SONOS CLUB : D3LA
INTERVIEW
Meet D3LA – a boundary-pushing DJ and curator making waves across London's eclectic music scene. D3LA's sets are a high-energy blend, merging the raw pulse of Jersey Club with the rhythmic intensity playing everything from of Ghetto Tech to Afrohouse. Their journey began in the underground venues of Leeds, where they honed their craft, later bringing their distinctive sound to iconic London spaces like Dalston Superstore, Voices Radio, Brixton Radio, Pop Brixton, and The Yard Theatre.
Can you tell us about your musical journey and how your cultural background has influenced your sound?
D3LA: Music has always been a big part of my life and experience- cliché I know. In the sense that, I have moved around a lot in my life, so music became this grounding element to which to relate to others. Whether it was getting into Post-punk music, during the brief time I lived in the North, or appreciating Jungle and the culture of Jungle music once I moved to London.So my taste is a sonic collage of the places I’ve been and people I’ve met.
What are some early memories of music from your upbringing that shaped your taste today?
D3LA: I’d say when I moved to the UK, I remember watching the music video for Blue Orchid by The White Stripes, which then got me into rock music and opened a door into the alternative world for me. From there, I discovered more artists who looked and sounded like me.
How do you integrate your heritage or identity into your DJ sets or productions?
D3LA: See that’s an interesting question because honestly speaking it’s more of my identity as a Black person and member of the Black diaspora that influences my DJ sets. I approach music like an anthropologist, I’m fascinated by cultures of the diaspora, and coming from a lesser-known African country, I want people to feel seen and represented. Whether you are Francophone African or Caribbean, or a member of the PALOP community, it’s nice to hear your culture being represented in some way.
Are there any specific artists or genres from your background that have been particularly influential to your craft?
D3LA: Uncle Waffles was a huge inspiration to me when getting into DJing in the first place. The presence of women DJs, specifically African women taking precedence was cool to see. I also love her brand of keeping things ‘for the girls and the gays’. She doesn't compromise her vision as her brand has gotten bigger. As I am further venturing into finding my distinctive sound, my inspirations have included the likes of Bambii, Crystallmess, and even TxC. In other words - Black women behind the decks.
When you’re crafting a DJ set, do you have a particular story or vibe you aim to convey? How do you build it?
D3LA: I’m a very visual-based person, so I usually scroll through Pinterest until I find an image that
catches my eye. The aim of my mixes is almost to create a soundtrack to said image. Hence why when people ask me what I play, I usually would say,‘…imagine a hot queer nightclub in NYC. It’s dark, there are tons of POC people there. There are some colorful lights here and there. Imagine what that might sound like - and that’s what I play.’
What’s your process for discovering and selecting new music? Any go-to sources or methods?
D3LA: I would say ID playlists on Spotify, SoundCloud playlists, and artist playlists on Spotify.
How do you balance between your roots and staying fresh with modern trends in your sets?
D3LA: Again, it’s all about approaching music like an anthropologist. It’s being open to new sounds. It begins with me just being introduced to the genre, and if I can rock with it, then absolutely I’d give it a go on the decks. But it’s also about wanting to do justice to that genre as well.
Can you talk about a track or mix you’ve created that holds a special meaning to you? What’s the story behind it?
D3LA: For my ‘DRIFT’ mix, I wanted to push myself with my sound and even transitions. That’s why with that mix, you can hear some elements of scratching in there. I had to take a lot more inspiration from the mixes that I would passively listen to. The more, I began defining my sound and lane, I looked up to Toronto DJ, Bambii and started analyzing her mixes and how she would mesh different genres well, but ultimately still keep her sound. So I went for something fast-paced, with a similar vibe and DRIFT was born.
As a DJ from a BIPOC background, what are some challenges you’ve faced in the industry, and how have you overcome them?
D3LA: For one, as I’ve gotten more into the electronic space and techno sphere, it’s a genuine surprise when I tell people that Black people were and are the pioneers of techno music. It’s this perception that I believe deters POC, but black people in particular from taking part in techno. Right now my mission is not only to educate via my Instagram and TikTok but also my mixes and appearing on certain lineups. It’s little steps.
How important is representation and visibility for you in the electronic music scene?
D3LA: It’s everything. Even as a partygoer, I check the lineup and scope out the crowd. I’m always pleasantly surprised when I do see Black people in these spaces. It’s good to be reflected in music, in the space. Without POC representation, it can almost feel like an erasure of our contributions to electronic music.
Have there been moments where you’ve felt your identity helped you stand out or connect with your audience in unexpected ways?
D3LA: My second time playing Dalston Superstore, a lot more Black people came out because they saw me on the lineup. In the moment, it felt so good playing in a way that not only connects with people but makes them feel seen.
What are some emerging trends in electronic or experimental music that excite you right now?
D3LA: The greater inclusion of Afrotech and techno sounds coming out of Africa. There were always genres like GQOM, however with Amapiano exploding, has piqued the interest of the world when it comes to various techno sounds coming out of the Motherland. Producers like DJ Lag and Dlala Thuksin opening that door is great to see. Thus inspiring a new gen of African techno producers.
How do you envision your music evolving in the next few years? Are there new sounds or ideas you want to explore?
D3LA: I see myself producing a lot of GQOM tracks definitely and also Bouyon. Right now Bouyon is one of my favorite genres coming out of the Caribbean. I can see myself sampling and adding more Liberian voices to certain tracks as well..
If you could curate a dream lineup for an event, which artists would you include and why?
D3LA: I’d say Black Rave Culture, DJ Swisha, Crystallmess, and Baexploitation. Mcing, I’d want Jussten Ross. Right now, when it comes to black people in the techno space, they exemplify what I’m trying to see more in the UK.
What advice would you give to up-and-coming DJs and producers from underrepresented communities?
D3LA: I’d say to keep going but also don’t be afraid to bring your flavour to your sets. Your roots,influences, and story, because even if you have connected with one person in the crowd then you’ve done a good job. We need more underrepresented communities on the decks. IT’S SO NECESSARY!
How do you stay motivated and keep your creativity flowing, especially during challenging times?
D3LA: To be honest, I take breaks when necessary. And I try not to compete with what I’m seeing online. I think the hardest thing is sticking to your sound and trying your best not to compromise too much. In terms of, being Black in electronic spaces, sometimes it can be challenging to book certain gigs, especially if you don’t have a huge following already. It can be quite tempting to pivot your genre altogether to get more bookings. But that’s where consistency and social media come in because someone somewhere would relate and connect with your sound.
What’s one message you hope people take away when they listen to your sets or mixes?
D3LA: I’d say to have an open mind and be willing to go on the journey my mixes take you.
SONOS CLUB is an initiative from Sounds of Craft Records, designed to highlight the eclectic electronic music scene through the perspectives of the BIPOC diaspora and marginalized communities, while being open to all.
