Four years in, Sunday Sessions has quietly become one of Los Angeles’s most distinct cultural fixtures — not by chasing scale, but by cultivating something harder to manufacture: a feeling people keep coming back for. We caught up with co-founder and CEO Arthur Onni and co-founder and Music Director Krane to talk about what’s changed since we last spoke in December 2024, why Sunday is the perfect day to build a scene, their love affair with vinyl, and the future of their record label.
Since the project’s early days, Arthur says the focus has shifted. “We never set out to grow for growth’s sake. The project expanded organically, and over time our focus shifted toward the depth of what was happening inside these gatherings,” he explains. Marking four years recently made something click — Sunday Sessions isn’t just a recurring event anymore, but a living form that evolves alongside the people inside it.
The fall of 2025 brought the second edition of Echoes Festival, hosted in Sequoia National Forest in partnership with Midnight Lovers, and the team has also begun experimenting with all-hardware live sessions as a way to dig deeper into sound and presence. As Arthur puts it, once something happens consistently enough, it stops being just an event and starts becoming a point of attraction — a microculture with its own rituals and internal rhythm. “At a certain point, you realise you’re no longer creating it directly — you’re simply maintaining the conditions for it to continue.”
Choosing Sunday as the day for a party series might seem counterintuitive, but for Arthur, that constraint became the concept’s defining feature. “People arrive differently on Sundays — less guarded, less concerned with appearance, and more open to what’s happening around them,” he says. Rather than fighting the day’s natural association with wind-down and closure, the team leaned into it, letting that in-between energy shape the whole experience.
Skipping Friday and Saturday nights was also a deliberate choice. Those nights, Arthur notes, tend to come loaded with expectations — people show up not just for the music, but to play a social role. Stepping outside of that dynamic freed Sunday Sessions to build something more internally focused. “It made it possible to build a more cohesive atmosphere, where attention moves differently between sound, space, and people.”
Vinyl sits at the centre of the Sunday Sessions identity, and Arthur is clear that it’s not about looking backwards. “For us, vinyl is not so much a format as it is a way of engaging with music,” he says. The physical limitations of a record collection force intentionality — every track played becomes a decision. And because vinyl exists in physical space, it responds to its environment: vibration, touch, even air can shape the sound.
“In a world where music has become infinite and instant, this brings back a sense of weight,” Arthur says. “For us, vinyl is not about nostalgia, but about presence.”
Sunday Sessions’ sonic identity started outdoors. “In open-air settings, sound behaves differently — it feels less constrained, more open, and more connected to the surrounding environment,” Arthur says. Finding the right outdoor spaces in Los Angeles, however, is far more complicated than it looks from the outside, given the city’s regulatory and logistical hurdles. The team works with one of LA’s top production teams, tailoring the system and setup to each venue’s acoustics. “Venue and sound are never separate decisions for us — they form a single system that is re-tuned each time.”
Before Sunday Sessions, Arthur describes LA’s day party landscape as fragmented — isolated moments rather than an ongoing culture, largely because the city’s identity has always leaned toward nightlife. “It wasn’t a lack of energy, but a lack of continuity,” he says. Los Angeles had the natural ingredients — light, space, climate — but nothing had given daytime music culture a consistent shape. Sunday Sessions set out to do exactly that: hold the state and give it form through repetition.
Getting there wasn’t easy. The early hurdles, Arthur says, were more perceptual than practical. Introducing something that didn’t fit familiar patterns took time for people to understand. “What mattered more was being able to hold that early phase, when there is not yet a clear response, but there is already a strong internal sense that the idea needs to exist.”
The concept itself grew out of Arthur’s personal history — time spent in Europe, where sound and aesthetic detail carry real weight, combined with his experience of LA’s high-calibre talent but inconsistent production values. “At its core, it was about creating a place I would genuinely want to go to myself — and where I would want to bring my friends.”
Rather than positioning itself as a traditional underground event, Sunday Sessions aims for openness. “Our events tend to attract not only people already involved in the underground community, but also those who have never really been exposed to it,” Arthur says. For many attendees, it becomes a first entry point into a broader scene. “Everything we do is fully legal, openly communicated, and accessible… our role might be closer to that of a meeting point — a place where different audiences intersect.”
Asked about a standout event, Arthur resists picking one. “Often, the most meaningful moments aren’t tied to scale or attendance. They’re the ones where multiple elements align — the music, the space, and the state of the people within it,” he says, describing rare instances where the line between artist, audience, and space seems to dissolve entirely.
For Krane, one night stands out clearly: a collaboration with Midnight Lovers that drew around a thousand people. “The energy was incredible, and people stayed all the way until the end. I closed that night, and it was a truly unforgettable experience.”
Sunday Sessions’ growth into a record label happened organically. “We had built a strong community, developed our own sound, and were surrounded by artists we wanted to keep working with,” Krane explains. The label isn’t restricted to artists who’ve played their events, or even to DJs — just anyone making music the team genuinely connects with, spanning house, drum and bass, and hip-hop alike.
So far, three records have been released, the most recent arriving in March 2026 with contributors from around the world. Each release is limited to 300 vinyl copies, with no digital version and no represses. The first two releases have sold out, while only a handful of copies of the third remain.
Looking ahead, Krane is preparing his first solo EP under the label, blending dancefloor-ready tracks with more introspective material. Beyond that, the label plans to keep alternating between various-artist compilations and full artist EPs, with a continued focus on supporting emerging talent. “We take our time and stay focused on quality over quantity.”
In Los Angeles, the plan is to keep deepening what already exists rather than chasing rapid expansion — though Arthur confirms two new formats are quietly in development. Expansion to other cities is on the table too, but only on the project’s own terms. “It’s not about bringing the format somewhere, it’s about understanding whether it can exist there organically,” Arthur says. “We are ready to move in that direction when it feels like the format can become part of the city’s cultural fabric, and when there are partners with a similar mindset and experience.”
For now, Sunday Sessions remains focused on what has worked from the start: consistency, sound, and a feeling worth returning to.
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