A good disco edit gives you a reason to return to a song. The new setting might catch your attention first, but the real pleasure comes when the song and the rhythm begin to make sense together. You recognise something familiar and find a different way into it.
Fola Dada’s "We Run (Martin Eigenberg & Ryan Shade Disco Edit)," released through Phazz-a-delic New Format Recordings, is a disco reinterpretation of her original song. This edit is notable for successfully blending an established jazz and soul singer with producers known for disco and house, offering a fresh perspective on the composition. The track establishes its direction with a regular rhythmic pulse and a strong low-frequency foundation, creating a dynamic arrangement that makes the full piece feel significant. The original "We Run" appeared on Fola Dada’s 2025 album *Sisters & Brothers* and addresses contemporary restlessness, which adds an intriguing tension to the dance-focused edit.
“We Run (Martin Eigenberg & Ryan Shade Disco Edit)” by Fola Dada, released through Phazz-a-delic New Format Recordings, brings together an established jazz and soul singer with two producers whose shared catalogue has a clear connection to disco and house music.
The pairing has an interesting starting point. “We Run” already belongs to an artist comfortable moving between musical styles. Its original context also gives the title more to consider than the simple suggestion of forward motion. There is a song about contemporary restlessness behind the invitation to dance.
That combination is what makes this release worth exploring: the physical momentum of a disco edit, the background of a distinctive singer and the opportunity to encounter an existing composition from another angle.
A Disco Edit Built Around Movement
The edit establishes its direction through a very regular rhythmic pulse and a substantial low-frequency foundation. Those elements give the main sections their weight and continuity, creating a clear frame for the arrangement.
The opening begins at a lower energy level and gradually introduces a brighter frequency balance before the fuller section arrives. That transition gives the track a recognisable sense of lift. Once the main passage is established, its energy stays comparatively consistent, allowing the rhythm to do its work.
There are also distinct moments of release. The arrangement reduces its weight in the middle portion, briefly returns to fuller intensity, and then opens into a more sustained lower-energy passage. The subsequent return gives the later section renewed impact.
This is an effective shape for dance music because it makes the full arrangement feel significant more than once. A reduction in energy changes what you anticipate. When the weight returns, the relationship between expectation and arrival becomes part of the enjoyment.
Towards the end, the low-frequency emphasis recedes and the track winds down. The arrangement therefore has a clear direction from introduction through sustained movement, interruptions and return to its final departure.
What is the original song behind the 'We Run' Disco Edit?
“We Run” appeared on Fola Dada’s album Sisters & Brothers, released in 2025. The album credits identify Dada and Ulf Kleiner as the song’s composers. Its accompanying notes connect “We Run” with the restless, fragmented attention of contemporary life. Explore the original album and its credits on Fola Dada’s Bandcamp.
That background gives the disco treatment an intriguing tension. A song concerned with constant movement and divided attention now arrives in a version designed around a particularly clear rhythmic drive.
I like the possibilities in that meeting. Dancing can be one of the few times when movement actually makes life feel simpler. You follow a rhythm, share a space and spend less time deciding what deserves your attention next.
That is an interpretation of the pairing, rather than a statement about the producers’ intentions. Still, it gives listeners something to take into the track. The title can work as an immediate invitation, while knowledge of the original song adds another layer.
If this edit is your introduction to “We Run,” the album version is a worthwhile next stop. Hearing both gives you the chance to decide how the different settings affect your response to the same composition.
Fola Dada’s Musical Range Makes the Connection Natural
Fola Dada received the 2022 German Jazz Prize in the National Vocal category. Her official biography describes an artist whose musical interests extend across jazz, Afrobeat, blues, electronic music and soul. It also notes her work as a professor of jazz singing in Mannheim and her own vocal school, Stimmwerk. Read Fola Dada’s official biography.
Those details help explain why a disco edit belongs comfortably within the wider picture of her career. Her work already has connections to several musical languages, including house and pop.
There is another particularly fitting detail in her biography: her early enthusiasm for tap dancing, inspired by performers such as Fred Astaire, helped introduce her to jazz. Rhythm and physical movement were part of the story before singing became her profession.
For me, that is a more revealing connection than a list of genre labels. A singer’s relationship with rhythm can begin through the body as much as through formal musical study. The move into a dance-oriented setting becomes easier to understand against that background.
Her longstanding work with the SWR Big Band adds another dimension. The ensemble describes her as a regular vocalist with whom it has recorded several swing albums. That performance history places her in music where rhythmic precision, phrasing and communication with an ensemble are central. Discover Fola Dada’s work with the SWR Big Band.
Martin Eigenberg and Ryan Shade: An Established Partnership
Martin Eigenberg and Ryan Shade bring an existing collaborative history to this edit. Their joint releases include 80 Disco, The Last Days of Disco and Set Me Free.
80 Disco documents the partnership as far back as 2022. The later releases extend that connection, with The Last Days of Disco and Set Me Free appearing in the nu-disco and indie-dance category on Traxsource. Find 80 Disco on Apple Music and explore the collaborators’ releases on Traxsource.
Ryan Shade’s published artist profile also identifies disco house, nu-disco and dance pop as important parts of his musical direction. That provides a useful context for the version name attached to “We Run.”
What interests me about an established production partnership is the accumulated conversation behind it. Listeners hear the result of the current release, but a shared catalogue gives them a way to explore how that conversation has developed.
With this edit, there is a new song and artist at the centre of the collaboration. For followers of Eigenberg and Shade, it offers a route into Fola Dada’s work. For Dada’s audience, it offers an introduction to the producers’ dance catalogue.
What makes Phazz-a-delic a fitting label for this release?
The release appears on Phazz-a-delic New Format Recordings, a label with deep connections to De-Phazz and producer Pit Baumgartner. The label’s own history traces its founding to Baumgartner and Haluk Soyoglu in 2001. Read the Phazz-a-delic label background.
Baumgartner’s work as a producer and remixer is part of that history, making reinterpretation a relevant context for the label. A new edit can extend a song’s life by changing the circumstances in which listeners encounter it.
That is a useful way to approach this release. The original “We Run” has its place within Fola Dada’s album catalogue. The Martin Eigenberg and Ryan Shade version gives it another setting, with a clear emphasis on dancefloor movement.
For listeners, the label credit also offers a wider path to discovery. Follow the song back to the album, explore the remixers’ releases, or move into the broader Phazz-a-delic catalogue. Each route begins with a different part of the same collaboration.
Where does the 'We Run' Disco Edit fit in playlists and listening occasions?
The 'We Run' Disco Edit is a natural candidate for disco and nu-disco playlists, especially for an evening that is beginning to pick up. Its regular pulse and substantial main sections make it suitable for moments like friends arriving, drinks being poured, or when the conversation is briefly interrupted by someone asking what's playing. For a more attentive listen, focus on the reduction in weight through the middle of the edit and how the fuller sections feel after those interruptions. The groove provides continuity, while the arrangement changes the way that continuity is experienced. It's also worth keeping the original song’s context in mind, as the physical pleasure of the edit and the subject behind “We Run” can coexist without requiring a choice in how to engage with the music.
I would place it somewhere between the first arrival and the decision to stay out a little longer: friends coming through the door, a drink being poured, the conversation briefly interrupted because someone wants to know what is playing.
That is a listening suggestion, of course, rather than a claim that one track can dictate the atmosphere of a room. But the arrangement has the kind of clear movement that gives people an easy point of connection.
For a more attentive listen, follow the reduction in weight through the middle of the edit. Notice how the fuller sections feel after those interruptions. The groove provides continuity, while the arrangement changes the way that continuity is experienced.
It is also worth keeping the original song’s context in mind. The physical pleasure of the edit and the subject behind “We Run” can sit together without requiring you to choose one way of engaging with the music.
A New Route into “We Run”
The strongest reason to spend time with “We Run (Martin Eigenberg & Ryan Shade Disco Edit)” is the meeting of these musical backgrounds. Fola Dada brings an established songwriting and performance career. Eigenberg and Shade bring a documented shared interest in disco and house. Phazz-a-delic provides the release with a label context familiar with production, collaboration and reinterpretation.
The edit itself offers a direct point of entry through its pulse, low-end weight and clearly shaped returns to full energy. From there, the listening can go further: into the original composition, Dada’s Sisters & Brothers album or the producers’ wider catalogue.
Start with the groove. Stay curious about the song. “We Run” has room for both.
