What genre or sounds have you recently become obsessed with, and how has it influenced your mixing or selection style?

I’ve always been drawn to a wide spectrum of sounds: disco, soulful house, afro grooves, and acid sounds. My taste is intentionally miscellaneous, and I naturally gravitate toward music that moves something deeper in me.

There’s something special about Cerrone’s music, where Euro-disco, funk, orchestral arrangements, heavy percussion, and early synths collide. It feels nostalgic yet ahead of its time. I’m equally captivated by Italo disco, with its drum machines, cosmic synths, and those simple but addictive hooks and vocoded vocals.

Maybe it’s the Pisces in me, but I’m pulled toward music that carries both emotion and imagination. That duality resonates because I’ve always felt like an old soul who’s also dreaming about what’s next. It shapes my selection too. I’m always searching for tracks with that timeless but forward energy. The ones that feel familiar yet thrillingly new.

What got you into DJing, and what do you like most about it?

Music and dancing have always been a part of me, but for a long time I never gave myself permission to explore anything artistic. After graduating, my identity became wrapped up in work and growing tech startups, which I love, but it consumed most of my twenties.

When COVID forced everything to pause, I finally had space. That restlessness pushed me into self-reflection, and it led me back to music. I started diving into the sounds I loved, discovering their origins, and exploring influences. I would take a small controller and speaker on my trips to Sinai and spend hours on the beach mixing purely for the joy of it. It grounded me, and it still does.

DJing became my outlet and a way to express something deeply personal without words. What I love most is sharing a piece of who I am and connecting with people on a human level through music. It’s a constant personal reminder that growth doesn’t only happen in career milestones.  It also happens in the spaces where we rediscover ourselves.

What’s the most unexpected track you’ve dropped recently that shifted the entire energy of a crowd?

I love mixing nostalgic gems with new discoveries because surprising myself is just as fun as surprising the crowd. A few favorites come to mind. Cerrone’s “Summer Lovin” (Purple Disco Machine Edit) is one of those timeless tracks that always shifts the atmosphere. It’s emotional, uplifting, and lands every single time. 

Another one I used to play a lot that always gets the crowd going is “Again & Again” by DJ Mark Brickman (Original Mix). I once played it at XP Futures in Riyadh in 2023 as part of Nacelle’s showcase. The energy was incredible and the crowd absolutely loved it. It’s one of those tracks that gives you that instant boost and connects everyone on the dancefloor.

A more recent moment that really transformed the energy was when I played “La Vita De Mare” by Mind Enterprises for the first time last summer. The reaction was instant. It’s playful and sun-soaked, and watching the crowd vibe with it in real time was such a joyful moment.

Your sets often include timeless classic house cuts. What’s your process for finding tracks that still feel fresh?

My process for finding tracks that still feel fresh almost always starts with one song that grabs me. Then I disappear down a rabbit hole. I get incredibly nerdy about it: researching the artist, their influences, the era, their discography, and any related sounds or genres. If something sparks a feeling, it gets saved. I organize everything by mood, era, or emotion, sometimes even with emojis or playful playlist names.

A lot of my discovery happens in quiet moments, like early mornings or during long drives. Traffic can be tiring, but listening to music while driving lets me zone out from the world and really focus on the details, the layers, the textures, the emotions in a track.

That’s often when I’ll realize, “This is a track I need to bring into a set.” With timeless tracks, it’s simple: if it moves me, it’s worth exploring. From there, I imagine how it might land with the crowd and the energy it could create. Some of my best sets have come from tracks I found in those small, personal listening moments.

From Cairo Jazz Club to international festivals like Fusion Festival: what has been most important for your growth as an artist?

Whenever I look back at this journey, I get sentimental. I started mixing in 2020, and my first gig was with Society of Play, surrounded by friends and a collective of people who were there to play and connect. I had no plan. I was leading with my heart and playing the music I loved.

Since then, so many promoters and individuals have trusted me long before I expected anyone to. There were many moments of trial and error, but I’ve always centered intention and connection over what I felt I should be doing. Even though my professional background is strategy and growth planning, music is where I let intuition lead.

I’m not in a rush. I’m constantly exploring new formats and disciplines, like vinyl mixing and music production (hi, Yellow Tape), and I’m always diving into new genres, even if I don’t showcase them publicly.

I chose “miscellaneous” for a reason because I genuinely love blending different sounds, eras, and moods. It gives me the freedom to play what resonates in the moment, not what I feel I have to play to fit a box or serve any agenda.  For me, music has to remain intentional, personal, and joyful, because that’s the energy I want to share with every crowd.

You played a b2b set with Aly Goede at Fusion Festival last summer. How did it feel to bring Egypt and Sandbox energy to a German playground?

Fusion was surreal. None of it would have happened without Aly, and I’m forever grateful to him and to Madmotormiquel for making it possible and for being the warmest of people. Playing in the morning, in nature, surrounded by friends, and closing the Panne Eichel stage still feels like a dream.

Our Sandbox set in May was one of my favorite sets ever, and bringing some of that energy to Fusion was incredibly moving. Everything felt vivid and alive. I wish I had more footage, but the fact that it wasn’t filmed to respect the dancefloor makes it even more special. The memories feel engraved in a way a recording could never capture.

What’s one special track you loved playing that morning?

I played Immer by Ede and Deckert featuring Sargland, remixed by Kid Simius. “Immer” means “always” in German, and playing it that morning felt like a love letter to everyone on the dance floor. I first heard it when Kid Simius performed at Shorelines 2023, and it hit deep. I knew I wanted to share it one day, so playing it at Fusion, in a place where the word and its meaning naturally belonged, made it even more special.

The track repeats a hypnotic refrain about wanting someone immer, meaning always and forever. It touches on longing, desire, and that inevitable pull toward someone you can’t let go of. The dreamy, slightly melancholic energy of the track matched the moment perfectly: the morning light, the warmth around us, and a crowd that understood its meaning. It landed exactly the way I hoped it would.

Another special moment was Aly’s choice for the closing track, El 3asal by Donia Wael and El Waili. Hearing those tender lyrics washing over everyone felt intimate and raw in the best way. It was the kind of ending that stays with you long after everything is over. And honestly, it was such a joy to witness Aly do his thing and be part of it.

What does the electronic scene have that makes it different from other scenes?

The electronic scene holds a beautiful duality. On one side, it is liberating and connective and allows people to come together in a shared experience. On the other side, it has darker elements that I don’t always resonate with. But honestly, being part of it has given me so much.. 

Feeling the energy, watching artists create and transform a space through music is inspiring in ways that go beyond the scene itself. It has taught me presence, connection, and how to truly appreciate every moment.

For me, it comes down to  intentions and actions. The scene is a huge open space with all kinds of formats and energies. When approached with care and good energy, it becomes healing, transformative, and deeply connective. That is the part of the scene I want to contribute to and grow with.

What is the ideal venue for you to play at? No limits.

I’m a lover of nature, beaches, and sunsets, so the Sandbox beach stage is truly my dream setup. It is a space where I can fully connect with the music and the crowd. I also have to mention the cliff stage at AEGIS festival. This year was my first time staying until after sunrise ever (crazy, right?) and getting to play during both sunset and sunrise while witnessing artists transforming the dancefloor in between was one of the best days for me. Experiencing the music at the cliff stage during those hours made everything feel alive in a way that is hard to put into words.

If I allow myself to dream even bigger, the Dekmantel beach edition would be incredible. Really, any venue where music and the natural world merge is ideal for me. Music in nature produces a unique energy that is impossible to replicate indoors.

For me, playing in nature isn’t just about the view. It shapes the set, the pacing, the mood, and how I connect with the crowd. That is where music feels the most immersive, freeing, and transformative, and it’s where I feel most at home behind the decks.