Interview With ADRIANNA

Last Updated: June 26, 2025 (26.06.2025)

Picture this: a lone DJ deck positioned on the dramatic cliffs of Illikkal Kallu, India’s majestic mountain peaks stretching endlessly behind a figure hunched over the controls, delivering pounding techno to the wind. It’s not your typical club setting, but for ADRIANNA, it’s exactly where she thrives. Named one of Beatportal’s “Artists to Watch” and with releases climbing the charts on We Are The Brave and Gain Records, she’s proven that techno’s boundaries extend far beyond warehouse walls.

Nature Meets Techno: The Illikkal Kallu Experience

The viral performance that’s been making rounds across electronic music circles wasn’t months in the planning. ADRIANNA was already in India working on a project when her friend Shine from People’s Cinema orchestrated the entire production in just 48 hours, securing location permits and crew with remarkable efficiency.

This spontaneous approach reflects something deeper about her artistic philosophy. Having graced stages from Sonar to Creamfields, she’s learned that environment shapes everything. Her love for natural settings — whether ocean or mountains — creates a fascinating contrast when paired with techno’s industrial sounds. There’s something compelling about bringing acid and warehouse aesthetics to organic, untouched environments. The unexpected juxtaposition fuels her creative drive.

Creative Evolution: From “Ascension” to Hardware Exploration

That appetite for the unexpected has fueled her recent creative surge. Her track “Ascension“, featuring Lauren Nicole on Alan Fitzpatrick‘s We Are The Brave label, recently cracked Beatport’s Top 10. The production represents a modern twist on late 80s and early 90s rave sounds, complete with an unexpected nostalgic synth breakdown. The vocal elements serve as a commentary on systematic living and the universal desire to break free.

Her upcoming EP on Gain Records promises to push boundaries further, featuring collaborations with Reaktive and a remix from Sisko Electrofanatik. Working with Reaktive fulfilled a long-held aspiration, as she’d admired his music for years. The remote collaboration process particularly suits her creative workflow, allowing each artist to contribute their essence without real-time influence from the other. This approach prevents compromise while encouraging authentic artistic expression.

But perhaps her most intriguing evolution involves returning to her classical roots. She’s currently investing significant time in external hardware while reconnecting with piano work developed over recent years. This isn’t purely electronic exploration — she’s been learning pop, jazz, and classical pieces as a creative palate cleanser. Her experiments now center on integrating synthesizers into live sets alongside vocal elements, representing an exciting creative phase she’s eager to share publicly.

The Philosophy Behind The Beats

What emerges from the conversation with ADRIANNA is her remarkable clarity about energy management. She describes herself as existing in a constant state of motion, and this personal rhythm directly informs her sets. Her approach to pacing live performances involves strategic breaks featuring vocals, pads, or orchestral sounds — essential recovery periods between high-intensity production segments.

This thoughtfulness extends to her views on techno‘s current challenges. Regarding Berlin’s underground scene pressures, she maintains that underground spaces serve vital functions beyond music, fostering community, culture, inclusivity, and expression. Artists bear responsibility for protecting these environments. Yet she’s equally realistic about industry evolution, including AI’s growing presence. She views technological advancement as inevitable across music and most industries, predicting that focus will shift toward creativity, technical ability, and thinking beyond basic tools.

Looking Forward: Hardware, Vocals, and New Horizons

Through her Temple Music label and monthly radio show, ADRIANNA continues building her platform while staying true to underground values. Her classical training across multiple instruments and film background inform productions that feel both cerebral and visceral. She emphasizes that road testing tracks can make the difference between good songs and great ones, speaking to her commitment to dancefloor functionality.

As techno’s landscape shifts toward remote performances and technological integration, ADRIANNA‘s blend of natural inspiration and technical precision positions her perfectly for what’s next. Whether performing on windswept mountains in India or in packed European clubs, she brings the same essential element: authentic connection through movement.

The future of techno might be unpredictable, but if ADRIANNA’s recent trajectory tells us anything, it’s that the most compelling artists are those who embrace that uncertainty — and turn it into something unexpectedly beautiful.

Follow ADRIANNA on Instagram @djadrianna for the latest updates.

ADRIANNA’s Q&A Interview With Techno Airlines

Whether it’s a remote mountain in Kerala or a packed European club, ADRIANNA brings the same clarity of purpose: movement, emotion, and connection. Her recent live set at Illikkal Kallu turned heads for its blend of natural drama and raw techno power, but it’s just one piece of a broader creative trajectory that’s as rooted in instinct as it is in intention. With new releases landing on We Are The Brave and Gain Records, she’s clearly in a forward motion — technically evolving, collaborating widely, and pushing her sound into new terrain. We caught up with ADRIANNA to talk nature, nuance, and the mechanics of momentum.

1.⁠ ⁠Your recent live set at Illikkal Kallu is both visually striking and sonically powerful. What drew you to that location, and how did the natural surroundings shape the way you approached the performance?

India is a place very dear to my heart, and I was already there working on a project. Luckily, I have a dear friend named Shine with a company called People’s Cinema. He put the whole thing together in about 48 hours. The location permits, crew, and all. I’m grateful to have so many people in my life that have the attitude of making things happen. I try my best to be this kind of person. Given the limited time, I just went with the attitude of playing tracks I love in an incredible setting and having a good time.

2.⁠ ⁠You’ve mentioned nature as a recurring influence. How does being in a place like the Indian mountains affect your relationship with techno, both creatively and emotionally?

I love spending time in Nature, wherever in the world, whether it’s the ocean or mountains. It’s such a nice contrast to being in the glass boxes of a city or surrounded by pavement and walls (which also has its charm). I suppose being in a place that is organic, rural, and untouched, and bringing techno, acid, and warehouse sounds is kind of fun because it’s unexpected for the environment. I’m inspired by unexpected things.

3.⁠ ⁠The energy in your sets feels very deliberate, with a constant sense of motion. What’s your process for building that kind of intensity, and how do you think about pacing when performing live?

A constant state of motion is an accurate description of me, and I am what I bring to my sets. I have a lot of energy, and to pace myself, I must be deliberate or I’ll keep going. So, for sets keeping nice, clean breaks is key with just vocals, pads, or orchestral sounds. It’s a good way to recover between high-intensity production. Also, sometimes a variation in BPM, so there is an opportunity to catch a breath.

4.⁠ ⁠“Ascension” has just landed on We Are The Brave and made the Beatport Top 10. What was the idea behind the track, and how do you see it fitting into the wider direction of your sound?

The idea behind the track was a modern twist on the late 80s and early 90s rave sounds. Within the production, there is the unexpected nostalgic synth breakdown, and the vocal we wrote – sung by Lauren Nicole, is sort of a nod to the current state of living systematically and ideas of breaking free.

5.⁠ ⁠You’ve got an upcoming EP on Gain Records with features from Reaktive and Sisko Electrofanatik. How do you approach working with other producers while still keeping the sound authentically yours?

This is a very exciting EP. Working with Reaktive was really a blessing, as I’ve loved his music for some time. And having the remix by Sisko is wonderful. We went back and forth a bit, making quite a few changes on the original mix. Working remotely sometimes feels easier to maintain my own essence. There is no agreement as you go along. It’s like you do yours, then send it, then they do theirs, and you may go back and forth, but it’s not in the moment. So each artist has the opportunity to add their bit without the influence of the other artist. I love what we came up with, and the remix is Solid!!!

6.⁠ ⁠You’ve played everything from clubs to remote outdoor settings. What shifts for you as a performer when the physical space and crowd dynamic change so dramatically?

As a performer, I don’t think it changes much. If I am performing for a few people in a room or thousands at a festival. Because I exchange energy with people hearing the music, watching how they move, and waiting to see if they feel the music as I did when I made it or heard it. I remember playing music for my grampa that I produced, knowing he would like the melody things and not the harder pieces at all. Being able to predict that and see him smile. So, for me, it doesn’t matter where I play, but seeing the reaction in people’s eyes is special. Acoustics is a whole other topic when it comes to playing different locations, though, and that can be a challenge. Especially with wind.

7.⁠ ⁠Your productions have a very physical, almost tactile feel. How much of that is developed through road-testing tracks live, and how much is instinctive when you’re in the studio?

Road testing is important and can be the difference between a good song and a great one. I’ve reworked tracks for many months, tweaking and changing till I felt like they would hit the dance floor right and sonically come across against the other tracks in my set in a way that matched the energy. I want to make sure they remain something that I can be proud of indefinitely and sound good on all systems.

8.⁠ ⁠With more techno artists turning to remote or cinematic locations for their sets, do you see this as a broader shift in the culture or more of a personal way to push your own boundaries?

For me, it was a personal way to create something unique. I’d had various people encourage me to make this type of set before, and I wanted to make sure if I did, that it was something I would enjoy and be unique. I have more live location sets planned for this year, but this first one was truly special. I love going to remote areas and am naturally an adventurous person.

9.⁠ ⁠The rise of AI in music production is stirring up a lot of debate in the scene. Is that something you’ve explored or kept an eye on, and what are your thoughts on where it’s headed?

I think this is inevitable in the evolution of music and most industries in general. It depends on what is even considered AI. Are plugins considered AI? AI-generated instruments or stem separation that is now readily built into the DAWs? With new technology the bar to entry for basic DJing skills and production is much lower than it was 5, 10, 20 years ago, and more accessible to everyone to explore electronic music regardless of economic status which I think is great – the opportunity to learn music should not be gatekept especially with so many cuts in music programs in schools. I think the focus will shift more to creativity and technical ability, as well as thinking outside the basic tools and probably the personality of the entertainer, as these are things that AI tools would take longer to catch up on.

10.⁠ ⁠Berlin’s club scene has been under political and legal pressure recently, and it’s sparked wider conversations about the future of underground spaces. How do you see your role as an artist in defending or reimagining those spaces?

Underground spaces are vital, not just for music but for community, culture, inclusivity, and expression. As artists, we have a role in protecting them. Through music, through visibility, and by keeping our integrity. There has been a definite shift in recent years in the nightlife. Not just in Berlin, there is so much more availability for music consumption now. You hear your favourite DJ sets without leaving your house. But to be on the dancefloor with other people, living. I hope the future generations will not be deprived of those moments.

11.⁠ ⁠As a woman in techno, you’ve spoken about pushing against expectations. What boundaries still feel present in the scene, and where do you feel momentum building for change?

I don’t like to focus on boundaries or expectations. The only expectations I care about are the ones I set for myself and what I have committed to. That fight is an internal evolution for me to keep going until I reach my goals, regardless of the opportunities I may or may not have due to these factors. I do think visibility is important, though, for people coming up. I am very inspired by women in music. People like Monika Kruise, Miss Kitten, Nicole Moudaber, ANNA, Lisa Lashes, Marie Vaunt, Charlotte De Witte, Deborah De Luca, Rebekah… there are many, and they have all fought against their share of boundaries.

12.⁠ ⁠What are you currently exploring sonically or technically that feels like it could open up new territory for your sound?

Right now, I’m working more with external hardware. I spent a lot of time on the piano in the last couple of years to switch off from electronic music, learning pop, jazz, or classical songs. I loved playing on the family synthesizer when I was young, and it’s been great going back to the keys. I’m experimenting with synths over my sets and vocals. It’s a lot of fun creatively, and I’m looking forward to sharing more of that project soon.