Anyma has signed with Satellite 414 for PR representation, because when your live show looks like an alien transmission from the year 2097 and your visuals are giving people identity crises in 8K, you need a communications team that can translate all that into something humans can post on Instagram.
He’s still repped by CAA for live bookings, which makes sense—when you’re headlining the Sphere in Las Vegas, you’re not just “on tour,” you’re building entire digital universes in front of 18,000 people who came for techno and left contemplating the singularity. His “End of Genesys” residency was less “concert” and more “interactive cyber-opera,” complete with AI avatars, architectural hallucinations, and a level of production that suggests someone at Afterlife has hacked the time-space budget.
As one half of Tale of Us and co-founder of Afterlife Records, Anyma (aka Matteo Milleri) has never been particularly interested in reality. His solo project is a beautifully designed existential crisis—melodic techno layered with emotion, dystopia, and just enough visual chaos to make you rethink your browser tabs.
He currently boasts over 6.3 million monthly listeners on Spotify, which means the music works even without the lasers. But he’s not staying in the club lane—his latest single, “Work” featuring Yeat, dropped via Interscope and feels like a polite reminder that melodic techno can scale up into mass culture if it wants to. It just usually doesn’t want to.
Live, he’s everywhere you expect and a few places you don’t. Ultra Music Festival, Afterlife takeovers, and, of course, The Sphere—where he became the first electronic act to hold a residency, effectively turning a $2.3B light show into his personal mood board.
So yes, Anyma now has PR. But this isn’t just about media placements. This is about narrating the future. Because when your whole brand is built on blending human emotion with machine logic, you can’t leave the storytelling to chance. Not when the machines are already catching on.
