Part 2

There must be endless ways of “matching” two or more tracks. How do you prefer to do it? What makes two tracks inherently “matchable” and what constitutes a great transition?

That’s a really nice question, because for me, there are endless ways of matching tracks but I’ve found my own approach.

Of course, beatmatching is always the foundation; without that, nothing flows. But beyond that, what really makes two tracks “matchable” for me is the key. I always try to mix tracks that are in the same key, or at least in compatible keys, because that creates a beautiful, seamless transition where the sounds naturally melt into each other. When the keys align, you can really take the music anywhere and it still feels cohesive.

I also love looping. Sometimes I’ll loop drums from one track and layer it with elements from another, even if it’s in a different key, to create tension and build-up. Then when you drop the new track fully, it feels like a release, almost like a banger arriving out of nowhere.

So for me, a great transition is about more than just keeping the beats tight, it’s about musicality.

How would you describe the experience of DJing, physically and mentally? Do you listen – and deejay - with your eyes open or closed?

For me, DJing is both a physical and mental journey. Physically, I can’t stand still. I have to move, dance, jump, and let the energy flow through me. I really feel the bass in my body, and that movement becomes part of how I connect with the music.

Mentally, it’s almost the opposite. I don’t overthink. I’m not in my head, I’m fully in the moment, connected with the people in front of me.

As for my eyes, sometimes I notice they’re closed when I’m deep in the sound. But I try to keep them open, because it’s so important to read the crowd, see their reactions, and feed off their energy.

Do you engage with audiences/dancers - and how? Taking one of your online DJ mixes as an example, how does the experience and the way you deejay change when you subtract the audience?

I definitely engage with the audience. I think it’s one of the most important parts of DJing.

I’m always watching how people react, not only their dancing but even the small details, like if someone covers their ears because the sound is too loud. For me, being aware of the sound and how the crowd experiences it is essential to creating the best possible journey.

When I record a mix without an audience, like one of my SoundCloud sets, the approach is a bit different. In that case, I focus more on creating a listening experience. Sometimes it’s something people can enjoy while driving, working, or relaxing, so it’s less about high energy and more about crafting a mood.

For example, my Panama Beach sunrise set was very minimal, low BPM, dreamy. Completely different from my usual peak-time energy. It was about capturing that magical moment of the sun rising on the beach, and I felt it would translate beautifully for people listening at home.

On the other hand, I also upload sets that capture an incredible live energy. For instance, my most recent upload came from a night where the crowd’s energy was just unbelievable. Even though people listening online weren’t physically there, the feedback I got showed that they could still feel that atmosphere through the music.

That’s really special, when the connection you had with the audience in the moment somehow carries over into the recording.

Collaboration is a key part of almost every aspect of music making, but it is still rare in DJing. Tell me about your own views on back-to-back DJing, interactions with live musicians or other forms of turning DJing into a more
collective process.

For me, collaboration in DJing is all about connection. I love playing back-to-back with people I really vibe with.

Like Deer Jade. With her it feels like we’re literally having a conversation through music. We add to each other and really fill each other up. We don’t need to talk much; she picks up on my energy, I pick up on hers, and together we build a story. That’s when back-to-back becomes truly magical.

[Read our Deer Jade interview]

I’ve also had experiences where it didn’t work, where the other DJ just switched completely into their own vibe without considering the flow we were building. In that case, it feels less like collaboration and more like two people playing separately on the same stage, kind of overpowering each other, which doesn’t inspire me.

With live musicians, it’s the same principle: it has to be about listening and giving space. I know live musicians sometimes get very excited or maybe don't realize how loud they play. They can get carried away and then it's basically like you only hear them with a little bit of sound in the background. This also makes it very hard to mix music because I just hear a guitar or other live instrument playing constantly.

I once played with a violinist in Cape Town I had never met before, and it turned into such a beautiful moment. She played with so much heart, and I lowered the music at moments to really give her space and it created an almost euphoric energy. And then she also pulled back when the track needed to breathe. That kind of unspoken communication is what makes it work.

How important is dancing for our wellbeing on a personal and even on a societal level?

Dancing is absolutely important! Not just for fun, but for our wellbeing on both a personal and societal level.

It’s actually scientifically proven that dancing helps us process information. All the things we carry in our bodies and minds; stress from work, emotions from the week, everyday thoughts — they start to move and release when we dance.

That’s why people feel so happy on the dance floor: it’s not just the music, it’s the movement that helps us process life. On a personal level, it’s like therapy for the body and soul. And on a societal level, dancing creates connection too.

Especially in the light of advances in AI, where do you see the role of humans in DJing versus that of technology? Can AI act as a collaborator or creative stimulus?

AI is already deeply involved in music; from generated voices to entire productions created with algorithms. And while that’s fascinating, I honestly love the human side of music, including the mistakes.

For me, the best sets are often the ones where something unexpected happens, a little slip, a rough transition, because it’s real, it’s alive. We are human, and we should embrace that instead of chasing perfection all the time.

I think at some point people will crave that imperfection again, because that’s where the soul is. Technology can push boundaries. I heard about the hologram performances with ABBA in London, which almost felt real, and maybe one day we’ll see DJ holograms too I guess? But the question is: will it feel the same?

AI can be a tool, maybe even a collaborator, but it can’t replace the beauty of human presence and mistakes.

Tinnitus and developing hyperacusis are very real risks for anyone working with sound. Do you take precautions in this regard and if you’re suffering from these or similar issues – how do you cope with them?

I think as artists we need to be even more aware of these risks.

For me personally, it’s a bit of a struggle, because when I play I don’t really like to have earplugs in. I love to feel the music fully, and I haven’t yet found a way that feels natural when wearing earplugs. Of course, that means I have to be extra careful.

That’s why I’m very conscious about the sound system itself. I find it really important that it’s never too loud.

Do you feel as though DJing is inherently different from something like making a great cup of coffee? What do you express through music that you couldn’t or wouldn’t in more mundane tasks?

I think you can put passion and love into almost anything. Even making a cup of coffee. A barista can turn that into an art form, just like a painter or a chef. But for me, DJing is different because it allows me to fully express who I am in that moment.

Through music, I can take people on a journey. It’s not just about technique, it’s about creating an atmosphere and building emotion. That ability to turn sound into collective feeling is something I don’t think I could ever really capture in a more mundane task.

Let’s imagine you lost all your music for one night and all there is left at the venue is a crate of records containing a random selection of music. How would you approach this set?

Haha that’s a tough one. I’d definitely approach it with a big smile. Sure, it might not be the “perfect” night, but it could still turn into something really fun.

I’d start with the records and the names I recognize, and once I get comfortable, I’d dive into full exploration mode, seeing what happens, and just rolling with it.

In the end, it would become about having fun together, having a laugh and embracing the chaos.