Max White isn’t your typical newcomer to electronic music, he’s a former Formula 4 racer whose return to the scene after two decades has been nothing short of explosive. His debut comeback single “Need You” shot straight to #1 on Beatport, marking the beginning of a new chapter where speed, precision, and raw emotion converge. With his Redline Dreams EP, White translates the adrenaline of the racetrack into cinematic club journeys, blending high-octane energy with atmosphere and storytelling. Now based between Miami and Ibiza, he’s gearing up for a relentless second half of 2025, taking his sound worldwide with bold performances and immersive visuals that push the boundaries of electronic music.
Let’s start with the basics, for those just discovering you, who is Max White, and how would you describe the world you’re building with your music?
Max White is about speed, emotion, and precision, everything I learned from racing, I now pour into music. The world I’m building is one where high-octane energy meets emotional depth: a space where people can lose themselves on the dancefloor but also connect with something cinematic, something that lingers beyond the club. It’s not just about beats, it’s about atmosphere, storytelling, and motion.
You took a two-decade break before re-entering the scene with “Need You,” which shot to #1 on Beatport, what was the moment that pulled you back into music?
The pull never left – it was just idling in the background. But the real spark came when I realized the scene had shifted. People were open to more personal, emotional takes on electronic music. I didn’t want to just DJ again; I wanted to bring something new. One night in Miami, standing in the middle of a packed club, I knew it was time to get back in the driver’s seat. That moment became the ignition for “Need You.”
The “Redline Dreams” EP feels incredibly cinematic. What inspired this concept, and how much of it is drawn from your racing days?
It was unplanned at first. I just followed the sound, but as the tracks developed, I realized I was channeling the same intensity and flow I lived through racing. The tension before a corner, the release as you accelerate out, the moment of quiet serenity going full throttle on the straightaway—that became the structure of the songs. Cinematic textures came naturally because racing is inherently cinematic: headlights cutting through night, engines roaring, adrenaline spiking. Redline Dreams is the soundtrack to that world.
You used to race Formula 4, what parallels do you see between the adrenaline of driving and the energy of DJing or producing?
They’re both about living in that edge-zone where precision meets chaos. In racing, you’re controlling speed that constantly wants to break free. In DJing, you’re controlling energy that could explode at any moment. Both demand focus, quick decision-making, and feel, you can’t just rely on the technical side, you have to trust instinct. That parallel keeps me chasing intensity, whether it’s on a track or in a club.
Let’s talk production. What gear or software is essential to the Max White sound right now?
Serum is at the core, it’s the engine for most of my synth design. I also lean heavily on FabFilter Saturn for texture and warmth, and some UAD plugins when I want analog color. Everything is MIDI-driven, I rarely rely on samples. That’s what gives me precision. For finishing touches, I’ll sometimes run sounds through outboard analog gear to get grit and depth you can’t fake.
“Cross the Line” is like the emotional comedown, cinematic, almost noir. Was it important for you to close the EP with that track?
Absolutely. “Cross the Line” isn’t just a track, it’s the statement of the EP. Every race has a finish line, every journey has a point where adrenaline gives way to emotion. Closing with that track allowed me to leave listeners in a reflective space. It’s not just about speed, it’s about endurance and heart. Ending the EP that way made it feel complete.
The visuals and artwork around your project are bold and sleek. How involved are you in the aesthetic side?
I’m hands-on with it. For me, the visuals are an extension of the sound. Just like in racing, presentation matters, the car’s livery, the feel of the helmet, the design of the track environment—it all contributes to the experience. With my music, I want the artwork, visuals, and stage design to feel as cinematic as the sound. Sleek, bold, minimal, but always charged with energy.
What’s next for you in terms of upcoming shows, new music, and what fans can look forward to in the second half of 2025?
The second half of 2025 is wide open throttle. July kicks off in Ibiza, then I’m back in Miami before heading to New York in mid-August and on to several camps at Burning Man. September brings me home to Miami again, where I’ll be collaborating with top DJs and curating events that channel the spirit of Club Space into new satellite venues. Beyond that, more U.S. and international dates are on the horizon, with a few major surprises I can’t reveal just yet.
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