SONOS CLUB : MISFYA
Sure to bring the heat to scorching levels, MISFYA is not one to miss.
Lauded for her bold and empowering club music, MISFYA has been making serious waves in the UK and beyond. Resident Advisor praised her single ‘COZ I'M THAT MOTHERFCKIN’* as “brash, empowering club music from a UK up-and-comer,” spotlighting her knack for infectious rhythms and no-holds-barred hooks. Her debut EP SYSTEM BUG pushed things further, described as a collection of “blitzing and infectious rhythms,” and “rallying battle cries to corrupt, burn down and deconstruct anything that goes against empowerment of the disadvantaged.”
Following that momentum, her latest release LOVE (THIS) GAME continues to expand her sonic universe, an immersive and provocative dancefloor experience, dripping with intent.
Known for her heavyweight mixes and unapologetic energy, MISFYA has ignited crowds at Glastonbury, Fabric, Village Underground, Colour Factory, Printworks, Sonic Acts Festival and more. Expect searing rhythms, hard basslines, raw breaks, and that unmistakable fya energy!
INTERVIEW
What first drew you to DJing, and how has your sound evolved over time?
MISFYA: I had been to a couple raves and club nights like Rupture & PXSSY PALACE before and after lockdown, where I skanked to bass-heavy sounds like 140 bass, techno, uk funky, grime, gqom and experienced jungle , juke and drum & bass for the first time. Those nights gave me a profound sense of admiration for DJs and how they moved people, people’s worries and sorrows melted away on the dancefloor. I was excited by the idea of being able to move people in that way. DJing felt like the best avenue to do that as well with sharing my music, considering I started producing under my alias in 2021. I think my sets since have always had bass-heavy sounds at its core, over time I’ve been leaning even more so into global sounds within that realm too like shatta, bouyon, batida, coupé-décalé as well as east coast bass music i.e philly and miami bass.
Are there any particular artists, cultures, or experiences that have shaped your musical identity?
MISFYA: Being of Ivorian descent, I grew up on a lot of west-african music, my love for percussive and bass sounds found its roots there and it’s definitely shaped my musical identity as a producer and DJ.
What’s your approach to curating a mix—do you follow a structure, or is it more instinctive?
MISFYA: 9 times out of 10, I have a clear intention for what kind of energy I want to bring to a mix with whatever sounds I’ve been enjoying leading up to curating it. I don’t think I follow a structure per say, it’s definitely more of an instinctive process for me.
Is there a particular genre or sound you’re currently exploring or excited about?
MISFYA: I produced an electronic coupé-décalé track last year and I’d love to develop that sound further in 2026.
What keeps you inspired and motivated when you hit creative or personal challenges?
MISFYA: Surrounding and immersing myself in hobbies that reconnect me with my inner child, whether that may be dancing in my room, sketching / painting, cooking something I love. That allows me to reset internally and puts me into a more positive headspace, which in turn allows me to find motivation again. It’s also seeing artists I admire put out quality work, watching others shine fuels my desire to keep shining myself!
Beyond music, how do you see yourself in the world—what drives you and your purpose?
MISFYA: Creation drives me, my creativity goes beyond music and finds itself in fashion, visual, art, food. It’s also what connects me to others, seeing people express themselves breathes life and joy back into myself.
Have you faced any challenges in the industry that shaped the way you approach your craft?
MISFYA: I’ve been DIY since I started this journey and it’s pushed me to execute my vision and my releases with little to nothing. This has molded me into being more strategic, resourceful and imaginative. I’ve also cultivated a discipline and drive that keeps me going, which is essential to endure the highs and lows of being in this industry.
How do you navigate spaces where you might feel underrepresented or overlooked?
MISFYA: With my head held high, confident.
Do you think electronic music is becoming more inclusive? What progress do you hope to see?
MISFYA: On a local scale, I've seen more platforming and recognition of Black, POC & Queer collectives/artists where it's due but it's not enough. Big festivals, promoters and venues continue to repeat the same whitewashed lineups, i.e Glasto's lack of diversity both onstage and off has been called out multiple times. Electronic music is inherently BLACK music. Both pioneers and emerging artists deserve to reap at least the same benefits as their white peers, if not more considering the long history of non-Black artists imitating and emulating Black artists without credit or compensation. I'm hoping to see bigger artists use their platform to make changes where record labels and festival bookers don't, i.e Tyler The Creator curating Camp Flog Gnaw and All Points East showcasing many Black artists on his lineup. These big stages are what artists can use to leverage more for themselves. Hopefully, if other major artists like Tyler follow suit, there’ll be a push for resources and opportunities to be distributed more equitably toward Black, POC, and queer artists on both a local and global scale.
If you could create your dream lineup for an event, who would be on it?
MISFYA: LCN, BAMBII, C.frim, Half Queen, Tsunamy, UNIIQU3, soft break, Emma Korantema,kyma, Fiyahdred, PXSSY PALACE residents too like Nadine Noor and Ryan Lovell.
Outside of DJing, do you have any creative or personal projects you’re passionate about?
MISFYA: I got back into spray painting this year, I completed a big canvas piece of an old sketch just before my birthday in spring. Would love to do a piece a year!
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.
