Tsugi

Tsugi treats music discovery as an editorial practice. It is part playlist, part radio room, part cultural diary. The feed includes DJ sets from Tsugi Radio, long-form residences, magazine playlists, and conversations around festivals and live programming. The pace can be brisk. A Libération playlist moves from Beth Orton’s melancholy return into French new wave, Parisian rock, a Tom Rolland and Aurora collaboration, and Maggie Merlin’s tense, bass-heavy R&B. The commentary pays attention to mood, provenance, and sound. Songs are framed by cities, labels, scenes, textures, and small critical judgments rather than by generic enthusiasm. The DJ-set episodes are more minimal in speech, often leaning on the identity of Tsugi Radio, Stars Music, and the live setting at La Folie L1. They function as doors into club culture. World Famous, presented by Alex from Tokyo, gives the feed one of its clearest signatures: warm, eclectic, Balearic-minded selections that travel through Japan, New York, Brazil, Ukraine, Chicago, and other points on the map. Those hours care about groove. They also care about record culture, reissues, exclusives, producers, labels, and the social life around parties and residencies. Place des Fêtes widens the frame. It connects music with cinema, museums, festivals, independent labels, French-language soul, and the practical pressure artists feel around audiences and success. The show can sound both casual and deeply catalogued. It is not built for passive chart recap. It rewards listeners who enjoy names, scenes, and references arriving quickly, sometimes in dense clusters. At its best, Tsugi feels like standing beside a knowledgeable selector who keeps pulling records from unexpected shelves. The common thread is curiosity with taste, especially around electronic music, indie rock, soul, R&B, and the cultural spaces where those sounds circulate.