Earlier this week, the electronic music community was set abuzz when John Summit publicly accused Pete Tong of stealing his remix of the classic track ‘Missing.’ The dispute between the two prominent figures in dance music quickly escalated, drawing significant attention across social media platforms and leading to the withdrawal of Dutch producer Franky Rizardo from the project.
The controversy centered on allegations that Tong had taken a collaborative remix project and repurposed it into a separate release with Rizardo without proper consent. However, in a recent interview with Alex Tripi, CEO of the Pete Tong DJ Academy, the veteran broadcaster provided his perspective on the situation, characterizing the misunderstanding as a breakdown in communication rather than an act of malice.
Clarifying the Creative Process
Tong explained that the project was never intended to be a singular, exclusive remix. Instead, he envisioned a multi-faceted release strategy. “We had positive conversations on text about making a new version of his remix, and at the same time I was talking to Franky about doing a new version of his remix,” Tong stated. He emphasized that it is standard practice in the industry to curate various interpretations of a song, noting that he had hoped to release an orchestral version alongside iterations from both Summit and Rizardo.
The orchestral arrangement, which serves as the foundation for the dispute, was originally developed for Tong’s Ibiza Classics tour. According to the DJ, he had secured the necessary permissions from the original artists, Tracey Thorn and Ben Watt of Everything But The Girl, to perform the piece live before seeking to expand the project into a collaborative remix series.
Addressing the Allegations
To support his defense, Tong presented a proposal dated May 13, 2026, which outlined a staggered release schedule. The document suggested that the Franky Rizardo mix would arrive first, with the John Summit version slated for a later summer release. Tong expressed frustration regarding the public nature of the accusations, stating, “I’m disappointed. I don’t like being accused of things that aren’t true. If you’ve got a problem, pick up the phone. That’s certainly what I would preach. I’ve tried to call John, I’ve tried to text him.”
As the situation continues to unfold, the industry remains divided on the complexities of remix rights and collaborative transparency. For now, the focus remains on whether the parties involved can reach a resolution behind the scenes.