Six emerging artists you need to hear: September 2026

Os DJs, produtores e MCs mais recentes e incríveis que estão subindo ao topo neste mês. De techno e trance com tintas de ácido a ambient dub hipnotizante, house que faz bem e rap britânico incisivo, aqui está a lista de talentos emergentes de setembro de 2026 que você deve acompanhar.

Tendo dado os primeiros passos atrás das mesas em 2023, a DJ e produtora franco-americana Yasmin Regisford já fez saltos gigantes na cena techno parisiense. Desde sets de referência em eventos como ADE e Tomorrowland, e o lançamento de seu EP de estreia em 2025 (o kinético, voltado para rave ‘Chroma’), até seu último lançamento na Intrepid Skin da FDJ, os grandes momentos estão chegando em ritmo acelerado para essa dinamo de destaque.

Along the way, she’s played alongside the likes of Patrick Mason, David Löhlein, KTK and DJ Hyperdrive, building solid friendships with many of the DJs who have influenced her in the process.

Regisford’s move into music was in many ways an escape from a stressful career in fashion. While freelancing during the week, she began DJing at weekends, and quickly noticed how different she felt behind the decks.

Her ebullient sound moves through techno, trance and rave, all driven by intricate, rattling percussion. She opened proceedings on the recently released Intrepid Skin V/A ‘Nailbiters Volume 1’ with the banging polyrhythmic techno cut ‘Virada’.

The EP brings together Regisford’s diverse musical influences, reflecting her experience of growing up mixed-race. Lead track ‘IRIE’ is a dancefloor fever-dream, weaving the groove and vocal traditions of dub reggae through techno and psy-trance dynamics in what she describes as “a reflection of my own cultural hybridity”.

Se você deseja uma pista de dança com uma energia totalmente positiva, venha para o Party Favours. Esses encontros são um caldo de cultivo para sets movidos pelo groove que colocam a alegria e a conexão no centro — e isso é fruto do design do anfitrião Caleb Jackson.

Swell times follow the Sydney-based artist, who made a breakthrough splash supporting acts like Michael Bibi close to home. Now, with the success of his signature event series and label of the same name, he’s forging his own path backed by a nostalgia-rich soundprint that fuses soul with body-moving basslines.

Even beyond his own parties, this energy is at front and centre of Jackson’s sets. Germany’s Fusion Festival got a taste when he dropped his recent edit of Queen’s ‘A Kind of Magic’.

Earlier this year, as she stepped outside of a theatre in New York’s Time Square, Eden Aurelius received an email. She’d been invited to play a live set at Dripping, an intimate weekender in the woodlands of Sparta, New Jersey, where avant-garde electronic experiments and sound system culture coalesce in an ethereal rave haze.

It was a full circle moment for the Illinois-born, Brooklyn-based producer and DJ, who’d heard one of her own tracks played out in the early hours of 2025’s edition during CCL’s closing slot.

Returning to the picturesque lakeside site in June with a suite of deeply immersive ambient dub techno, the meditative tenor of her music felt right at home, floating through The Barn space like a dreamy pre-dawn mist on water.

It was a highlight in what’s been a pretty busy two years for Aurelius, during which she’s become a regular fixture at NYC underground hubs like Public Records (most recently with Mu Tate, Nexcyia, Kat Offiline and Kfeelz for the BALLET series), made multiple appearances on The Lot Radio, and opened for Detroit dub techno legend DeepChord at Nowadays alongside Purelink’s Milia.

All the while, she patiently worked on the follow-up to her 2024 EP ‘Plateau’, tracing glimmering threads of inspiration until she finally arrived at ‘Entre Nous’, her spellbinding debut album for Sheffield’s Short Span label.

Throughout the six-track record – whose name, translated from French as “between us”, was inspired in part by the longstanding Bay Area Lesbian magazine – Aurelius conjures a celestial soundworld out of gossamer loops, filigreed beats and soft-focus synthesis.

Listening to tracks like ‘Acquiescence’, ‘Darkroom’ and ‘Ion’, featuring West Mineral affiliate Pontiac Streator, your mind may drift toward visions of expansive vistas – waves erupting in slow motion against the shore; a sea of clouds cascading down a mountain valley.

Elsewhere, ‘Passing’ reflects on gender identity and expression via shimmering drones and flickering textures. “It’s not only about being perceived,” she says, “but being the person you are”.

It soothes the spirit in the way a salty sea breeze might – it’s gentle, sure, but it’s teeming with life. “In the end this record is the culmination of a lot of love and musical inspirations and just trying to share something that is meaningful to me with others,” she says.

Aurelius’ route to the music she makes now has been far from linear. From a childhood spent listening to her parents' mixture of ‘80s pop, disco, grunge and thrash metal records, through adolescent years learning drums, piano and guitar, to eventually landing on electronic music production via Audacity loops and field recordings, an exploratory streak has consistently guided her along the way.

Through experiments with granular synthesis, sampling and audio degradation, she started making ambient house music before she had any real grasp of its history.

Feed that influence into that of formative nights spent dancing at hallowed Chicago clubs and DIY venues, and her arrival at her current sound palette feels almost inevitable.

Aurelius recently made her debut at Sustain-Release, and over the next months will play live at events including the Printed Matter Art Book Fair and DJ at the Durations Festival in Public Records, sharing a bill with DJ Sprinkles.

The project arrives less than a year after the release of ‘blair babies’; Ceebo’s critically acclaimed lyrical treatise on the generation who grew up amongst the ruins of New Labour.

In direct contrast to the anxious, dystopian atmosphere of ‘blair babies’, the vibe of ‘BLOCCSTAR’ is, for the most part, triumphant. “I think sonically, ‘BLOCCSTAR’ is a lot more grand.

There’s a lot more life to each track. There’s multiple things happening at once. For the purpose of the story I’m telling, the music has a life of its own,” he explains.

One such moment on ‘BLOCCSTAR’ is ‘Macbeth’s Soliloquy’, where Ceebo uses his pen like a surgeon’s blade on himself, extricating his own deepest contradictions.

I made the creative concession out of ambition and that makes me a hypocrite, because I said I never would, and there I am doing it.” The song is followed by ‘These Days’, where Ceebo dims the light of a young man who views his music as a hopeful beacon, telling him, “I’m on profit these days”.

It’s the UK rap version of Macbeth killing King Duncan. “But the tape ends differently to Macbeth,” he continues. “I double back to what makes me who I am, which is my area, my leaders, my stories, and my community.”.

Ceebo’s writing on ‘BLOCCSTAR’, perhaps even more than on ‘blair babies’, holds up a mirror to himself and doesn’t flinch. This commitment to self-critique is what makes his music so important and relatable.

I think the most compelling authors understand that everything is justifiable, but everything is not right.” ROB KAZANDJIAN.

His latest EP, ‘MISS SIXTY’ with Frag Maddin, has just dropped via Chloé Caillet’s SMIILE Records, delivering three bombastic house tracks. “There’s something about house music that just gets into your body before your brain even catches up.

Like, one open hi-hat and your shoulders are already moving. That’s what I’m always chasing — that moment where you stop thinking,” he says. With music for Butch’s Finicky label, a release with Mike Dunn and Ben Evers on Luuk van Dijk’s Dark Side Of The Sun, and a vinyl compilation on Café Soda Records still to come this year, he’s certainly seizing the moment.

As UK crowds shift away from speed garage, 2-step and proto-dubstep are back in swing. Canterbury producer KAISUI is one of its most astute students. In 2018, you could find him in the Manchester University library making bassline with his mate during free periods, just before he discovered the uber-saturated UKG of Kiwi Rekords.

A self-taught producer and graphic designer, you can spot a KAISUI release from its taut, hyper-economical headrush of drums, scolded bass and sharp chord stabs, packaged in his own intricate, Designer’s Republic-inspired artwork.

His productions have been played out by his nascent heroes Conducta, Oppidan and Sammy Virji. His most treasured co-sign, however? El-B. “He’s the GOAT. I met him at Venue MOT, and he mixed my track with Flirta D, ‘Reckless’, with his track ‘The Club’.

KAISUI is teasing plenty, including a new rally house-inspired tune “wrx2026”, an upcoming track with bass titan Cesco, and a collab with the prince of darkness himself, El-B.