Zombies in Miami are two undead figures in the neon light who build pressure one bar at a time. From Aguascalientes, Mexico, to anywhere the sub hits just right, Cani and Jenouise have learned to speak the language of clubland through an ethos of pulse and patience. Track by track, they craft tools with a hint of tribal, a hint of house, and just enough melancholy to lend a subtle glow. Onstage, the same instincts become kinetic theater, serving as the conduit between studio grammar and human momentum that has helped create and reinforce their reputation in clubs and at festivals across Europe and the Americas. On October 31, Zombies in Miami land at Control for a DJ set just right for Halloween 2025 - Attack of the 50ft Speakers.
Both Cani and Jenouise grew up outside Mexico City, absorbing Latin rock (Mano Negra, Los Fabulosos Cadillacs), baile, and ska alongside early electro and Miami bass (think Egyptian Lover, Maggotron). When they pivoted toward dance music, the template became a bilingual palette. An early calling card was the 2014 EP Cowboys & Indians on La dame Noir, featuring seven tracks that showcased their percussive/melodic blend (including “Roller Bit” with Lokier) and, via a remix cast of Matt Walsh, Demian, Forty Fings Dynamo and Iñigo Vontier, helped put their name into wider European circulation.
Their debut full-length album on Permanent Vacation, 2712, is their thesis statement. Sequenced like a night’s arc, it opens with shimmering lift-off (“Moonlight”), sweeps through a slick chug (“Disco Nostalgia”) and resolves in bittersweet morning light (“When Your Time Has Gone”). It’s a portrait of two producers who understand that longevity depends on restraint as much as it does on impact. The afterglow of 2712 included a remix package that highlighted how peers like Lauer, The Juan MacLean, and Kim Ann Foxman had responded to the material.
Between album-length statements, Zombies in Miami have drawn a consistent line through the boutique end of house and techno. Permanent Vacation, Running Back, Correspondant, Cómeme, Love on the Rocks, Live at Robert Johnson, fabric-adjacent catalogues, Riotvan and Internasjonal are the imprints that recur around them. Tracks like “Panoramica,” issued on the first edition of Running Back’s One Swallow Doesn’t Make A Summer series, are sun-on-steel movers that lean on a patient bassline and airbrushed melody. You could draw a line from that to the duo’s 2024 single “The Rhythm,” which pushes their tribal house DNA to the front. Their own remixes and edits surface regularly in sets, but the through-line remains the same.
Around the pandemic years, the duo formalised Creatures of the Night, a label and party platform that extends their vibe while naming their community outright. On record, it’s the home for their most immediate dance-floor instincts; as a party, it stages an itinerant frame where friends, peers and younger voices orbit the Zombies in Miami core.
Recent singles sharpen this point. The Creatures of the Night catalog runs lean and functional with the kind of cuts DJs reach for when they want the crowd to feel like they’re inside the record. Consider the 2025 trio of “LATINX HEAT,” “Stairway to Heaven,” “Feeling the Heat” that lean into the imprint’s own aesthetic tagline, “Latinx heat”.
On the road, the duo has earned its reputation the old-fashioned way, with sets that connect. Berghain/Panorama Bar, Robert Johnson, fabric, Blitz, Nitsa, Lux Frágil, Good Room; Sónar, Fusion, Garbicz, Paradise City, MUTEK, Nachtdigital, all have comfortably slotted Zombies in their lineups. Recent highlights have included repeat European runs and North American radio appearances that mirror their club narrative, characterised by long phrasing, patient builds, and a curatorial ear that bridges eras without losing tension.
If you’re programming a room, the proposition is simple: Zombies in Miami bring a deeply road-tested grammar that respects dancers’ attention spans. And if you’re tracing a cultural trajectory, they’re a case study in how Latin American artists have stopped asking for gatekeeper permission to shine.
