From the sun-soaked beaches of Florianópolis to the world’s biggest festival stages, Eduardo Poskus Lopes – better known as ÖWNBOSS – has carved out a unique path in electronic music that blends Brazilian passion with international appeal. With over 4.7 million monthly listeners on Spotify and tracks like “Move Your Body” amassing more than 400 million streams, the Santa Catarina native has become one of Brazil’s most recognizable electronic music exports. But ÖWNBOSS’s story isn’t just about streaming numbers or festival bookings. It’s about an artist who’s navigated the complex realities of breaking out from a peripheral music scene, building authentic connections across cultures, and staying true to his vision in an industry that often prioritizes trends over substance.
His latest release, “She Wanna Dance,” exemplifies this approach – a truly international collaboration featuring Polish duo melo.kids, Jan Barg, and rapper Pat that came together organically, without overthinking or forcing creative chemistry. Now, as he prepares to launch his own label No Signal and reflects on a year of rebuilding and restructuring, ÖWNBOSS offers insights into the explosive Brazilian electronic scene, the challenges of international success, and what it means to create music with genuine identity.
In this candid conversation, he opens up about the highs and lows of the music business, the importance of surrounding yourself with the right people, and why sometimes the best thing an artist can do is slow down to speed up. This is the story of an artist who’s learned that being your own boss means more than just creative control – it’s about building something sustainable, authentic, and real in a world that often rewards neither.
1. Eduardo, you’re from Florianópolis, Santa Catarina. How did growing up there shaped your sound, and what drew you to electronic music production in the first place?
Growing up in Florianópolis definitely played a big part in shaping who I am as an artist. The city has this mix of natural beauty, nightlife, and a pretty unique energy. I started going out to clubs pretty young and was instantly drawn to the power of electronic music the way it brings people together and creates moments. That’s what made me want to start producing. At first, it was just curiosity, but it quickly became an obsession.
2. Brazil has grown a lot in recent years. From your perspective as someone who’s achieved international success, how would you describe the current state of the Brazilian electronic scene, and what makes it so unique compared to other regions?
Brazil is on fire right now. There’s so much talent emerging, and the local crowd has this unmatched energy. What makes the scene here unique is how emotional and passionate people are, you can feel it on the dancefloor. And we’ve also created our own styles and vibes, like Brazilian Bass and other hybrids, so it’s not just copying what’s happening out there: it’s about creating something original that connects locally and globally.
That said, our scene is still small and fragile when you look at the bigger picture. Electronic music isn’t the most popular genre here, and we face real challenges from the currency exchange making it almost impossible to book big international acts, due to an economic crisis that’s effecting a lot of people. So while we have Brazilian artists breaking through globally, we’re still fighting to grow the scene at home. It’s really two sides of the same coin.
3. What was your breakthrough moment – that pivotal point where you transitioned from a local Brazilian producer to an international artist? Were there any specific challenges you faced breaking into the global market?
I’d say the real turning point was the release of “Move Your Body”. That track just exploded and opened a lot of doors for me around the world.
But getting there wasn’t easy. I started DJing back in 2007 and turned it into a full-time profession in 2012 so it’s been a long journey. Sometimes people think success happens overnight, but for me that definitely wasn’t the case.
Coming from Brazil often feels like you’re far from the big industry hubs. You have to push twice as hard to get noticed internationally, plus language, timezone, logistics and other chalanges… all those things are really hard to overcome.
But despite all that, Brazilians have this insane drive when they step out into the world. There’s something powerful about leaving home and going all in. I think that’s why our country is making so much noise internationally right now. Ayrton Senna even talked about that in an interview once, how being Brazilian means giving everything you’ve got, especially when you’re far from home.
4. Let’s talk about your latest release “She Wanna Dance.” This track brings together Polish duo melo.kids, Jan Barg, and rapper Pat. How did this collaboration come about, and what was the creative process like working with such a diverse group of artists?
“She Wanna Dance” came together pretty organically. I had connected with the Melo Kids guys before and always wanted to do something together. Jan Barg brought a really cool vibe melodically, and then Pat jumped in with this raw energy on the vocals that completed the whole thing. It was a remote collab, but somehow everyone added their own flavor and it just clicked. We didn’t overthink it, we just had fun.
One thing that makes this track really special to me is the vocal. I’ve always wanted to have a track with English vocals but with a different kind of accent something that stands out. At first, I actually thought it was a French singer, but then I found out it was a Polish accent, and I love that. It adds a unique identity to the song and gives it an international character that feels fresh.
5. Have you thought about becoming literally Your Own Boss and and starting your own imprint?
I have a label party called No Signal, and it’s slowly starting to evolve into an actual record label. It’ll start with my own releases and then open up to other DJs and producers that I connect with; people whose music I genuinely like and believe in.
6. What vision do you have for the label, and how does it differ from other electronic music labels out there?
With No Signal, the idea is to build something that’s not driven by trends or algorithms. I want it to be a space for music with identity stuff that I’d actually play in my sets and that resonates with who I am as an artist. These days, it feels like everyone’s copying each other just to stay on top of trends and hypes. We want to go in the opposite direction to release music that’s original, honest, and creatively free, even if it doesn’t fit the mold of what’s “hot” right now. That’s what really sets No Signal apart.
7. What are advantages and disadvantages of being Your Own Boss vs releasing on other labels?
The biggest pro is control. You decide the timeline, the visuals, the vibe. You’re not at the mercy of someone else’s calendar. But on the flip side, you carry all the responsibility too. When you release with a big label, you get access to their network, their reach. So it’s all about finding balance I still release on other labels too, when it makes sense.
8. What kind of artists are you looking to sign to No Signal? Are you focusing on Brazilian talent, international artists, or a mix of both?
With No Signal, we’re looking for artists who have a strong and unique musical identity. It’s not about follower count or hype, it’s about the music. Right now, we’re open to both Brazilian and international talent, as long as the sound feels authentic and fits the vibe we’re building. We want to work with people who are doing their own thing, not just chasing trends, but artists who bring something fresh to the table and who we genuinely believe in.
9. Which Brasilian artists and music venues would you recommend to us?
Brazil has so many talented artists that it would be a really long list, so I’ll mention the ones I know well and have had the chance to work with in the studio or share the stage with and also some less obvious names, so readers can discover fresh talent from Brazil: Antdot, bakka, Bruno Be, Meca, Santti, Schilist, Fancy Inc, Elekfantz, Jord, Lowderz, DJ Glen, Copolla, Riascode, ZARO, Daft Hill, Pirate Snake, Carola. For venues, Laroc, P12 and Green Valley for sure.
10. What have you learned about the business side of electronic music, and what advice would you give to producers about building a sustainable career beyond just making great tracks?
One big lesson: music is just one piece of the puzzle. You need to understand branding, networking, marketing, contracts… It’s a business.
But honestly, the business side of music can be really ugly. There were times in my life when I seriously thought about quitting because of it. That’s why you have to truly love what you do because if you don’t, it becomes unsustainable in the long run. I’ve learned the hard way, or maybe the right way, since we learn through mistakes that aligning yourself with the wrong people can cost you a lot. A lot.
So think very carefully before working with someone. Most people in this industry are just pretending to work, they don’t actually deliver anything, and they just see you as another paycheck with minimal effort. Surrounding yourself with people who are genuinely committed makes all the difference.
And take care of your royalties. At first, it might not seem like much, but it builds up over time and becomes a big part of your income. I also learned that in the hard way, once I found was being consistently robbed by a company I thought was legit. So, yeah, always align yourself with people who are serious, transparent, and truly invested in your career.
11. Looking ahead, what are your plans for 2025?
2025 has been a year of rebuilding for me, and a time to plant new seeds. I restructured my internal team, reworked my strategies, rebranded everything, and switched agencies in Europe, Asia, and Brazil. Basically, I cleared out everything that no longer served me to make space for what’s coming and for new opportunities and good energies.
After years of constant touring and non-stop shows, I was mentally exhausted just going through the motions on autopilot. This year was about slowing down, holding the wave, and rebuilding things the right way. The goal is to come back really strong in 2026, but this time with clarity, energy, and direction.