A Review Of UNVRS Ibiza. Its Full Of Stars.

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After several years lying dormant, the soul of KU & Privilege, the clubs that nurtured the world-famous Ibiza party spirit in the 80s & 90s, was reincarnated inside the hyperclub UNVRS. Its new owners, the Matutes group, flexed its financial and political muscles to strip down and rebuild an iconic venue that, for decades, was regarded as the world’s biggest-capacity and most famous club. While many clubs across Europe are facing closure due to soaring costs and a shift in post-pandemic cultural and social behaviours, UNVRS boldly ventured where no club had gone before.

Ushuaia Entertainment, the management company operated by the Matutes Group and Yann Pissenem, doubled down on its Ibiza investment, which was reported to be in the range of 40 to 70 million euros, a real message of intent and confidence in the future of the nightlife industry on the island. While some viewed it as Frankenstein’s monster, the majority of early comments were positive as the hyperclub became fully operational on Friday, 30 May 2025. While we did a live report from the opening party, I had not been to witness it myself, preferring to wait until the Closing party on Sunday, October 12. This is my review.

I arrived by Taxi before midnight, as the island was in the midst of an angry storm that had flooded low-lying areas and left everybody on edge. The local government had advised its citizens not to travel unless necessary, but that did not stop tourists from voyaging across the globe to attend the event. The marketing team at UNVRS had enforced imperial order with smart, artistic digital PR that was light-years away from the traditional handheld flyers and posters that had promoted KU and Privilege in bygone years. The viral UFO marketing campaign that featured the island’s iconic landmark, Es Vedra, and Hollywood bad boy Will Smith was a clever marketing stunt. The UNVRS marketing strategy had been the most distinctive aspect of the new club. Its social media stormtroopers blasted us with stylish production and video teasers from its production department, managed by Romain Pissenem and his High Scream company, based in London. It was the element I was most keen to experience inside the new hyper club.
There was a visible police presence when I arrived. We were directed to enter via a search channel with sniffer dogs on duty, to ensure that illegal contraband did not pass. It was the same walk to the main entrance that I had trodden many times during my visits to Privilege since my first trip to Manumission in 1998. The old access road, the main entrance, remained the same, and the iconic Privilege dome shone like a beacon in the stormy sky. I passed the main entrance and walked to the press access, which was directly under the restructured dome. There, I was greeted by a muscular security staff member, who opened the velvet rope barrier and welcomed me in with a warm smile. I waited in line as a person with a nervous disposition pushed through, which did not go unnoticed. He was not taking kindly to the lady at the reception desk informing him his name was not down on the list. It wasn’t long before security had ushered him from the desk, leaving the way clear for me to approach. As I just observed, guest and press list access in Ibiza is always a game of russian roulette, and there is nothing more embarrassing than a long line of people watching your walk of shame as you are denied access.

Thankfully, on this occasion, I was permitted entry with a professional smile and a lime green wristband that gave me access to The Cloud area. Front of house is so important in the hospitality sector as it sets the tone for the night. My first contact with the human face of UNVRS was a positive start. I climbed the stone steps of the whitewashed exterior that honoured the Dadaist minimalism of Raoul Hausmann, who championed the island’s unique cubic architecture in the 1930s. I felt like a child entering a candy factory, so intense was the sensory overload and the expectation of what might lie ahead. All that was missing was a holographic Willy Wonka to raise his cane on the steps, allowing me to rush in and explore its delights.

I fought back the emotions that welled up inside. Privilege was where I had spent some of the most magical moments of my youth, a place that helped shape my view of life and of self. Music that had danced with my soul. Experiences that invaded my mind and body. This place meant so much to so many people, I cannot begin to explain. In its later years, the club had fallen into severe disrepair. It was so sad to see it rot away, as you could sense it had a soul. So to see the transformation from a patient on death’s door to a state-of-the-art, living and breathing entity, resembling the Six Million Dollar Man reconstruction, was always going to be emotional.
My first visit to Privilege was back in the 90s for a Manumission party. I was invited by two locals who worked at Il Vaticano, a restaurant in San Antonio owned by the family of Miguel Garcia, the manager of Cafe Mambo at the time. The Coco Loco bar, founded by the Godfather of the Ibiza party scene, Brasillo de Oliveira, was a popular after-work haunt for workers. It was famous for its liquid ecstasy cocktail, the Coco Loco, which gave the bar its name, served by the much-loved island character Tirry, who later worked across the road in Amnesia when Sven Vath debuted the Cocoon party and introduced Techno to the island in 1999. I was there that night, and what a memorable one it was, shaping the island’s sound for decades.
Those memories floated back as I walked through the gravity garden and climbed the open-air ramp to the Dome terrace, already impressed by the club’s soundproofing. The central feature of the terrace is the stunning Tree of Life, a 9m-high, Giger-inspired, sentient sculpture that twists up through the centre of the dome, fusing organic plants with industrial metal. People were sitting around the sculpture, smoking and chatting, as in days of old. I bummed a light and soon noticed a bar just across from me. I didn’t have to wait long before I was poured a measure of Heirbass for something like €23. It was Mari Mayans, my favourite Heirbas, but a microbiologist would have been generous calling it a small one. I smiled to myself as the pleasant barman handed me the card terminal, offering me the option to add a tip to the €23 I’d paid for the Heirbas shot. After a promising start, the UNVRS experience felt more corporate and commercial. The magic had evaporated faster than the alcohol in my drink, and I had not even visited the dancefloor yet.

A little Seny i Rauxa

My Cloud area access at the rear of the club, on the balcony, gave me a privileged vantage point to observe the club’s interior. It was closing party night, and the floor was rammed. Across from me, downstairs at the main entrance, the shiny UNVRS human lightbox was busy with people posing for photographs and having fun. I noticed the attention to detail was everywhere, and it was way too boring for this review. To my left, less than 7m away, was the area I was most interested in observing: the technical control room, which was positioned like a projector box in a cinema. This was the bridge, and I could view its crew at work as they directed the magical 3D effects and lasers that lit up the main stage and the many screens around it. The star of the show, the little drone which provided us with some artistic sweeping shots of the club, buzzed over the crowd, capturing the atmosphere of the night before returning to its base in the box.

The new hyperclub layout was unrecognisable from its Privilege days. The swimming pool was gone, which was the heart of Ku and Privilege in its heyday. Its deletion had created a brand new space and energy. The DJ box, positioned in the old VIP access area, was one of the biggest I have ever seen in a club, wide and deep, flanked by five giant screens that doubled as windows giving the effect of sunrise, sunset and giant robots peering in at Anyma. Dancers floated on wires, suspended in the air.  The club’s roof was rigid, complete with transparent screens, designed to accommodate every rigging and production element within the venue. To the sides, the balconied VIP areas were full. The dancefloor accommodated a large crowd, probably the biggest in Ibiza, with open access to the sides, which allowed overspill and people to come and go without bottlenecks, a curse of old Ibiza clubs. It was ironic to witness the transformation of the once problematic roof of Privilege, which had bankrupted previous owners and led to the departure of Armin Van Buren’s ASOT party, into the club’s technological centrepiece. Digital screens provided stunning visuals throughout the season, especially during Black Coffee’s and Aynams’ sets.

The balanced acoustics of the main room were excellent, even at the back, thanks to a custom-built L Acoustics sound system that was crisp and clean. The intelligent lighting system was tiered into three integrated stacks: performance, functional, and architectural, and represented a huge progression on anything seen in Ibiza before.  I ventured out to the open-air sky terrace a few times for a smoke, and the views of Dalt Vila and the night sky were impressive. A mix of nationalities and ages was present, and I was surprised to see so many over 40s. I then took a walk down to experience the rest of the club, but it was difficult due to the huge crowds below. The catacomb was designed to allow discreet movement, and I availed of this path as much as possible. The Stargate scene from 2001: A Space Odyssey was replicated in the mirrored corridor leading to the Bunker room, a clever touch and one of the most photographed elements of the club, judging by the couples posing for selfies there.

I stuck my head into the Wild Comet room that doubled as a toilet, a tired gimmick that, in my opinion, should have been flushed out into Space. There is nothing artistic about watching people visit the toilet, so I was happy to leave the dirty snowball room to the tourists. Thankfully, the Bunker room proved a much more enjoyable alternative to the humming experience of the Wild Comet. I danced away for about an hour in the Bunker, and what it lacked in size it made up for in its non-pretentious, minimalistic design and atmosphere. I even got to meet some old Ibiza heads in this room, and they seemed to be enjoying themselves. They believed UNVRS retained some of the spirit of KU and Privilege, and stated they would be happy to return. If you follow the industry rule that 70% of marketing is word of mouth, then UNVRS has ticked off the organic promotion box. The Bunker was certainly my favourite room at UNVRS, and as David Vincent used to say, you can have a great party in a cupboard if you have the right people there.

As I made my way back to the balcony to catch Black Coffees’ set, I passed through the food area where the smell of burgers and posh chicken tenders wafted through the air. It was certainly an unusual club experience for me in Ibiza. I racked my brain to think of any occasion in my 30-year Ibiza clubbing history that I ate food in one. Pre-clubbing, yes, but not during the club experience. Suddenly, I started to feel old and that my time had passed. Funny how the small things can have a big impact. When I returned to the balcony, I ventured to the bar and, after my Heirbas experience earlier, ordered a whisky and Coke, which came with a good-sized measure and a reasonable price of 25. Black Coffee was amazing, and his sound felt right at home in the new venue. I was always a fan from his early days at Hi, and his association with TNL has made him an international star through his unique style nurtured on the island. People forget that Africa has always been a colourful element of Ibiza’s multicoloured patchwork culture.

In my opinion, no DJ represents the progressive sound of Ibiza better than Black Coffee, and I left the venue feeling good about the whole experience. It was around 4 am when I jumped into a taxi at a full taxi rank, where drivers were chatting about the weather. However, when I passed the venue on my way to the Formentera ferry at midday, there was still a crowd waiting for taxis and walking the streets. My advice is always to leave early if you want an easy ride home, or access to an afterparty, as it becomes quite congested and messy at the end of the night. For me, the star of the show at UNVRS this year was its staff. From start to finish, they were courteous, welcoming and professional. Both teams at High Scream and The Night League should be proud of what they have achieved. If I were to give an award for best department, that would have to go to High Scream. Both the production, marketing, and technical aspects of the experience, from inception to delivery, were exemplary. Romain Pissenem, take a bow. Do or do not, there is no try.

I understand why some people of a certain generation will find it hard to accept what UNVRS stands for. Its dark design and advanced technology may not feel like a traditional Balearic club. The energy of the place is different from its KU and Privilege days; it’s darker and more intense. If its designers stay true to their vision, then UNVRS should host the best of the best in electronic talent. While 90% of its programme honours this value, purists in the industry feel the art form is being devalued by promoting show pony performances that appeal to the lowest common denominator of the market. When you build a club with a vision for excellence, that theme should be respected when booking artistic talent.  Social media popularity or personal intrests should not dictate inclusion, but then Im not a professional in the field of commercial programming.

Others will argue that the sense of freedom and light that was once present in previous incarnations at the venue has been replaced by corporate imperialism, which can trap people in addiction by prioritising profit over human life. The argument that it creates alcogenic or enabling environments and targets vulnerable populations to foster dependence on substances or behaviours. This is a discussion we need to have as a society, and this week’s landmark court case in America, which found social media giants Meta and YouTube liable for designing digital platforms that were addictive and dangerous to young people’s mental health, will have global significance. Many respected DJs in the industry have long been criticising the damaging impact that social media and phones have had on their art form. But I digress.

I think what Ushuaia Entertainment has done with UNVRS is truly remarkable. The Matutes Group and the Pissenem Brothers have delivered on what they said they would do, a vision for a monument to the future and built it with panache in record time. What is most admirable is that they paid homage to the classical elements of Ibiza, its rich musical and architectural heritage, with an artistic brush. I could feel the old spirit of Ku and Privilege present. Like Seven of Nine in Star Trek: The Next Generation, it may struggle with its identity from being once human to being assimilated into an advanced civilisation. I feel KU/Privilege via UNVRS will retain its journey towards individuality as a unique Ibiza experience, thanks to her crew and captain, who have chartered a course that honours the past while grappling with the future. Least we forget, this new concept is still in its embryonic, phase one stage. What will it be like in 2030? Born of Ibiza, one would hope it possesses a little less Seny and a tad more Rauxa.

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