Manny Ferreiros, professionally known as Manolo, has dedicated over two decades to mastering his spell over the dance floor, building a vast and intensely loyal audience in the process.  His residencies at Boston’s two mega clubs, Avalon and the Roxy, as well as his production work, helped him to earn worldwide recognition for both nightspots.  Breaking new ground for Boston clubbers over the course of his unprecedented 8-year residency at Avalon, and generating among DJs an entire school of imitators of his sound and his mixing style, Manolo achieved for Avalon Mixer magazine's vote as “Best Club” in America in January 2001.

Manolo's signature sound was then, and continues to be, what fans know as "progressive house." Progressive is now making a strong comeback in America and has conquered much of the pop music world overseas, and as one of the genre's formative DJs, Manolo can surely be considered ahead of his time, yet also that his time is now. Few DJs in house music's 25 year run can say as much.

As a producer, Manolo's music springs entirely from real emotion and real feeling. It isn't just an artistic journey, or a display of virtuosity for its own sake. His tracks have soul and meaning.  He intends them for expression on big crowds on big dance floors, and there is nothing subtle about their impact. Big dance crowds inspire Manolo's big soulfulness, indeed the sound in his tracks is that of bigness and of large numbers of people expressing themselves all together, diverse and unified at the same time. His fans love it.  Survey a club when Manolo is spinning, and everywhere you look, you’ll find hands raised in the air and a look of rapture on the upturned faces of the crowd.

So, yes, Manolo makes powerful, driving music, with big feelings and big sounds.  However, it's Manolo’s melodic touch that looms over everything else in his recordings.  Listen, for example,  to his remixes of "Taking Chances" by Celine Dion, "Just Fine" by Mary J Blige, or "Let The World Fall Apart" by Jan Johnston, and you'll clearly hear his melodic touch, evoking new emotions through his production work.

Darkness has also long been integral to dance music in the Age of House, yet Manolo has always sought to find the beauty within it.  He combines everything from dark and deadly serious rhythms to lush and uplifting vocals, creating a singular sound of his own.  Manolo has also been widely recognized for his collaborations with rising internationally known DJ-producer, Tom Colontonio.  (The duo is better known as Double Agents.) 

Over the years Manolo has been involved in many different nightlife related ventures. In addition to his main gig as a working DJ, these include owning a boutique style record store (Sound Factory), co-founding and running New England's first DJ School (DJ Mix Academy); operating a state of the art recording studio (Noisefloor Recordings) and a high end lounge in the Philadelphia area (One14). More recently, Manolo was the managing operator overseeing the highly successful and nationally acclaimed nightlife venue inside Harrah's Resort; The Pool After Dark, winning "Best Mega-Club 2011". At The Pool, Manolo embraced the world of event staging with a huge hit on his first such venture. "We would have 3000 to 4000 fans coming to our event on the weekends," Manolo relates. It was the biggest and most successful event of its kind on the East Coast."

Today, Manolo continues to push the boundaries through his new venture; Nocturnal Nightlife Group, a multi faceted entertainment group focused on staging dance music events, talent management and event marketing. Manolo is actively busy splitting his time between his production work, working his magic in the dj booth and breaking new ground with Nocturnal.
Clearly, there are few roles that Manolo has yet to fill in the world of dance music – as a successful DJ, producer, remix artist, Manolo has done it all with integrity, and with humility.  Manolo is a gentle, honest, and caring artist with a tremendous passion for music.  “Who knows what the future holds,” he concludes on a hopeful note, “but there is one thing that I am sure of: the music has always been and will always be my mistress.”



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