Casemiro Reveals Diogo Dalot Is the Locker Room DJ
- Diogo Dalot has taken on the role of curator for the musical environment within the Manchester United dressing room, influencing the audio atmosphere for his teammates.
- The player manages the audio selections for the squad, often introducing genres that reflect his own tastes and cultural connections.
- According to Casemiro, Dalot's influence over the music typically involves the selection of Brazilian funk and pagode.
Diogo Dalot has taken on the role of curator for the musical environment within the Manchester United dressing room, influencing the audio atmosphere for his teammates.
The player manages the audio selections for the squad, often introducing genres that reflect his own tastes and cultural connections.
Cultural Clashes in the Locker Room
According to Casemiro, Dalot’s influence over the music typically involves the selection of Brazilian funk and pagode.

These genres, rooted in Brazilian urban and rhythmic traditions, have created a distinct sonic backdrop for the team, though the reception among the players has been mixed.
Casemiro noted that the musical preferences of the squad are divided along cultural lines, stating that the english lads don’t really like it
.
The dynamic highlights the intersection of international culture and team bonding, as the locker room DJ introduces sounds that may be unfamiliar or polarizing to other members of the group.
Unexpected Preferences
While the friction between the Brazilian selections and the preferences of the English players is clear, Casemiro’s own stance on the music is surprisingly nuanced.
Despite his own Brazilian background, Casemiro indicated that he does not entirely favor the selections made by Dalot, remarking, Me too I don’t …
This suggests that the divide in the locker room is not strictly national, but rather based on individual musical taste, even among players from the same home country.
Casemiro confirmed the arrangement by stating that Diogo controls the music
, cementing Dalot’s position as the primary arbiter of the team’s auditory experience.
