Contributing WriterAfter two decades away from the spotlight, Max White has catapulted back onto the electronic music scene with a sound that’s as bold and driven as his past life behind the wheel of a Formula 4 car. His return single “Need You” didn’t just make noise, it skyrocketed to #1 on Beatport and proved that true artistry never rusts. With his new EP ‘Redline Dreams’, Max merges the raw energy of racing with the emotional depth of melodic techno, crafting tracks that hit as hard on the dancefloor as they do under the moonlit pulse of an open highway. In this interview, we dive deep into his sonic rebirth, the pulse of Miami, and why he’s just getting started.
After a 20-year break from music, you came back with a bang, “Need You” shot straight to #1 on Beatport. What inspired your return, and how did it feel to top legends like Armin van Buuren?
Music never stopped being the pulse behind everything I do. Even during the years I stepped away from the scene, I was still deep in it—digging through crates, following the evolution of the sound, showing up at festivals. I always knew I’d come back; it was just a matter of timing. Now feels right because the landscape of electronic music has matured—audiences are more open, the tools are more powerful, and there’s space for real individuality.
When “Need You” hit #1 on Beatport and edged out legends like Armin van Buuren, it was surreal—but also a clear signal. The scene is hungry for fresh perspectives, even from names they might not know yet. It’s not about chasing trends; it’s about making something real. That moment wasn’t just a personal win—it proved that the dance floor still has room for risk, emotion, and reinvention.
Your new EP Redline Dreams is described as a high-octane journey rooted in your past life as a Formula 4 racer. Can you talk about how your racing background influenced the sound and energy of this project?
Racing wired me to chase momentum, to live in that razor-thin space between control and chaos, that’s exactly what Redline Dreams captures. At first, I was just laying down grooves that felt fluid and forceful. But as the tracks evolved, the spirit of racing started bleeding into everything: the pacing, the tension, the vocal cuts—it all began to echo that high-speed mindset.
I didn’t set out to make a concept EP, but the theme emerged on its own. Each track hits with a mix of precision and pressure, like downshifting into a tight corner at 130. It’s built for the club, no doubt, but Redline Dreams really comes alive on the open road. Midnight, windows down, engine roaring, that’s where it belongs.
Tracks like “Go Fast,” “Hit the Gas,” and “Cross the Line” feel cinematic and adrenaline-charged. Were there specific scenes or films, like Fast & the Furious, that shaped your creative process?
Each track on Redline Dreams taps into a different side of racing culture—both the myth and the reality. Go Fast channels that sleek, adrenaline-soaked vibe from the early Fast & Furious films. I remember watching that first street race scene as a kid—it was the moment the underground racing world hit the mainstream. It’s all polished danger: speed, style, and swagger.
Hit the Gas is grittier. That one’s drawn straight from the real streets—highway runs, underground meets, the raw horsepower battles like Texas 2K. It’s less Hollywood, more horsepower. The energy is darker, meaner, all torque and tension.
Cross the Line is the emotional anchor. It samples the Brazilian GP broadcast from Ayrton Senna’s legendary home win—he was so physically drained he could barely lift the trophy. That spirit—pushing past your own limits—is what drives the track. It’s not just about speed. It’s about endurance, heart, and the will to finish.
There’s a strong emotional core under the surface of the EP. How do you balance the intensity of tech house with the emotional depth of melodic techno in your production?
That balance is everything to me. Tech house gives you the engine—the drive, the groove, the energy that hits your body first. But melodic techno brings the soul. With Redline Dreams, I wanted to blur that line. The intensity keeps the momentum alive, but the emotion is what gives it weight.
I approach production like I approached racing—you need precision, but you also need feel. Every synth line, every vocal chop, every automation curve is meant to create tension, release, and atmosphere. It’s not just about hitting hard; it’s about making people feel something while they move. That emotional undercurrent is what keeps the tracks stuck in your chest long after they’ve left the speakers.
You’ve been shaped by the Miami scene, how has that environment impacted your style and evolution as an artist?
Miami’s in my blood—it’s loud, it’s diverse, it never stops moving. The city shaped my sound in every way. You’ve got Latin rhythms colliding with Caribbean basslines, classic house grooves blending with new school EDM, and it all exists under this nonstop, neon-lit party energy. That mix of cultures and influences forces you to stay open, stay curious, and push your sound forward.
There’s also this thread of nostalgia woven through the scene—those vintage synths, 80s textures, Italo-disco moments—you feel it in the air here. I lean into that when I produce. Redline Dreams has that same DNA: fast, vibrant, emotional, but grounded in groove. Miami taught me that you don’t have to pick between underground credibility and mainstage energy—you can live in both worlds if the music’s real.
The EP feels built for both the dancefloor and the open road. Was that duality intentional when crafting Redline Dreams?
Absolutely. The groove is always the foundation—I build everything to move the dance floor first. But I also wanted Redline Dreams to live beyond the club. The melodic layers, the tension and release, the cinematic textures—they’re what take the tracks out of the booth and into motion.
That duality was intentional. I wanted each track to feel just as alive in a dark, packed room as it does on a solo night drive. Whether you’re under strobes or headlights, this EP is about movement—physical, emotional, mechanical.
Your upcoming summer tour kicks off in Ibiza with secret European dates, what can people expect from your live sets, and how do you translate your studio sound to the stage?
My sets are all about movement—groove with purpose, melody with muscle. I love crafting that arc, whether it’s a sunset session blending Afro house and melodic textures, or a peak-hour set where I unleash heavier tech house weapons and some unreleased fire from the vault.
The goal is always the same: create a space where rhythm and emotion collide. I bring the same energy and precision from the studio to the stage, but I leave room for the crowd to shape the journey. Every set is curated in real-time, built to make people feel something while they move. Expect grooves that hit, melodies that stay with you, and moments that keep you locked in from the first beat to the last drop.
You’ve got a collaboration on the horizon with Miami tech house legend Basilone. Can you give us an idea of what that track sounds like and how the collaboration came about?
Absolutely—working with Basilone has been electric from the start. He’s a force in peak time techno and tech house, and we both share a deep connection to Miami’s underground. The track we’ve created blends our worlds: it’s rooted in tech house but pulls in textures from melodic techno and electronica. Think rolling basslines, emotive synths, and that gritty Miami club energy pulsing underneath it all.
We met through the local scene—mutual respect turned into creative chemistry pretty quickly. One studio session turned into five, and this track just built itself from there. It’s got drive, groove, and melody—something that hits hard but also sticks with you.
We wanted to make something that reflects our city and our shared influences while still pushing boundaries, and I think we’ve done exactly that. Can’t wait for people to hear it
What gear or production techniques were essential in shaping the sound of Redline Dreams? Any go-to synths or plugins you can’t live without?
Redline Dreams is built on sound design from the ground up. I don’t rely on samples—everything is MIDI-driven, from the basslines to the leads. That gives me full control to shape the vibe and energy exactly how I want it. Serum is definitely my go-to for sculpting synths—it’s versatile, surgical, and powerful. But beyond that, I spend a lot of time refining textures with tools like FabFilter’s Saturn for saturation and UAD gear when I want that extra analog color.
There’s also some outboard gear I use occasionally—certain pieces I keep close to the chest.
Let’s just say, when I need a sound to really hit different, I step out of the box and run things through some vintage analog chains. Not everything should be on the grid, you know?
At the end of the day, it’s not just about what you use—it’s how deep you’re willing to go into the sound. I treat production like racecar tuning—everything is dialed in to perform.
Now that you’ve made your return with such a strong debut, what’s next for Max White? Are there more releases, collabs, or surprises in the pipeline beyond the tour?
The return was just the ignition—I’m in the studio daily, constantly building, refining, pushing the sound forward. Right now, I’ve got over five unreleased tracks in the pipeline, each in a different stage of evolution. The next one to drop is Moving Hostile, a high-energy tech house/bass house hybrid that hits on June 27. It’s gritty, loud, and made to shake the floor.
We’re celebrating big in Miami the next night—June 28 at Paraiso Estereo—where I’ll be headlining a stacked lineup alongside incredible local talent like Nico Moon. That night’s not just a party, it’s a full-on launch. A celebration of Redline Dreams, Moving Hostile, and the energy we’re bringing into the next phase. And it’s only the beginning.
Fall’s already looking huge. We’ve got festival plays in the works, new collabs lining up, and more releases on deck. I’ve got my foot on the gas and no plans to lift.