Simone Vitullo have teamed up to release a powerful reimagining of ‘Back to Black’, featuring the exceptional vocals of Chloe Florence. Released on Go Deeva, this modern adaptation of the iconic Amy Winehouse track has resonated with audiences worldwide, achieving remarkable milestones across streaming platforms and charts.
A PROJECT INSPIRED BY LEGENDARY MUSIC
The idea for this project originated in the summer of 2022, when the announcement of the Back to Black biopic reignited a deep appreciation for Amy Winehouse’s legacy. Moved by her story and the raw emotion behind the original song, The Neighbors envisioned a contemporary interpretation that could thrive both in club environments and personal listening experiences.
Initially conceived as an unofficial club edit incorporating Winehouse’s original vocals, the project took a transformative turn upon meeting Chloe Florence, a gifted singer-songwriter. Enthusiastic about the concept, Florence brought a fresh yet deeply emotive perspective to the track. The creative process involved extensive studio sessions, where multiple versions were explored to find the perfect balance between authenticity and innovation. The defining moment came when Florence moved beyond emulation and fully embraced her own vocal identity, allowing the cover to take on a unique and personal dimension.
THE FINAL TOUCH: SIMONE VITULLO & GO DEEVA
While the track had undeniable energy as a club anthem, the team sought to refine it for a broader audience. Enter Simone Vitullo, a renowned producer and head of Go Deeva Records, who was immediately captivated by the project. With his expertise, the track underwent a final evolution—elevating the synth work, restructuring key elements, and fine-tuning the overall production to ensure both club and radio appeal.
The result is a compelling tribute to one of the most iconic songs of the 21st century, seamlessly blending electronic elements with soulful vocals while honoring the emotional depth of the original.
OUT NOW ON GO DEEVA
The Neighbors, Simone Vitullo, and Chloe Florence’s rendition of Back to Black is now available on all major streaming platforms via Go Deeva Records. With its strong chart performance and continued audience engagement, this release stands as a testament to the lasting influence of Amy Winehouse’s artistry.
Since its release, Back to Black has climbed to the Top 5 of Beatport’s Afro House Top 100 and continues to hold a strong position in the Top 50 months later. The track has been Shazamed over 10,000 times and has amassed more than 150,000 streams on Spotify, a testament to its widespread appeal and impact.
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The Neighbors
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Cumbiafrica interview discusses their new Decca Records release Batonga, their collaborations with HUGEL, and the Afro Latin House sound at the heart of their music.
We sit down with Cumbiafrica to celebrate their new release on Universal France’s Decca. We discuss the story behind the music, their collaborations with HUGEL and of course their new release.
How has your year been so far?
We’ve been working very hard with our label, Producciones Alé Kumá. At the beginning of the year, we released the single “Carmelita Adiós” alongside DJ Dean Mickoski, and more recently an EP titled “Sheel Sheel (Drone Song)” in collaboration with Gaza Birds Singing, a children’s singing group from Palestine. This EP is part of a larger album called “Canciones de Resistencia” (Songs of Resistance). During this first semester, we spent a lot of time in the studio because, as summer approaches, we’re intensifying our release schedule. We have planned to drop a new single every three weeks throughout the season. All of these tracks are part of an Afro Latin House album that will be released very soon.
How did you all meet? What’s the story behind Cumbiáfrica?
We met in Colombia. Leo was already a well-known producer there, having worked extensively with major folkloric figures like Martina Camargo. I, Lina, had just finished my degree in acting and dramatic arts, but alongside my acting career, I had been singing since I was a child, accompanying my father who is a pianist, as well as my sisters who are also musicians. Later, thanks to a scholarship, Leo and I traveled together for two months to an artistic residency in the Democratic Republic of Congo, a country with deep cultural connections to Colombia. There we met many artists from the local Afro house scene, and that’s how Cumbiáfrica was born.
What inspired you to take this path sound wise?
At that time, Leo was directing an orchestra in Belgium called De Palenque a Matongé, alongside Congolese guitar legend Dizzy Mandjeku. The orchestra was made up of African and Colombian musicians, and I was part of it as a singer. When the pandemic hit, we had to scale down the format to a DJ set with electronic sounds and vocals. However, we wanted to preserve sounds like the marimba and guitar that evoke both Colombia and Africa, and that first intercultural project.
What have been your biggest influences on your current sound?
Afro-Colombian music and contemporary African music have a constant dialogue of mutual influence that goes beyond their obvious common roots. Soukous, champeta, cumbia, soca, amapiano, classic Afrobeat, and contemporary Afrobeats are all part of our influences. Artists like Ginton and Trinix, with whom we’ve worked, or the Colombian group Bomba Estéreo, have influenced us greatly. But the artist we admire most and who will always be present is Stromae.
What inspired you to reimagine Batonga? What does that mean to you?
“Batonga,” beyond being a classic in Angélique Kidjo’s repertoire, is an anthem — not only of African identity, but of resistance, female strength, and rootedness. We wanted to establish a dialogue between Angélique’s voice and mine, between Fon (the language of Benin) and Spanish. For that, Leo wrote some original verses that highlight this aspect: “Raíces fueron mis pies, mis manos ramas en flor, erguida caminaré como árbol buscando el sol. Ya nada borrará mi voz”(Roots were my feet, my hands branches in bloom, I will walk upright like a tree searching for the sun. Nothing will erase my voice). For us, above all, it is an honor. Angélique is one of the most influential voices in contemporary African music and a five-time Grammy winner. This wouldn’t have been possible without the management of Decca Records.
How did you come to land on Decca as a label?
Leo has been running his producer project, Alé Kumá, for 25 years, founded in Colombia. It has transitioned from ethnic music to contemporary African music, and in recent years, into dance music, especially Afro house. Because of that experience, Decca reached out to him. They wanted to “reimagine” some songs from their more classic catalog. “Batonga” was on that list, and they wanted it to be the starting point of this collaboration. We hope it extends to more African artists from their catalog.
Why did you use your Alé Kumá alias here alongside the Cumbiáfrica titled project?
Leo wanted to give the track a more “Latin house” sound and identity, so he proposed to the label that, in addition to Angélique’s original sample, we should record verses, chops, and hooks in Spanish. So he decided to involve me as the singer of Cumbiáfrica, a project that many critics have considered an “instigator” of the Latin house movement, especially because of our collaborations with DJ HUGEL.
Tell us about your work with HUGEL? How did that relationship come to be?
We met during the pandemic. He reached out because he knew Alé Kumá’s work as a composer and producer for Martina Camargo. We had recorded a version of “Morenita” in the Democratic Republic of Congo in 2018, and Leo suggested that HUGEL “reimagine” a new version. We never imagined that this song would become the “post-pandemic” anthem of Latin house. After that, we met in person during the filming of the “El Sueño” music video, and later came “Águila.” Leo also collaborated with HUGEL by helping him manage the licenses for “La Verdolaga” with Colombian singer Totó la Momposina.
What has been your most memorable gig this year and why?
The most important show this year was at the Carnaval de Vinaròs, in Valencia, Spain. We played in front of 10,000 people, and it was broadcast by the Valencian public television network. What was most moving was that we learned there that recent generations frequently choose Cumbiáfrica’s songs for their parades and comparsas. So many carnival attendees know our repertoire by heart, even our lesser-known tracks. When we got on stage to sing, the audience became a massive choir accompanying our songs. It was incredibly emotional, and we’ll be uploading the full concert to our YouTube channel very soon.
What is your studio set up like? Any rare equipment you like to use?
Today we have a very well-equipped studio in our new home, with excellent acoustic conditioning. But for many years, we recorded in a technically limited home studio. Sometimes we feel nostalgic for that home studio because we recorded many of our emblematic songs there. Our first microphone was a The t.bone RB 500 ribbon mic. Today we have much more sophisticated microphones, but we still use our old ribbon mic as a complement to capture Cumbiáfrica’s vocals.
What advice would you give to young up and coming producers?
Our advice is always: “listen to musicians.” And by musicians, we don’t mean conservatory academics. There are traditional musicians who can’t read sheet music but play guitar or drums by ear. These people know many secrets of music that many producers are unaware of. Ideally, producers should also learn about music, or simply learn to play an instrument or sing. But if you don’t have the time, surely you have a musician friend who can help you listen to your tracks and advise you on how to achieve a better musical result.
What more can your fans expect from Cumbiáfrica this year?
In addition to the releases on our own label, we want to expand our collaboration with Decca Records because they have a wonderful catalog. Many of their ethnic, jazz, and world music artists are reference points for their communities and for musicians around the world. We are working on two new releases for Decca Records and hope that later these and other pieces can be compiled into an album of collaborations with African musicians. That is the very essence of Cumbiáfrica.
Stream their latest single below and purchase here.
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Dario Nuñez and Juany Bravo reimagine Panjabi MC’s iconic ‘Mundian To Bach Ke’ as an Afro House and tribal club weapon.
More than two decades after redefining global music culture, Panjabi MC‘s iconic hit ‘Mundian To Bach Ke’ returns with a fresh, dancefloor-driven reimagining from internationally acclaimed producers Dario Nuñez and Juany Bravo.
Originally released by Panjabi MC in 1998 and propelled to worldwide success in 2002, ‘Mundian To Bach Ke’ is widely recognized as one of the most influential Punjabi tracks ever recorded. Featuring the unmistakable vocals of Labh Janjua, the record fused traditional Punjabi bhangra with contemporary hip-hop production, creating a groundbreaking crossover sound that resonated with audiences across continents. The original topped charts throughout Europe, reached No. 1 in multiple countries and became the first bhangra track to achieve significant mainstream global success. Today, it remains a cultural landmark that helped introduce Punjabi music to international audiences and paved the way for the worldwide rise of South Asian artists.
Now, Spanish electronic music heavyweight Dario Nuñez joins forces with Afro House tastemaker Juany Bravo to breathe new life into this timeless anthem. The remix transforms the iconic vocal hook and instantly recognizable melodies into a high-energy Afro House and tribal-infused club weapon, blending modern production with the infectious spirit that made the original a worldwide phenomenon.
“Our goal was simple: create a version we could play in our sets while preserving the emotion and magic of Panjabi MC’s original masterpiece. We built the remix around powerful drums, a deep sub-driven bassline, and vocal chops, creating a groove that feels both driving and hypnotic. In the breaks, we wanted to let the emotion of the original shine through, using its iconic melodies and familiar hooks to build tension, connect with the crowd, and set up the drop perfectly. The first time we played it, we knew it was special. The crowd reaction was instant, and it quickly became one of those records that feels different every time it hits the dancefloor.”
Dario Nuñez arrives at this release as one of Spain’s most successful electronic artists, ranking among the Top 10 Spanish Tech House artists in sales on Beatport and Traxsource in 2025. With collaborations alongside Hugel, Mark Knight, Kryder and Aaron Sevilla, performances at world-renowned venues including Hï Ibiza, Pacha Ibiza, Amnesia, Destino, Eden and Es Paradis, and releases on leading labels such as Toolroom, Spinnin’, Stereohype, Afrodise and Who Plays, Nuñez continues to cement his position as a global force in dance music. His career achievements include over 83 million social media views, more than 26 million Spotify streams, over 1 million Shazams, five national awards and performances in more than 30 countries worldwide.
Joining him is Juany Bravo, whose signature fusion of Afro House grooves, Latin influences and tribal percussion has earned support from some of the biggest names in electronic music, including Hugel, Diplo, Black Coffee, Gordo, AMEME, Aaron Sevilla, Bontan and Pablo Fierro. With chart-topping releases on Spinnin’, Make The Girls Dance Records, Insomniac/InRotation, Nervous Records and Afrodise, Bravo has become one of the most exciting artists in the global Afro House movement. His extensive touring schedule has taken him to premier venues such as Hï Ibiza, Club Space Miami, Factory Town, Koko London, Yona Beach Club Phuket and Cavo Paradiso Mykonos, while sharing stages with some of the industry’s most influential artists.
Together, Dario Nuñez and Juany Bravo deliver a remix that bridges generations, cultures and dancefloors. Respecting the legacy of one of the most important crossover records ever created while injecting it with contemporary Afro House energy, their rework is set to introduce “Mundian To Bach Ke” to a new generation of listeners while reigniting memories for those who experienced the original global phenomenon.
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Afro House
Afro House and Afrobeats Unite as Lohrasp Kansara and DJ Power Breathe New Life Into Afro B’s Hit ‘Joanna’
Lohrasp Kansara “Joanna” Afro House remake lands on TH3RD BRAIN alongside Afro B and DJ Power.
There are records that simply update a song. Then there are records that fully reimagine one. Lohrasp Kansara’s new single “Joanna,” released May 29th on TH3RD BRAIN Records, belongs firmly in the second category. Built from the ground up alongside DJ Power and co-released with the original artist Afro B himself, this is not a remix of the 2018 Afrobeats global hit. Instead, it is a brand new production with a completely new identity. It is built for where Afro House and the dance floor are in 2026. For fans intrigued by the collaboration of Lohrasp Kansara, Joanna, and the surrounding contributors, this release is a must-hear.
The production centres on deep, groove-forward percussion, uplifting chord work, and a refined melodic structure.This structure takes Afro B’s beloved topline and repositions it at the crossroads of Afro House credibility and mainstream dancefloor appeal.
Breaking Down the Artist Behind the Record
To understand why this collaboration carries real weight, you need to understand where Lohrasp Kansara sits in 2026. The Swiss-born, New York-based DJ and producer has logged over 6,000 shows across 60+ countries. He has played five clubs currently ranked on the DJ Mag Top 100 and opened the year with his first headline at Marquee New York to a packed room. In addition, Pete Tong personally signed two of his singles to his imprint Places & Spaces, including “Sandstorm,” which Tong played from the Creamfields main stage. Black Coffee has ID’d eleven of his tracks across his official Spotify playlist.
“Sandstorm” peaked at number 3 and held a spot there for 209 days. His catalog has reached 175+ chart placements and 13M+ playlist reach. Moreover, it has received support from the likes of Calvin Harris, Martin Garrix, Tiësto, Dom Dolla, Adriatique, and Keinemusik, among many others. This broad global reach positions the Lohrasp Kansara and Joanna collaboration as a key moment for both artists. For fans following the rise of Lohrasp Kansara and Joanna, this collaboration marks an important milestone.
Beyond the touring and catalog, Lohrasp runs LOCO CARNAVAL, his weekly Sunday experiential party at Somewhere Nowhere NYC. He has hosted the likes of Shimza, Moojo, Awen, and Kintar there. This event is a platform that speaks to his curatorial vision as much as his artistry. It is a self-built room in one of the world’s most competitive music cities. Having a hand in unique experiences like LOCO CARNAVAL shows how Lohrasp Kansara’s creativity runs through everything he does. From Joanna to his collaborations with global artists like Afro B, his innovation is clear.
The Release and the Buzz So Far
Since its May 29th release, “Joanna” has already made early moves on Beatport. It landed on the Weekend Picks Melodic 2026: Week 22 at number 47, while currently sitting at number 67 on the overall Afro House chart. Additionally, it is at number 20 on Latest Releases: Afro House, with momentum still building. It has also picked up support from the respected editorial platform Madorasindahouse. This buzz surrounding Joanna and the rise of Lohrasp Kansara Joanna in the scene showcases a momentum that is only growing.
The live energy around the record has matched its momentum. Lohrasp ran the record across two nights at Somewhere Nowhere NYC. This included a Saturday night release party with Afro B performing live to a packed room. Furthermore, it was followed by a Sunday Cenote Project daytime rooftop session that carried the same energy across the weekend. Moreover, the excitement surrounding these events reflects Lohrasp Kansara and Joanna’s influence on fans and the Afro House community.
Why “Joanna” Matters Right Now
Lohrasp Kansara’s “Joanna” arrives at a moment when the line between Afrobeats and Afro House continues to blur. This trend is evident among both mainstream and underground audiences. What makes this release different is the full involvement of the original artist. That participation gives the track a level of cultural authenticity that a standard remix process could never achieve. It takes a song already embedded in the cultural memory of millions and gives it a new home on the dance floor. At the same time, it preserves the qualities that made the original resonate. For anyone tracking the continued rise of Afro House as a global genre, this release deserves close attention. Notably, the collaboration between Lohrasp Kansara and Joanna reinforces their influence on the direction of Afro House.
Where to listen and connect:
Website: Lohrasp Kansara
Instagram: @lohraspkansara
YouTube: @LOHRASPKANSARA
Spotify: Lohrasp Kansara
Soundcloud: LOHRASP KANSARA
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