“The main goal is to showcase my music and sonic identity in a space where I can feel 100% free”

-Pierre Roelens

(This interview has been translated from Spanish)

You’ve been in the Spanish scene for a few years now. How has it been different from your previous experience, and what have you learned since then?

I’ve been connected to music for almost two decades, although it hasn’t been a straight path. I’ve taken breaks and made detours, but I’ve always come back to it because it’s truly what I’m passionate about. Since moving to Spain in 2018 and relaunching my project with more focus in 2023, I’ve been working on finding my identity within the Madrid scene, which is where I am now.

The Spanish scene has its own unique traits. Being a Spanish-speaking country, Latin genres like reggaeton are incredibly strong, as well as Spanish pop. This makes it more challenging for an electronic music DJ like me to carve out my own space, but little by little I’ve been able to do it. I’m originally from Venezuela, where Latin music also coexists with other genres, and I believe that this fusion with electronic music is more of a bridge to connect with the audience than a barrier.

Of course, it’s been different and even complicated in some ways. It’s not the same to grow in your own country, surrounded by your people and environment, as it is to start over somewhere else, where you inevitably are “the foreigner.” Still, I’m very grateful for the reception I’ve had, for the doors that have opened, especially thanks to the Venezuelan community in Madrid that has supported me and trusted me again. That’s the most valuable part of this stage: knowing I can grow and contribute from a new context while always staying true to my passion for music.

How would you describe your sound?

My sound has gone through an important evolution over the years because I’ve always tried to adapt to new trends while staying true to my essence. I come from a phase heavily marked by EDM, Dubstep, Trap, and all the fusions that emerged between 2010 and 2015. Later, I experimented with genres like Future Bass, Future House, and G-House, which gave me a very diverse base. While many of my peers at the time leaned toward House, Tech House, or more minimal Techno, it took me longer to define my new project.

For the past couple of years, I’ve reconnected with more melodic and organic sounds, working a lot with Afro House and blending it with modern elements. Today in 2025, I feel my proposal has a fresh air to it. It mixes Funky, French House, Deep House, Afro percussion, and a melodic yet dark touch, always with a lot of groove. It’s been a journey of countless hours of production, active listening, and experimentation, but also of reconnecting with my roots and multicultural experience after living in different countries. That has enriched my ear and given me new perspectives to build a sound that, in my own way, stands apart from what’s usually heard in the scene. What I present today is the result of that path and of a constant search for innovation without losing authenticity.

How has your sound evolved in recent years?

My sound has changed a lot since I started producing music back in 2008–2010, when my first experiences were with programs like FL Studio or GarageBand. At that time everything was very digital, 100% computer-based, very 4x4, very precise and electronic. Over time, and thanks to the evolution of technology, I discovered the importance of bringing back analog and organic elements: the natural groove of recording live instruments, the human feeling that had been lost a bit with digital perfection.

Nowadays my sound looks for that balance between electronic and natural, combining live bass, horns like trumpets or saxophones, and live percussion with the strength of the classic 4x4. That blend of robotic and human gives freshness and life to my productions. I feel my evolution has gone precisely in that direction: from a 100% digital sound to a more organic, intuitive, and humanized one that connects better with people and reflects a very current trend in the scene.

What has been your impression of the electronic music scene in Spain so far?

My impression has been very positive. It’s a market with a strong musical tradition, where Latin genres and pop have a massive presence, which makes it a challenge for an electronic DJ to find his space. At first it wasn’t easy, but little by little I’ve been able to carve out a path. On top of that, Spain has a diverse and demanding audience that knows how to enjoy and appreciate music, which motivates me to keep giving my best at every show.

You’ve started introducing a series of sets in interesting locations. Tell us about that project. How did it start, and where would you like to take it?

Not long ago, in a meeting with my team, we decided we needed to take a step further beyond lifestyle content and my role as a producer. We needed to create a space where I could showcase my music being 100% myself, with my own line and style. Nowadays, content creation is as important as having your own sound, because if you don’t exist on a screen or a platform, it’s very hard to stand out. That’s how the idea for this series of sets in unusual locations was born, with a concept that combines randomness and authenticity.

The first was “The Bath,” recorded in the club where I play in Madrid, in a space that feels like an underground bathroom. Then we did “The Flight,” in a rented plane with a pilot friend, and now we’re preparing “The Cave,” from a friend’s basement that looks like a dungeon, as well as “The Living Room,” a more intimate and chill format recorded at home. Each session has a slogan that connects with my essence, for example “From the Bathroom to the Underground” or “From the Skies to the Underground.” The idea is always to take my underground sound to unexpected, random places that reflect who I am as an artist. I’d love for this project to keep growing, bringing it to more unique spaces that aren’t necessarily conventional for electronic music but transmit authenticity and allow me to connect in a different way with people and with my surroundings.

What’s your goal with the new Pierre Roelens sets?

The main goal is to showcase my music and sonic identity in a space where I can feel 100% free and authentic. These sets are a way to develop my full potential, sharing not just the music I love to play but also my own productions. I want them to become a meeting point, a community around my sound, where people can connect with my proposal and really understand who I am as an artist. From there, the path will show how far this project can go.

If you could do a B2B in one of these sets with anyone, who would you invite?

Honestly, I haven’t thought about it deeply yet, but the idea of sharing this project with other artists sounds fun. I’d like to invite talents who are on the same musical wavelength and at a similar stage of growth, to create collaborations that enrich the project. Later on, once the project is more consolidated, I’d definitely open the door to guest artists who could use this platform as a boost while also bringing their vision to the concept. I think that interaction could bring even more life to the sets.

If you could choose any city in the world, where would you like to take your new series of sets?

I’d love to bring this project back to Venezuela. In fact, at one point I thought about piloting it there, and I’d definitely like to make that happen when I get the chance to return. It would be very special to do it in my hometown, Puerto La Cruz or Lechería, and also in Caracas. Being able to share this concept in my country would have huge personal meaning.

What music are you listening to lately? Any new artist catching your attention?

Lately I’ve been very focused on listening to Brunello and his project MeloCircus, which I find super interesting. He has a very distinctive, fresh, and character-filled sound. I think he’s a true rising star worth keeping an eye on. I’m also following Yamaguci and Darko, from the Maccabi label, who are creating a very solid line within the scene. Their work really connects with me and aligns with the path I’m taking with my own sound.

What do you think about the state of electronic music in 2025?

For a long time I thought that big festivals like Ultra or Miami Music Week were the ones that set the tone for electronic music each year. From Latin America, that was the reference point: whatever happened during those weeks seemed to define what came next. However, now living in Europe, I can confirm what I already suspected: Ibiza has become the true thermometer of the scene. On the island, DJs test new sounds, present IDs, and gauge the reaction of a diverse and demanding crowd that loves electronic music. If something works there, it usually sets the trend for the season.

As for styles, I think we’re in a cycle where French House, classic House, Funky, and disco influences are coming back strong. These genres are taking the spotlight and, in my opinion, will keep growing in the coming years. At the same time, Tech House has evolved into a more organic sound, which I find fascinating. The same goes for Afro House, which is already consolidated worldwide, and for styles like Melodic House, Organic House, or Indie Dance, which are experiencing a massive boom. In short, I see a scene in constant motion, where organic and melodic are gaining ground against the purely digital and rigid. Genres don’t disappear, they evolve, and I think that blend of classic and fresh is the path that will keep shaping electronic music in the years to come.

How does your synergy between DJing and producing work? How do they influence each other?

I’m lucky to be active on both fronts: as a DJ, playing in clubs every weekend, and as a producer, creating music during the week. That combination gives me a special advantage because I can test my productions directly on the dance floor and see the crowd’s reaction in real time. While a singer or band might spend months in the studio not knowing if their work will connect, I have the chance to constantly test my tracks, adjust details, and refine my sound based on the audience’s energy. That immediate feedback enriches both my sets and my productions, helping me grow consistently in both areas.

What’s your process for curating music for your sets? Do you prioritize any factor when building a set beforehand, or do you prefer to improvise and let the night decide?

I think it’s essential to combine both: preparation and improvisation. In my early projects, I used to play 45-minute or 90-minute sets, where the selection had to be very strict because we had to maximize the time, always sticking to our line and giving space to our own productions and remixes. Nowadays my shows tend to last longer — two or three hours — which gives me much more room to improvise. Before each show I prepare a wide selection of tracks I’d like to play, but in the end, it’s the crowd and the vibe of the night that guide the direction. I test songs, observe reactions, and adjust the energy to build a story together with them.

On the other hand, when I prepare special sets for recorded sessions, I do a very detailed curation. I use tools like Mixing Key and DJ Studio, which thanks to AI help me organize and make better use of the tracks, almost as if I were composing a chord progression. Those sets usually have 12 to 14 tracks, which allows me to structure a narrative: going from less to more, creating tension, drops, and maintaining dynamics within a limited time. In short, I like to think of each set as a musical story that adapts to the context. Live, I let myself flow with the audience’s energy, while in recorded sessions I aim for everything to be perfectly woven together to transmit my artistic identity.

What excites you about the future of your project as Pierre Roelens?

More than thinking about the future, I live intensely in the present and enjoy my process to the fullest. Even though I’ve been in the industry for years, I feel every stage is different and always brings new lessons that help me grow and improve. What excites me the most is knowing I’ll continue to bring joy and moments of happiness to people through my music. That energy exchange is what drives me, and what I want to keep doing for many years. Of course, I work every day to grow my project, reach more people, and bring my music to new places. I trust there’s a space waiting for me in the global scene, and I’m sure I’ll be able to take it with dedication and consistency, always with the goal of connecting with thousands of people around the world.

Is there anything we haven’t covered that you’d like to promote?

Yes, I’d like to highlight my sessions, which I think have a fresh and different concept. For me they’ve been really fun experiences and a true journey, as well as a way to reconnect with many things artistically. As for my productions, I don’t yet have confirmed release dates, since I’m in the process with labels and the industry’s bureaucracy. Even so, I feel really happy with everything I’m creating and excited to share this new stage with the people who follow me. Every time I listen to what I’m working on, it brings me joy, and I can’t wait for the world to discover this new version of Pierre Roelens.