By Azzam Bilal 
HangupsMusic.com – MEXICO CITY, The global electronic music landscape continues to be reshaped by the restless creativity of Fred again.., whose ability to document his musical journey in real-time has become a hallmark of his career. In the latest expansion of his digital archive, the UK producer has officially released the full recording of his collaborative DJ set with the rising Mexican trio LATIN MAFIA. Captured during the high-octane USB002 tour, the performance at Expo Santa Fe on December 12, 2025, is now available for streaming on Apple Music, offering a deep dive into a night that bridged the gap between London’s club culture and the vibrant energy of Mexico City’s underground.
Clocking in at just under four hours, the recording is more than just a standard DJ set; it is a sprawling, 55-track odyssey that showcases the eclectic tastes and technical prowess of both Fred again.. and LATIN MAFIA. The set list is a meticulously curated blend of original productions, unreleased edits, and a wide-reaching selection of tracks from some of the most influential figures in electronic and contemporary music. Listeners can expect to hear the raw energy of The Prodigy, the intricate soundscapes of Jon Hopkins, and the atmospheric bass of Mala, alongside contributions from Crybaby and the experimental pop sensibilities of ROSALÍA. This diversity reflects the core philosophy of the USB002 tour—a project centered on spontaneity, collaboration, and the breaking down of genre boundaries.
The Expo Santa Fe performance served as a pivotal moment in a larger narrative between Fred again.. and LATIN MAFIA. The chemistry between the British producer and the Mexican trio—comprised of brothers Mike, Milton, and Yannick—has been a focal point of recent electronic music discourse. Their partnership is characterized by a shared interest in emotional resonance and high-energy performance, a combination that was fully realized during their landmark show at the Palacio de los Deportes on July 30. That event, which saw 20,000 fans pack into the iconic venue, was the culmination of a period of intense creative output known as the ‘9 months & 50 hours’ mixtape. The DJ set now released on Apple Music acts as a spiritual prelude to that mixtape, providing context for the sounds and ideas that would eventually define their larger collaborative works.
The release of the Mexico City set marks the third major installment from the USB002 tour to arrive on streaming platforms. It follows the critically acclaimed recording from Lyon, France, which featured Fred again.. performing alongside electronic pioneers Caribou and Floating Points, as well as the high-energy Toronto mix recorded with his frequent collaborator Four Tet. Each of these recordings offers a different window into the "USB" concept. While the Lyon set leaned into the more cerebral and experimental side of house and techno, and the Toronto session was a masterclass in playful, high-intensity club music, the Mexico City recording captures a unique cultural intersection. It highlights how Fred again.. adapts his sound to local environments, integrating the rhythmic complexities and vocal textures that define the current Mexican scene.
The USB002 tour itself has been a fascinating experiment in modern touring. Eschewing the traditional "album-tour" cycle, Fred again.. has instead focused on a series of pop-up events and collaborative residencies that emphasize the "now." The name "USB" refers to the literal act of sharing music via flash drives, a nod to the grassroots nature of DJ culture where tracks are traded, remixed, and tested in real-time on the dancefloor. By releasing these sets on Apple Music, Fred again.. is effectively inviting the global audience into the inner circle of his creative process, allowing fans to hear the evolution of tracks before they reach their final "studio" form.
For LATIN MAFIA, this collaboration has served as a significant international springboard. Already a powerhouse in their home country, the trio has gained a reputation for their genre-blurring approach, which seamlessly mixes elements of reggaeton, indie, and electronic music. Their presence in the Expo Santa Fe set is palpable, bringing a distinct energy that complements Fred’s signature "Actual Life" style—a sound that often utilizes found-sound samples and intimate vocal snippets. The nearly four-hour duration of the set allowed the artists to explore various moods, from the euphoric peaks of big-room anthems to the more introspective, bass-heavy sections that are a staple of the UK dubstep and garage scenes.
The technical specifications of the mix are equally impressive. Managing 55 tracks over a four-hour span requires a delicate balance of pacing and energy management. The inclusion of artists like Jon Hopkins suggests a willingness to embrace ambient and melodic techno, providing moments of breath between the more aggressive, rave-inspired segments featuring The Prodigy. The nod to Mala, a pioneer of the original South London dubstep sound, further cements the set’s connection to the roots of the UK underground, while the inclusion of ROSALÍA points toward a forward-thinking, global pop aesthetic.
In addition to the audio release, the lore surrounding this collaboration continues to grow through various media. Fans looking for a deeper understanding of the partnership can turn to the mini-documentary released earlier this year, which provides a behind-the-scenes look at the production of the ‘9 months & 50 hours’ mixtape. That film, along with the full audio of the Palacio de los Deportes show, paints a picture of a group of artists operating at the height of their powers, driven by a mutual respect and a desire to push the limits of what a live electronic performance can be.
The arrival of the Mexico City mix on Apple Music also highlights the changing ways in which live music is consumed in the digital age. Long-form DJ sets were once the province of bootleg recordings and niche forums, but they are increasingly becoming a central part of a major artist’s official discography. For Fred again.., these sets are as important as his studio albums, serving as the "living" versions of his music. They capture the mistakes, the improvisations, and the crowd reactions that make live performance a unique human experience.
As the USB002 tour continues to leave its mark on cities across the globe, the release of the Mexico City archive stands as a testament to the power of cross-continental collaboration. It is a document of a specific time and place, where the sounds of London and Mexico City collided to create something entirely new. For those who were not among the thousands in attendance at Expo Santa Fe, this four-hour journey offers the next best thing: a high-fidelity immersion into one of the most talked-about tours of the decade.
Looking forward, the success of the USB series suggests that the "live archive" model may become a standard for top-tier electronic acts. By providing fans with such a high volume of content—from the Lyon and Toronto sets to this latest Mexico City epic—Fred again.. has created a self-sustaining ecosystem of music that keeps his audience engaged between official album releases. As the world waits to see where the USB will plug in next, the Mexico City mix remains a vibrant, essential chapter in the ongoing story of an artist who refuses to stand still. Whether it is through the heavy sub-bass of a Mala track or the soaring melodies of his own productions, Fred again.., alongside LATIN MAFIA, has once again proven that the dancefloor is a universal language, capable of uniting diverse sounds and cultures under a single, four-hour groove.
