DJ Mag’s artists to watch in 2025

With melodic heaters like ‘IDK’ taking off via Higher Ground, Azzecca is aboard a rocketship toward stardom. But the Chicago-based producer and multi-instrumentalist is still wistful for bygone raving days. “I would go out and have no idea who was playing, didn't have Instagram, didn't have a way of checking what artist was there. Just the nostalgia — I miss that,” says Allie DeCastris, who’s resurrecting those experiences through her signature Cosimea event series.

The first edition launched during last year’s ARC Festival, anchored by the spacey, prog-driven sounds that made Azzecca a hometown hero. Soon, fans across America will understand her far-out vision, one intimate club night at a time. “I want to do my part in bringing it back to having all different walks of life on the dancefloor,” DeCastris says of the concept, which boasts self-curated line-ups and an ethos rooted in safety and inclusivity.

Following breakout performances at 2024 events like EDC Las Vegas and San Diego’s CRSSD, Azzecca will build her next tour around the aforementioned series while undertaking another major project — her debut album. “I'm actually flying out to LA next week to start album studio sessions with vocalists and I'm really excited to start creating more ‘song’ songs, instead of just dancefloor-focused stuff,” she enthusiastically tells DJ Mag.

Once that’s wrapped, she plans to expand upon her Cosimea brand with a namesake label to further bolster the progressive house revival. “These sounds are so versatile, and I think that you can take it in any sort of direction,” she says of the cosmic textures she aims to one day showcase on the platform. Until then, she’ll drop tunes via imprints like Three Six Zero, as tracks like her hypnotic, acid-laced jam ‘Who’s That Girl?’ on Amsterdam’s DGTL continue to send her international profile higher.

“I think getting to do a proper European festival, where I can really dive into some of the sounds that I don't get to play [in North America] that often will feel monumental to me,” she says of next stops overseas. After that, perhaps infinity... and beyond. MEGAN VENZIN

Listen to Azzecca’s mix for DJ Mag’s BBC Radio 1 Dance Presents residency here.

“I’m trying to find a bridge between traditional house and EDM,” Bun Xapa tells DJ Mag when we ask about his sound. “Progressive Afro-house music,” he adds with a light laugh. Xapa was producing trap long before he caught the 4/4 bug, but in 2017, he finally settled on house. It was a Black Motion acceptance speech at the South African Music Awards that inspired the shift. “They [Black Motion] were like, ‘Everything starts in the bedroom — if you’re a bedroom producer, never stop dreaming’. I felt like they were talking to me,” he says. “I switched to house music instantly.”

In 2023, when Xapa dropped ‘Kibe’ — a collaboration with Afro-house legend Rancido — attention started to ramp up. The melodic progressions, synth lines and African vocals caught the ears of many DJs. “The song was infectious,” he says, remembering all the selectors hitting him up for a copy. “It just got out of hand — that’s the song that put my career on the map.”

Another key moment came at Germany’s Parookaville Festival, when an artist friend managed to squeeze him in ahead of his band’s set. “He said, ‘You’re gonna play 20 minutes, and you have to kill it’,” he remembers. “Afterwards, the festival played my songs on all of their DSPs — Spotify, Apple Music... I was like, ‘Yeah, they heard it’.” And there have been many highlights since. In 2024, Xapa remixed Mory Kante’s ‘Yeke Yeke’, wrapping the song’s iconic lyrics in layers of haunting melody and pacing drums, he won another 1001 Tracklists Future Of Dance Award, and rounded out the year with a two-month tour including stops in Nairobi, Uzbekistan, Paris, Amsterdam, London, Dubai and India.

We’re promised a slew of releases for 2025, but for the moment, Xapa is keen to take things as they come. “I’ve just been riding the wave, making more music, doing what I do,” he says with a broad smile. “I’m in no hurry. When the time is right, the time is right.” RIA HYLTON

Listen to Bun Xapa’s mix for DJ Mag’s BBC Radio 1 Dance Presents residency here.

After an Ibiza debut, a set at Burning Man, and a cosign from the red-hot Keinemusik in the last year, it might seem like Hardt Antoine has blown up out of nowhere. Truth is, the London-based artist has been DJing and producing for well over a decade. “I was living the dream, but it was the wrong dream,” he says of his late teens and early twenties, spent working full-time as a hip-hop DJ in clubs across the UK and beyond.

Over this period, his head and heart were turned on to the soulful grooves of house music. “I kept getting told everyone was playing those sounds, so people wanted me to keep playing hip-hop.” But he’d had enough, so stopped taking those gigs and started his own Reculture parties at 93 Feet East and The Steelyard as a way of resetting his sound. Headliners like Mathew Jonson, Butch and Francesca Lombardo reflected Antoine’s eclectic electronic tastes, while his own sets got him ever more bookings around the capital.

Covid forced the parties to pause, and they have never returned. “I decided after the pandemic it was time to focus on my own artistry,” says Antoine, who is of French and West Indian descent. “So I focused on producing, and launched the Recapture label.” By 2023, he was also releasing on Kompakt and Innervisions, and playing across Europe.

His music is still influenced by the dustiness of the hip-hop he grew up on, and often features samples from his vast wall of vinyl, complex melodies made “with an important human touch” on analogue synths, and plenty of meaningful emotions. “But the most important thing is the groove,” says Antoine. The last few months of 2024 were spent holed up in “deep creative mode”, experimenting in the studio on “conceptual” sounds, playing with non-dancefloor music as a way of improving the quality of what he makes for the club. Plenty of it will come in 2025, as will even bigger stages for this new-school star. KRISTAN J CARYL

Listen to Hardt Antoine’s mix for DJ Mag’s BBC Radio 1 Dance Presents residency here.

“Kaleidoscopic” is how Melbourne’s Kia Sydney describes her sound — a fitting term for the unpredictable, genre-defying energy she brings to every set. As a figurehead of Australia’s underground scene and the creative force behind experimental label Animalia, her music is as much a reflection of her global journey as it is of her unique style. Her sets blend memories; moments from her travels through Europe, Australia and Asia swirl together, creating a rotating mosaic of rhythm and energy that’s both intensely personal and universally resonant.

Each performance feels like a glimpse into her ever-evolving world, where the boundaries between places, sounds and experiences dissolve. It’s about the beauty in the chaos, the ephemeral late nights on tour, and evoking a sense of movement and introspection across hypnotic house, atmospheric and melodic textures. “I don’t like being pinned down to a certain sound, but it’s definitely colourful,” she says.

Back in 2018/2019, Sydney was simply making mixes for fun when she got a message from Nous’klaer Audio boss Sjoerd Oberman asking her to record a mix for his label. That pivotal moment led to an invitation to play at De School in Amsterdam, a “surreal” experience and a game-changing gig. She played loads of unreleased music from her friends back home, and was encouraged to start her own label.

‘Animalia One’ was released in June 2020, comprising psychedelic, bass-driven, bush-techno-style productions. The label has since expanded, but always stays true to its roots. “At its core, Animalia has always been a family affair, a pool of my friends,” says Sydney. “I give the artists a lot of agency — letting them decide on things like artwork and mastering. It’s always been a relaxed, creative process.”

Last year, she launched un:send, her own intimate festival in the Australian bush, with a vision to keep it small, local and deeply rooted in the spirit of the land. In 2025, Sydney will be a resident at New York’s Nowadays, and focus on growing her label, curating workshops, and continuing un:send back home. “Being in Australia is important to me — it’s where my community is.” ANISHA KHEMLANI

Listen to Kia’s mix for DJ Mag’s BBC Radio 1 Dance Presents residency here.

It was only a matter of time before livwutang became a buzz-worthy name. Even a scene as thriving as NYC – where she currently calls home – could only contain her talent for so long, and last year, her vivacious, dub-slanted style made her a favourite among discerning crowds in Europe, Asia and beyond. Liv Klutse got her start back in Seattle in 2018 as part of the city’s LGBTQ+ collective, TUF, and the local radio station, Orphan. She’s been delivering standout radio sets from the get-go, and it’s a skill that runs in her blood — back in the day, her West African father ran his own radio station, titled AfricaU Radio.

Her fantastic NTS Radio residency, Furniture Without Memories, began in September 2023, showcasing her deep knowledge, from dub and ambient techno to Detroit house and R&B. “Radio shows are like diary entries,” she muses. “When you travel a lot, you tend to acquire music from the people and places that you spend time around. I can listen back, and remember what I was experiencing in those moments.”

It makes sense that Klutse would want to keep a sonic travel journal of sorts. She kicked off 2024 with dates in Amsterdam, LA, Lisbon, Helsinki and Berlin — and that was just in January. Her summer festival highlights included Portugal’s Waking Life (“My friends always laugh at me because I won’t shut up about that festival,” she laughs) and Positive Education’s pe:rsona in France. “Gorgeous location,” she enthuses about the latter, “and everyone was so into dub-influenced stuff there.”

When DJ Mag speaks to Klutse, she’s in Melbourne, winding up the year with a handful of club and festival dates in Australia, Thailand and the Philippines. In 2025, she’ll continue expanding her global reach, but before our chat is up, we’re eager to find out this sonically diverse DJ’s secret weapon track of 2024. “Capetini’s ‘Rei Dos Reis’. It’s ambling, dub-wise house, with a guitar flair moment in the middle! It just works in every context.” You heard it here first. CLAIRE FRANCIS

Listen to livwutang’s mix for DJ Mag’s BBC Radio 1 Dance Presents residency here.

Minna-no-kimochi is an experience, not just a sound. Going viral for their Boiler Room set in late 2023, the collective have thrown experimental outdoor raves in picturesque locales like the Manazuru Peninsula since 2021. Their inspiration came as high school students, when parties like SLICK began to be held outdoors during the Covid pandemic. “These gatherings peaked particularly in the latter half of 2020, welcoming orphans like us who had nowhere else to go,” they say.

Their rise was precipitous, booking Two Shell to headline an ambient trance rave in early 2023, and closing out 2024 by bringing Evian Christ to celebrate the storied Shibuya club WWW/ WWW X’s anniversary. After touring throughout most of Asia and Europe this year, they ultimately want to bring what they’ve experienced back to Japan. “Our dream isn’t to become globally successful DJs, but to organise community-driven raves rooted in Tokyo’s local scene.”

Although often reduced to “trance”, Minna-no-kimochi’s sound combines various streams that have been bubbling in Japan’s rave landscape: the deconstructed club of Dark Jinja, the hyperpop of AVYSS Magazine, and the spacious synthesis of kankyō ongaku (environmental music). Alongside their parties, they have also been releasing leftfield trance through their label Mizuha. And this year, Tanimoto released his debut record ‘Solace From The Sun’ through Shanghai’s Genome 6.66Mbp, combining liquid synthesis with daybreak field recordings and pellucid piano melodies.

A special aspect of their outdoor parties is that they’re not prescriptive about how you respond physically to the music; in this regard, there’s resonance with other East Asian parties like Seoul’s Sorrow Club. At last year’s Sommer Edition, for instance, they encouraged attendees to dance, sleep, or sit in the ambience. As we move into 2025, how they’ll evolve remains an enticing prospect. JAMES GUI

Listen to Minna-no-kimochi’s mix for DJ Mag’s BBC Radio 1 Dance Presents residency here.

Originally coming from grime and dubstep, but with a love for bassy techno, it was during lockdown that London-based MJK really began to explore how to merge the different strands of his taste. A few key radio sets later and it all clicked. “The complexity and how dark you can go with techno records is parallel to none, especially when we have all this brilliant UK music that encompasses really dark dancefloor stuff,” he says. “That is like a match made in heaven.”

He’s since found kindred spirits in Oblig and Neffa-T, taken his tekkers to new levels with three-deck mixing (upping it to four decks for his Ones To Watch mix) and his Rinse FM show, and grown his fan base further afield via his collaborations with Skee Mask and Ilian Tape. One of his 2024 highlights was playing the label’s show at The Cause alongside Joy Orbison’s Just For You party, and the Draaimolen Festival afterparty.

Though artists like Mumdance & Logos, Pinch and Blawan laid the foundations for this movement over a decade ago, what he and his allies are doing feels more international and more accepted. So why does he think that is? “My one big theory is that we’ve been locked inside for ages, so everyone didn’t have the luxury to be elitist and super purist about things anymore,” he says. This in turn has opened up a wider range of bookings. “I think if you go with that kind of perspective, you will be able to work any dancefloor... there’s no bar for entry now, with this sound.”

Having left his job to do music full-time in 2023, he’s eager to keep building. “I’m super happy with what I’ve done, but from a perfectionist point of view I’m like, ‘Next year, I need to do more’.” And that’s just what he has planned, with an EP for Tasha’s Neighbourhood, alongside more music, international shows, and the desire to launch his own label at some point. “If you like what I do, I want to just have more for you guys to like.” BEN HINDLE

Listen to MJK’s mix for DJ Mag’s BBC Radio 1 Dance Presents residency here.

Pricila Diaz grew up in Santos, a city that runs along Brazil’s picturesque east coast, an hour south-east of São Paulo. “Santos is such an amazing city, and I feel incredibly lucky to have been born there," she reminisces. "The quality of life is fantastic, and my childhood was full of simple, unforgettable moments: playing soccer barefoot in the streets, flying kites, biking around town, and enjoying the beach, surrounded by nature." Living in close proximity to the musically and culturally rich megacity of São Paulo was a huge advantage too; at the age of 21, she visited Anzuclub in Itu for the first time, and after that she was hooked.

In 2018 she invested in a DJing course, and three months later, she had the opportunity to play her first gig. From there, things naturally fell into place, and she devoted herself entirely to music. The following year, she founded CAVE club with business partner Laís Ribeiro, focusing on community and building a space for local talent in Baixada Santista. During its first year she saw the project come to life, booking artists such as Eli Iwasa, Valentina Luz, Gabe, Zac and others. The pandemic forced the club to close, but the impact of the venue within the local scene can still be felt.

In recent years, Diaz’s DJ sets and productions have been gaining her attention, with a minimal tech vibe that always boasts plenty of bass. “I like exploring a darker, moodier sound, mixing experimental textures with minimalist elements. My sets usually oscillate between introspective and provocative grooves, but I also like to incorporate my playful, romantic and versatile side,” she explains. One of the highlights of 2024 was the launch of her new record label, D’Quebra; the first release was a compilation called ‘Ruptura’ featuring an abundance of Brazilian talent, and including her track ‘Made In Vila’, inspired by her roots in Vila Belmiro.

“This is just the beginning of a project with so much heart and purpose,” she says, “and I’m thrilled for what’s to come.” ANNA WALL

Listen to Pricila Diaz’s mix for DJ Mag’s BBC Radio 1 Dance Presents residency here.

“This year has been all about really stepping into my sound,” says rising Bristol DJ/producer, Spectral. A glance at her 2024 throws up names like Rampage, Let It Roll, Hospitality On The Beach and Glastonbury. At many of these events she played as part of Critical Soundsystem, a touring drum & bass B2B2B of Critical Music artists, like label boss Kasra. They’re always special, but her Outlook Origins show stood out for other reasons. “I’ve always wanted to play [there], and in terms of my sound and artistic identity, I definitely feel like it’s one of the best spaces for me,” she explains. And as a solo set, she “was able to fully explore and put together a journey that I feel truly represented who I am as a DJ”.

So who is that? “I would now define myself as just a multi-genre bass music artist. No limitations,” she asserts. “My job is to play the music that I love and not feel restricted.” Starting to play dubstep and grime alongside d&b in 2022, she “immediately fell in love with the idea of taking a crowd on a real journey”, a concept she keeps coming back to. “The real art form within DJing, and what I’m most passionate about, is creating that journey. I think that there's a way to put a bunch of very different sounds in an order and in a context that makes sense and that the crowd will enjoy regardless of if they don’t like those genres in a standalone set. You can almost make them forget what they’re listening to, because they’re so focused on that moving journey.”

Outside of gigs, it’s something she showcases via her electrifying SWU.FM shows, and in 2025 she’ll follow up her grippingly intricate d&b EP for Critical’s ‘Binary’ series with a multi-genre release. She hopes to release more music of various kinds throughout 2025 too, and with the calendar starting to fill up again already, “it’s gonna be an incredible year”. BEN HINDLE

Listen to Spectral’s mix for DJ Mag’s BBC Radio 1 Dance Presents residency here.

“Music has always been a part of me. It’s embedded in my culture, my roots, and it’s been there since the beginning.” Perhaps it should have been obvious that Tatyana Jane would become a DJ. Her early years were spent recording mixtapes she could share with friends, taking charge of the family playlist, and diving down musical wormholes on YouTube, playing old tracks from Cameroon to her mum “and seeing the emotion in her eyes”. She was DJing without decks.

As a teen she began making her own music on the computer, and in her early twenties discovered clubbing: “That’s when it clicked for me: I discovered the world of DJs and thought, ‘This is it, this is what I want to do!’” Her first gig was in 2019, and things have grown exponentially since — she’s fallen in with iconic Parisian crew, Ed Banger, and this year alone played back-to-back with Skrillex at Berlin’s CTM festival, and in front of 80,000 people at the Paris Olympics closing ceremony.

Inspired by Cameroonian genres like makossa and bikutsi, as well as French touch, techno, rap, EDM and more, Jane’s sets are stylistic maelstroms, pulling together gut-punch dubstep basslines, spindly experimental beats and full-throttle 4/4, alongside sweat-soaked Jersey club, laser-cut electro, and the kind of visionary Afrofuturism emanating from Uganda’s Nyege Nyege camp. Her productions integrate rhythmic ideas from around the world too, landing via labels like NAAFI, Boukan and Bad Tips.

“Kicks and percussion are crucial for me; that’s where the music truly comes to life,” she says. Jane aims to release much more music in 2025, and as her profile continues to get bigger, her goal is to find her place in the scene and make a living from what she loves. “Music is my way of telling my story,” she says. “It lets me express what words alone cannot say. Each song, each note, each lyric becomes a reflection of what I’m going through, of what I’m feeling in the moment. Music is no longer just a companion; it has become my language, my way of writing my own history.” ANEESA AHMED / BEN HINDLE

Listen to Tatyana Jane’s mix for DJ Mag’s BBC Radio 1 Dance Presents residency here.