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At just 19, Ginevra Ramos is already proving herself as one of the most electrifying names in the new wave of European electronic artists. Her latest single, “Energy”, released August 1 via fan-powered label Fankee, is a confident and infectious track that reflects her evolution from child performer to a fully-fledged artist with a sound and vision all her own.
Born in Milan and raised in Ibiza, Ramos channels the island’s kinetic spirit into her music, blending slick production with dynamic vocal work and DJ instincts. “Energy” lives up to its name—it’s high-octane, polished, and unmistakably club-ready. It’s not just a song, but a statement: bold, modern, and bursting with youthful urgency.
The release also underscores Ramos’s partnership with Fankee, a community-driven label that redefines what it means to be a fan. Here, listeners aren’t passive consumers—they’re collaborators, promoters, and stakeholders. It’s a fresh approach to music distribution that mirrors Ginevra’s boundary-pushing ethos.
While “Energy” is rooted in Ramos’s love for electronic music, it’s her hybrid identity—as both a powerhouse vocalist and genre-fluid producer—that gives the track its edge. It’s a track designed not only for dancefloors, but also for driving change in how artists connect with their audiences.
With performances already under her belt at major festivals like the Ibiza Global Festival and the International Music Summit, Ginevra Ramos is clearly not here to play it safe. “Energy” is her most confident release yet—and a promise of even bigger things to come.
New York’s John Beckmann isn’t one to play it safe, and on French Summer, his latest as The Mortal Prophets, he doesn’t just bend genre—he melts it. Spanning eighteen tracks, this LP is less an album and more a lucid dream built from analog whispers, vintage European cinema, and slow-burning electronica.
The presence of Anais de Nerval is key to the album’s allure. Her voice drifts in and out like memory—sensual, ghostlike, and just out of reach. It’s less about lyrics and more about atmosphere. Every phrase she utters feels like it’s been lifted from a Godard film and filtered through cigarette smoke and static. She doesn’t anchor these tracks—she haunts them.
Beckmann, meanwhile, shows a rare kind of restraint. Known for his boundary-pushing sound collages, he’s pared things back here. Gone is the chaotic density of some of his earlier work. In its place: minimal yet lush arrangements, delicate strings, and synths that shimmer like sunlight on a wine glass. There’s a tactile quality to it all—beats that thump like a distant nightclub, textures that wrap around you like silk sheets in a coastal hotel room.
There’s a cinematic flow to French Summer, and it’s easy to imagine it as a film in itself. One without a plot, but heavy on mood—think long drives through Provence, empty streets at dawn, and lovers speaking in hushed tones. There are nods to Gainsbourg, whispers of disco noir, and even ambient soundscapes that feel ripped from some alternate universe. But despite the references, French Summer never dips into imitation. It’s evocative rather than referential.
Still, this is not a record for passive listening. It doesn’t beg for your attention—it seduces it. The pacing is deliberate, the textures subtle, and the emotional payoff requires patience. But for those willing to sit still and let it wash over them, there’s something genuinely transportive here.
French Summer feels like it was made for twilight hours and private moments. It’s luxurious but not loud, nostalgic but not kitsch, romantic but never obvious. In an era of instant gratification, The Mortal Prophets ask you to slow down, and for that alone, Beckmann and de Nerval deserve your time.
If you’re after something intimate, immersive, and just a little strange—French Summer might be your next obsession.
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Steph Clifford’s new single Cocoon is a slow-burning, soul-baring introduction to her debut album of the same name—an intimate, emotionally charged track that captures the ache of letting go and the quiet resilience it takes to start again. With lyrics that feel like pages torn from a journal, Cocoon explores the liminal space between endings and rebirth—where grief, hope, and clarity all coexist.
Produced by Leon Power (City and Colour, Frazey Ford) and recorded at Vancouver’s Afterlife Studios with John Raham, Cocoon is sonically rich yet spacious, layering warm guitar tones, ambient textures, and Clifford’s luminous vocals into a song that lingers long after it ends. It’s the kind of track that doesn’t demand attention—it gently holds it, drawing the listener in with quiet intensity and emotional precision.
Both deeply personal and universally felt, Cocoon sets the stage for Clifford’s forthcoming album, out summer 2025—a collection shaped by solitude, transformation, and the power of staying soft in a hard world. With this single, she isn’t just introducing a record—she’s opening the door to an honest, vulnerable, and beautifully human listening experience.
Trevor Kidd, the genre-blending artist from Victoria, BC, is back with a powerful new single called “Sunshine.” Known for his work as a singer, songwriter, producer, and musician, Kidd has built a career marked by high-profile collaborations and national acclaim. From recording with members of Billy Talent and Sum 41 to performing live with Canadian legends Randy Bachman and Tal Bachman, his resume is stacked. He’s opened for April Wine, appeared on CBC’s Dragons’ Den, and even caught the attention of Hollywood actor Eric Roberts and Runaways frontwoman Cherie Currie. With six songs spun on commercial radio—including CBC—and a growing fanbase, Kidd’s ability to make big, bold rock music that resonates is undeniable.
“Sunshine” marks a thrilling new chapter in Kidd’s musical journey. This time, he’s teamed up with Garry Beers of INXS and Jeff Martin from Canadian rock heavyweights The Tea Party, bringing together a powerhouse trio of rock sensibilities. The single follows the success of “Salvation,” a 2022 hard rock banger co-created with Josh Jones that went on to win 13 international film festival awards and earned a spot on IMDB as an award-winning music video. With “Sunshine,” Kidd leans into soaring melodies and gritty guitars, delivering a track that feels both fresh and timeless—an anthemic reminder that his creative spark is burning brighter than ever.
“Just Groove” kicks off with this raw defiance — like you’re dancing through burnout. What was going through your mind when you first wrote it?
I was thinking about how you can be exhausted but still refuse to stop moving. “Grooving” here isn’t just dancing — it’s survival. It’s saying, I might be running on fumes, but I’m still going to find the beat and make it mine. That raw defiance came from wanting to turn fatigue into fuel, to move through burnout with rhythm instead of collapse.
You’ve said this track came from exhaustion. Was there a specific moment or breaking point that made you say, “Screw this, I’m going to make music”?
Yes — a night where I’d been stuck between political deadlines and corporate calls, both sides draining me. I realised I’d spent years helping others tell their stories — governments, brands — and almost none telling my own. That night, instead of another report, I wrote the first groove. It was messy, imperfect, but it was mine.
The song blends pop, rock, electro, and gospel — it’s not an obvious mix, but it works. How do you approach fusing such different sounds without losing the groove?
I treat music like a passport. Brazilian maracatu percussion for the heartbeat, the raw edge of deep house for grit, the brightness of pop to pull people in, and the call-and-response power of Afro-gospel for uplift. Each has its own history and weight. I just make sure the groove is the glue — so no matter where the sound comes from, it’s all part of the same journey.
Your album Think Pink dives into themes like feminism, softness, and emotional survival — especially for men. That’s not something you hear often in pop or electro. What made you want to go there?
Because softness is political. In a world where men are still taught to armour up, being vulnerable is radical. I’ve worked in politics — I’ve seen how systems reward dominance and punish empathy. In Think Pink, feminism isn’t just about women’s liberation, it’s about freeing men from those cages too. It’s softness as survival.
You describe the album as a continuation of your sci-fi saga, The Cosmic Mirror Theory. Can you tell us a bit more about this astronaut’s journey — and how it connects to your own?
The astronaut dismantles the old fairy tales before stealing a ship to find the Pink Moon. It’s both an escape and a confrontation. My own journey was similar — breaking away from political and corporate scripts I didn’t believe in, looking for a place where love, truth, and equality could exist without compromise. Space is my metaphor for that search.
You’ve lived a bit of a double life — from Chief of Staff in corporate strategy to full-time artist. Do you ever feel like those two worlds still collide in your work?
Every day. My corporate past taught me discipline and structure; my artistic life taught me chaos and flow. The tension between the two is a good engine — just like in life, where we’re all trying to balance work, passions, and private moments. I don’t see them as separate worlds anymore, more like two planets orbiting the same sun.
There’s a sense of irony in your lyrics, like you’re poking fun at the system while dancing through it. Is humor one of your creative tools, or does it just slip in naturally?
It’s both. Humor disarms. You can slide truth into a groove more easily if it makes people smile first. I learned in politics that if you can’t laugh at the absurdity of the system, it will crush you. In my songs, irony is a way to resist without turning bitter.
You speak and write in multiple languages — English, French, Spanish, Portuguese. How do you decide which language a song needs? Do the words lead the vibe, or the other way around?
It’s always the emotion first. Sometimes saudade in Portuguese carries a depth no other word can; sometimes English hits with precision; sometimes French gives a sharper edge. Travelling and collecting rhythms means I’m also collecting vocabularies. The song chooses its own language — I just listen.
If “Just Groove” is the moment of rebellion, what’s the moment of healing on Think Pink? Is there a track that feels like coming home?
Yes — The Pink Moon. If Just Groove is me saying “I won’t break,” The Pink Moon is me saying “I’m ready to land.” It’s where the fight softens, where you can breathe again. It’s not a perfect ending — more like a safe harbour before the next storm.
What does the Pink Moon mean to you now? Is it still a symbol, or has it become something real in your life?
It started as a symbol — the ultimate destination, the emotional gravity pulling the astronaut forward. Now, it’s also real. It’s love, it’s equality, it’s a way of living where softness and strength aren’t opposites. It’s not a place you arrive at once; it’s something you keep choosing, every day.
The Out Seer is what happens when a bunch of music-school misfits turn late-night jam sessions into something bigger than they ever expected. The band first found their groove at Selkirk College in the Kootenays, then planted roots in Vancouver’s indie scene—where their blend of alt-rock grit and emotional depth really started to bloom.
They’ve always had that rare combo of serious chops and raw chemistry, but with the release of their new album Changes, it feels like everything has clicked into place. The record is a bold, expansive leap forward—moody, melodic, and full of the tension and release they’ve become known for. Gritty guitars, brooding synths, and soaring harmonies weave together into a sound that’s unmistakably theirs. Adding keys opened up a whole new sonic world, and Changes makes it clear: there’s no going back.
Based out of Apricot Music Studios in the Greater Vancouver Area, The Out Seer is constantly in motion—tracking in the studio, hitting the stage, and winning over crowds across BC, from Okanagan road trips to festival sets. With Changes, they’re not just making noise—they’re making a mark.
Icelandic artist Brynja Rán makes a statement with Seven—a dreamy, brass-soaked, genre-fluid EP that boldly steps beyond the bounds of typical pop. Across four standout tracks, Brynja flexes her artistic muscles with a fearless fusion of sound, shimmering vocals, and a distinct sonic identity that’s entirely her own.
Opening with “None of You”, Brynja sets the tone with a lush and cinematic pop moment. Think a little Björk, a little Garbage, and flashes of Pulp, but with a horn-laced twist that nods sweetly to the ’60s—à la Nancy Sinatra. Her voice floats, soars, and punches through the arrangement at all the right moments, while layers of instrumentation offer new discoveries with every spin.
Next up is “Fool For A Lie,” a track dripping in brass and cheek. The energy is infectious, with hints of Lily Allen’s wit and Corinne Bailey Rae’s breezy soul. It’s undeniably radio-ready, but it doesn’t pander—it celebrates pop with purpose. The groove builds and blooms into something joyous, polished, and effortless.
Then comes the wild card—“Bastard.” Funky, fierce, and deliciously left-of-centre, this track captures Brynja at her most unfiltered. If you love the raw lyricism of Fiona Apple or the emotional theatricality of Tori Amos, this one’s for you. It’s a vibe shift in the best way—unexpected, unapologetic, and full of character.
Closing out the project is “Lullaby,” the official single and a clear standout. There’s a sultry, jazz-tinged undercurrent paired with Sade-esque smoothness, but it’s the Santana-inspired guitar licks that truly elevate it. It’s soulful, chilled, and utterly intoxicating—a final flourish that ties the EP together with a bow.
With Seven, Brynja Rán doesn’t just show range—she builds an entire world. It’s dreamy pop at its most imaginative, packed with emotional texture and a voice that refuses to be boxed in. Each track pulls from different corners of her influence, but the result is uniquely hers—fresh, fearless, and worth every second. We’ll be keeping a close eye on what Brynja does next.
I’VE TRIED EVERYTHING BUT THERAPY TOUR – OCTOBER 2025
With 12 huge arena shows locked in across Australia and New Zealand this October, global chart-topper Teddy Swims just keeps getting bigger.
The ‘Lose Control’ hitmaker is fresh from setting a new US chart record – his international smash becoming the first song in Billboard Hot 100 history to spend 100 consecutive weeks on the chart. Now deep into the North American leg of his I’ve Tried Everything But Therapy Tour, Swims is hitting milestone after milestone – including two sold-out hometown shows in Atlanta and a tour finale in Honolulu – before heading down under.
Today, Swims is thrilled to announce ARIA Award-winning artist Matt Corby as very special guest for his Australian dates.
Matt Corby is a musical perennial. Three immaculate albums into an original music journey, with no end in sight. Matt first broke through back in 2011 with the bruising ballad ‘Brother’ – a song whose enduring appeal was proven again with its #51 appearance on last week’s triple j ‘Hottest 100 Australian Songs’ of all time. In his career, Matt’s confidence as a songwriter, lyricist, and record producer has grown to match his vocal mastery. Fans can expect new music in 2025.
Says Corby:
“I’m such a fan of Teddy. I first heard ‘Lose Control’ on the radio while driving from the airport to a show, was completely floored by his vocal chops and the soul in his sound. I’ve been hooked ever since. We first met at his Sydney show last year: Teddy came up, gave me a big hug, and told me he’d been listening to my music since high school, which just blew my mind. After his set, we hung out, talked music, and joked about starting a boy band one day. Being invited to join him on this run of shows is a real honour. I can’t wait!”
With final tickets selling fast, this powerhouse pairing of Teddy Swims and Matt Corby is not to be missed. Two once-in-a-generation voices. One unforgettable night.
Matt Corby – Souls A’Fire (Live At The Fonda)
TEDDY SWIMS
+ special guest Matt Corby (AU shows)
I’VE TRIED EVERYTHING BUT THERAPY TOUR
AUSTRALIA & NEW ZEALAND
OCTOBER 2025
FINAL TICKETS ON SALE NOW
via frontiertouring.com/teddyswims
ALL SHOWS LICENSED ALL AGES
Tuesday 7 October
Wolfbrook Arena | Christchurch, NZ
ticketmaster.co.nz
Thursday 9 October
Spark Arena | Auckland, NZ
ticketmaster.co.nz
Tuesday 14 October
Qudos Bank Arena | Sydney, NSW
ticketek.com.au
Wednesday 15 October
Qudos Bank Arena | Sydney, NSW
ticketek.com.au
Thursday 16 October
Qudos Bank Arena | Sydney, NSW
ticketek.com.au
Saturday 18 October
Brisbane Entertainment Centre | Brisbane, QLD
ticketek.com.au
Sunday 19 October
Brisbane Entertainment Centre | Brisbane, QLD
ticketek.com.au
Wednesday 22 October
Rod Laver Arena | Melbourne, VIC
ticketek.com.au
Thursday 23 October
Rod Laver Arena | Melbourne, VIC
ticketek.com.au
Friday 24 October
Rod Laver Arena | Melbourne, VIC
ticketek.com.au
Monday 27 October
Adelaide Entertainment Centre Arena | Adelaide, SA
ticketek.com.au
Wednesday 29 October
RAC Arena | Perth, WA
ticketek.com.au
Patrons are advised to purchase tickets only through authorised ticket sellers.
We cannot guarantee any ticket purchase made through any means other than the official ticketing agents listed on the Frontier website.
FOLLOW TEDDY SWIMS:
Website | Facebook | TikTok | Twitter/X | Instagram | Spotify | YouTube | Apple Music
Photo: Tim Cotton
Having spent the last two years touring consistently through Aotearoa and beyond with their unbeatable brand of dynamic indie-rock music, NO CIGAR now embrace the release of their much-anticipated new project – album number three, Under The Surface.
An album jampacked with songs that speak to the band’s elevated chemistry as songwriters and performers, Under The Surface plucks at fresh sonic influences while driving home NO CIGAR’s curiosity for pushing themselves into new creative directions.
Featuring popular tracks including ‘Clean’, ‘Chantilly’, and ‘Best Behaviour’, Under The Surface provides the listener with multiple moments to lose themselves in. For fans of NO CIGAR who have been lucky enough to see the five-piece perform across the last year and a half, the kinetic energy woven through their live performances will recognise that same energy within the DNA of this album. For newcomers, consider Under The Surface as the perfect jump off point in discovering more about one of Aotearoa’s most exciting exports.
“Music is our escapism, it’s where we squeeze the poison, sucked from the wounds of love, life and pain. As songwriters, and for me as a lyricist, getting to open up in a place that feels safe, with the boys, feels cathartic in a way nothing else can. Like many people, I struggle to speak candidly with anyone about what haunts me most. Letting it out can feel like pushing a mouthful of emotions through a pinhole; therefore, I choose my words carefully, so as to leave no venom on the tongue.” NO CIGAR
Created at Auckland’s renowned Roundhead Studios, Under The Surface shines in the way the music incorporates new flavours (‘Merci Merci’, ‘Cherry Blossom Girl’), while also letting the personality of the songwriting take prominence. NO CIGAR’s music to date has spoken to the band’s natural talents as artists – a savvy knack of knowing how to build a sonic space that the listener gravitates towards with ease.
Under The Surface takes the lessons and experiences from recent years, particularly since the release of their last album – 2023’s The Great Escape – and distills them here into twelve tracks of fun, thoughtful and engaging music.
“Just as we’ve grown as people in the last few years since our first album, so too has the music. We never set out to make music that is ‘heavier’ or ‘softer’; we just find the time to lock ourselves away from the world, get comfortable, and open the floodgates. The way the heavier tones in the album balance nicely with softer numbers make for our most dynamic album to date. NO CIGAR like you’ve never seen it before.” NO CIGAR
The release of Under The Surface comes off the back of sold out tours across the UK and Aotearoa, with NO CIGAR’s impressive back catalogue continuing to resonate with increasingly large audiences in global markets – Australasia, Europe, North America and the UK.
To celebrate the release of Under The Surface, NO CIGAR will be touring Australia and New Zealand this October and November.
“We’re coming home Aussie (it feels like it anyway – we know you’ll claim us as your own some day). It’s been a minute. We love you, and can’t wait to share our brand new album with you. Prove to us why Aussie crowds are the best in the world. We’ll bring the noise, you bring the energy. Vise versa.” NO CIGAR
NO CIGAR AUSTRALIA / NZ TOUR DATES
Thursday 23 October Mo’s Desert Clubhouse Gold Coast
Friday 24 October The Brightside Brisbane
Saturday 25 October Lansdowne Hotel Sydney SOLD OUT
Sunday 26 October Stag & Hunter Newcastle
Wednesday 29 October Lansdowne Sydney NEW SHOW
Thursday 30 October Amplifier Perth
Friday 31 October Torquay Hotel Torquay NEW SHOW
Saturday 1 November Night Cat Melbourne
“Each performance is a journey guaranteed to envelop you in romanticism, to the ever-evolving backdrop of a thumping sonic experience. With elements of alternative, folk, and indie rock, they also utilise groove-based rhythms with psychedelic undertones to keep your feet moving & your shoulders rolling.”
TWICE THE HYPE
“No Cigar has noticeably little banter, and are mostly here to play their music, which they do very well. The crowd was wild and some people climb onto their friends’ shoulders to see over the rowdy room full of music lovers. Anyone who’s not on someone else’s should is awkwardly pressed together as the venue was clearly at capacity, if not over”
13TH FLOOR
NO CIGAR: OFFICIAL WEBSITE | FACEBOOK | INSTAGRAM | YOUTUBE | TIK TOK
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Australian indie-folk duo The Dreggs, comprised of Paddy Macrae and Zane Harris, are riding a wave of critical acclaim and overwhelming fan support following the release of their highly anticipated sophomore album, “The Art of Uncommon Practice,” which dropped on Friday, July 25, 2025. The album arrives on the heels of a massively successful Australian tour, which saw the duo captivate sold-out audiences across the country. With their latest musical offering making waves, The Dreggs are now set to embark on extensive tours of the USA and Canada in September, followed by a European and UK leg in October.
Hailing from Australia’s thriving indie-folk scene, The Dreggs have rapidly become one of the country’s most exciting live acts, renowned for their high-energy shows where crowds sing along from start to finish. What began seven years ago as a local cover act on the Sunshine Coast, playing pubs and cafes between surf sessions, has blossomed into a global phenomenon commanding sold-out crowds.
The duo’s impressive trajectory is highlighted by their remarkable growth in recent years. In 2024 alone, The Dreggs performed to over 50,000 fans across Australia, New Zealand, the UK, and Europe, a testament to their rapidly expanding international demand. Their 2023 Australian tours saw them sell over 15,000 tickets, delivering their biggest headline and regional tours to date. Their electric live presence was undeniable at Spilt Milk and Yours and Owls Festival, drawing crowds of approximately 10,000 to their sets. The intense demand for their music is further highlighted by the fact that tickets for their recent album release week shows sold out within 48 hours of a single Instagram post.
“The Art of Uncommon Practice” follows their critically acclaimed debut album, “Caught in a Reverie,” which debuted at an impressive #29 on the ARIA Australian Albums Chart. Their breakout single, “Give Myself To You,” has been certified Platinum in Australia, cementing their status as a powerhouse in the indie-folk world.
As The Dreggs continue to make significant waves internationally, their momentum shows no signs of slowing. Fans worldwide can look forward to experiencing “The Art of Uncommon Practice” live, as the band prepares for their upcoming tours.
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You’ve gone from Miss Universe Netherlands to playing festivals like SXM Festival in St. Maarten and Hï Ibiza. Did you ever picture your life unfolding this way? How has that journey shaped who you are now?
SHARE: Music started as a hobby, just me and my friends playing together back in Rotterdam. I’ve been DJing for over 11 years now, but I could have never imagined that it would turn into my full-time career, taking me to places like SXM Festival in St. Maarten and Hï Ibiza.
Being Miss Universe Netherlands was something I did with a greater purpose in mind, spreading awareness about single-use plastics. The experience shaped me in ways that still help me today, especially when it comes to confidence, public speaking or speaking on camera, and understanding how to use a platform meaningfully.
Now, with music, I get to channel that same energy into something that comes straight from the heart. It’s not just about playing tracks, it’s about creating emotional journeys, sharing messages, and connecting with people. I truly believe music can be a powerful tool for change, and I’m so grateful for where this path has taken me.
Your music feels raw and emotional, but also really polished. When you’re creating a track, do you usually start with a specific sound, a feeling, or even a visual in your head?
SHARE: For me, it always starts with a feeling. Music is the sound of emotion, it’s how I express what I’m feeling on a deeper level. That emotional connection is what drives the whole creative process. I’m especially drawn to the more spiritual side of music, and I think that’s what shapes the atmosphere and energy of my tracks. Sometimes the feeling isn’t immediately clear, because I don’t know what I feel, but as the sounds start to flow, the feeling follows naturally.
What I really love is to create high atmospheric sounds and hypnotic sounds. So I’m just sitting with a big smile while creating music. I’m actually getting naturally high behind my computer from making music!
You’ve performed all over the world — is there one show that caught you off guard emotionally or left a deeper mark than you expected?
SHARE: Absolutely. Every show is different, carrying its own emotional wave. Some leave you feeling like I can conquer the world, making me feel more secure and like, yeah I’m ready for anything!
Then other shows turn out to be more humbling, when something is just off, and I start to doubt myself. Sometimes it depends on the energy of the crowd, and sometimes it’s your own energy. It’s not always predictable, and that keeps it real. In those cases I go back to digging for new music.
One recent show that truly left a deeper mark on me was earlier this July at Woomoon at Cova Santa in Ibiza. I was in such a good flow, everything just aligned. The music, the crowd, the energy… it all clicked in a way that felt incredibly emotional. After the set, I could feel how deeply it resonated. Not just with me, but with everyone in the room.
That night reminded me why I do this. It’s those moments of pure connection that keep me inspired and grateful for this journey.
You’ve been outspoken about sustainability, especially reducing plastic use in the music scene. How do you keep those values front and center while navigating the demands of a global touring schedule?
SHARE: It’s always felt natural to me, I’ve had a strong sense of responsibility to care for our planet for as long as I can remember. As I mentioned earlier my time as Miss Universe Netherlands was dedicated to raising awareness about single-use plastics.
Now, as a touring artist, I stay committed by working with initiatives like Bye-Bye-Plastic, the charity by BLONDISH I’ve supported for over five years now. Their eco rider is such a simple yet powerful tool; it lets artists request things like no single-use plastics and only glass bottles in the booth.
Including this in my hospitality rider not only aligns with my values, but also encourages promoters and venues to think more consciously. It’s a small step that creates real change, and I’m proud to be part of this growing movement in our industry.
When people walk away from one of your sets, what do you hope they’re thinking or feeling? What kind of experience are you trying to give them?
SHARE: When people walk away from one of my sets, I hope they’re glowing, with a big smile on their face and a heart full of love. I want them to feel euphoric, like they can conquer the world and just smile at everyone they pass.
That’s the energy I try to channel through my music: moments of joy, connection, and celebration. For me, it’s all about sharing happiness, dancing together, and celebrating life to the fullest.
Your track “Avatar” debuted at an Abracadabra showcase tied to the Bye Bye Plastic movement. What was that moment like for you — musically and personally?
SHARE: “Avatar” was my very first release, picked up by BLONDISH’s label Abracadabra, so it holds a really special place in my heart. Not only did I debut it during the ADE Abracadabra showcase in support of Bye-Bye-Plastic, it was also included on the Bye-Bye-Plastic compilation album.
Something unique about this album, is that it was released on the very first bio-degradable vinyl record ever produced!
The track itself is about our connection to Mother Nature, so to have it tied to a label and charity with such a meaningful environmental mission made the message even more powerful. Musically and personally, it felt like the perfect start to my production journey.
Now that you’re based in Ibiza, surrounded by so much music culture, do you find inspiration in the scene itself or do you intentionally carve out space to stay grounded in your own style?
SHARE: I think Ibiza’s scene is always a very good example for how dance music is developing and how you can create a dance movement in a club. It’s very inspirational and you can definitely hear a lot of Ibiza vibes in my sets.
But honestly, finding the balance comes naturally as it’s very important to create my own style. Luckily, I travel so much, so I find myself in different scenes and grab inspiration from everywhere.
You’ve released music on labels like Crosstown Rebels and Abracadabra. What do you look for in collaborators or labels before saying yes?
SHARE: Both Crosstown Rebels and Abracadabra are led by incredible artists, Damian Lazarus and BLOND:ISH. Besides having a strong presence in the music industry, they are also genuinely kind and inspiring people.
That energy really shapes the culture of their labels. It’s more than just music; it feels like being part of a family. And what makes it even more meaningful is the mission behind each label. These are the things that really make me want to be a part of a label.
You’ve blended pageantry, activism, and music in such a unique way. Was there a moment where it all started to feel aligned — where the pieces came together and made sense?
SHARE: Honestly, I think I’m still in the process. Activism is now becoming more present in the music industry, it’s still a relatively new thing. So I’m really still in the process of creating interesting things for the future. The paths are still being carved out and I’m glad to be a part of that.
Your sound has already evolved so much, but what’s next? Is there a new direction, message, or part of yourself you’re excited to bring into the music?
SHARE: What’s next for me is really continuing to share the core message that’s always been at the heart of my music: no matter how deep or emotional the journey gets, you always come back to the light. My sound might keep evolving, but that feeling of sharing joy and celebrating life, that message to protect nature, will always stay the same.