In this exclusive interview, we sit down with CLARAA, a rising star in the electronic music scene whose journey from childhood techno obsession to international stages reads like a modern electronic music fairytale. From burning CDs at age 10 to gracing festivals across Europe, Africa, and beyond, this artist’s path has been defined by authenticity, cultural fusion, and an unwavering commitment to her craft.
What makes this story particularly compelling is how artistic evolution and personal healing intertwine, turning hurtful life experience into creative fuel, transforming childhood memories of African music into signature sounds, and building a career that bridges the gap between underground authenticity and festival-ready energy. With recent releases on respected labels like Moblack Records and a sound that seamlessly blends Afro influences with electrifying melodies, this is an artist worth watching.
1. Can you take us back to the beginning – what first drew you to electronic music and when did you realize you wanted to pursue DJing and producing professionally?
I discovered electronic music at 8 years old, when my older brother used to pick me up in his car and listen to techno. I started to burn CDs for my Walkman around 10yo, downloading tracks from Napster. My older cousin used to love my compilations, so I would make one every year for her summer house parties. From there, I knew I had a talent for curating and sharing. From ages 10 to 16, I was obsessed with radio rankings, techno parade, electronic music scene, creating my own playlists in the first iPod, and even more friends were then asking for my playlists.
I then moved from Paris to Miami for 6 years where many of my friends were DJs, one of them started to teach me and it became a passion. I then moved to Barcelona where I decided to put my IT career on the side to move music from a hobby to a professional project.
2. How would you describe your artistic evolution from when you first started to where you are now? What have been the key milestones that shaped your sound?
I started in 2020 as a DJ. I was living in the States, and the afro influences into electronic music were just popping up there. It was a deep love for me as I was already very deep into labels such as Moblack records. But I was missing the synth harmonies and the electrifying melodies from the Techno I discovered in the 90’s, so I was always trying to mix both with the tracks I was playing. Over the years, I’ve dug deeper into labels such as Innervisions, or Henrik Schwarz productions, and the need to create my own music became overwhelming.
The key milestone was 4 years ago when I went to production school to learn how to produce myself. In my last EP “Starlight”, I think I’ve reached a new level in my sound design, closer and closer to where I want to be.
3. Tell us about your release on Moblack – how did that collaboration come about and what does it mean to you to be part of their roster?
So as I mentioned earlier, Moblack Records label was a reference for me, especially during 2015-2020. One day in 2022, I went to play in Zanzibar. On a day off, walking on the beach, I heard from far a stunning voice singing, which I decided to follow. It was a performer in a hotel, he was rehearsing with chants from his tribe. I stayed there, completely astonished by him. I decided to record on my iPhone to maybe get inspired back to the studio later. A few weeks after, I started this track “Kukaya” with those vocals. I sent it to Moblack only to get feedback from him in order to improve. He was in love with the song, which pushed me to find that singer to make a proper collaboration. That’s when I found back Ashimba, got original vocals from him and made this track which was then remixed by 2 amazing SA producers: FKA Mash and Masssh. The EP was played all over the world in 2023 so it was a real milestone for me as a first release, especially with those beautiful lyrics and amazing singer and person who’s Ashimba, on such a label.
4. What’s your current approach to music production – do you have any signature techniques or favorite pieces of gear that define your sound? And how do you know when a track is finished versus when you need to keep tweaking and refining it?
I‘m always looking for a strong and percussive groove, with rising and electrifying melodies. I have a very clear vision of what I want my sound to be. I can use any gear, VST or samples, as long as it talks to my soul, and reflects who I am. I do everything by ear and my years in IT and music production school allows me to dig deep into DAWs potentials.
During those 3-4 years of production, Ive been able to surround myself with amazingly talented people who support me in getting even more music technical knowledge in terms of sound designing and engineering, the possibilities are infinite. The most important thing to me now is not anymore to do “everything alone”, but to really explore the development of my music by working with others.
I often find it more meaningful to bring on other musicians such as drummers, pianists, singers, for example. I am also proud that it leads also for them to new opportunities and inspiration, Im thinking of Ashimba who got reached at to sing on new House tracks after Kukaya’s release, when he never got into that genre before, or my main collaborator Martin Blondet who’s now crafting his own artistic DNA beside being an amazing sound engineer.
I deeply love to create my own tracks, to remix others too, or to be remixed. Got the chance already to work with masters such as Manoo, Re.you or FKA Mash to name a few. Now I want to collaborate more on single tracks, with concrete featuring with DJ producers I love.
Finally, when it comes to know if I’m finished with a track, it’s when, by listening to it, the exact feelings I wanted to share initially are instantly recalled. I then test it during my shows, see how the crowd reacts to it, and measure if the mix needs more work or not.
5. You’ve played some incredible shows – which performances stand out as your absolute favorites and why? What made those sets special?
Thank you! Indeed I had on my path a few people and mentors who gave me their trust on great stages.
Hard to choose only a few to be honest, each of them have something different and special. Though I love to play in festivals, I feel those places are where the audience is really open to discover rather than listening to what we hear everywhere, which sometimes can be harder to do in clubs. I’ve recently played at Les Plages Electroniques in Cannes, FR, which was really insane, the crowd was so rewarding, curious to discover and super dancy. Also played this summer for Moblack Stage at Electric Castle in Romania and the audience feedback was incredible. But I remember my first days on small beaches in Africa, or underground clubs in Barcelona… which were magic too. Playing in India and Thailand also was something as well.
Hard to answer to that one, as so many aspects can play a role in making a show “special”, most of the time the crowd makes it all, very often the freedom I have, but can be also the challenge to educate a new city/country to my music, or reach a club I’ve always dreamed of, and can also be the line up that I’m put into. In any case, I prefer long sets where I can make the audience travel on a whole journey.
6. In one of your social media posts, you mentioned “healing, faith and gratitude” as part of your journey these past months. Can you share how your personal healing process has influenced your music and artistry? Has it changed the way you approach creating or performing?
Indeed, I’ve been through a very hard break up in 2024, something we all experienced. That time triggered very deep feelings of all kinds, and made me feel full of inspiration. I was putting all my soul and all my time in the studio, and that’s how I healed. I think it highlighted how important it is to me to respect my own phases, and be in touch with my mental health. Sometimes I’m touring only, sometimes you can’t get me out of the studio! As much as my personal journey inspires my productions, my healing couldn’t happen without music. It’s a 2-way approach.
7. You also spoke about “discipline in my art” alongside personal growth – what does that daily practice look like for you? How do you define that discipline?
We all have days where we would feel more like watching TV or seeing friends rather than becoming better at something. Don’t get me wrong, those days are important too. But I’m lucky enough to have such an immense passion that, even on those days, I’m able to stand up back to my studio instead, or dig new music for my sets etc. 99% of those times, I feel so much better after. Which leads me to another better day etc. I’m one of those who definitely believe that discipline, effort, and continuous work will always bring you where you want to be.
8. For aspiring DJs and producers looking to break through, what’s the most important advice you’d give them about building a career in electronic music today?
I don’t know if I have advice to give to anyone, as each career is different. But in my case, I would say to not focus on a specific final destination, to enjoy the day to day process of making that vision become a reality. I used to focus on goals only (this club, this label, etc), not realizing I was even passing them. It’s important to realize where you are from and where you are now, not only where you want to be.
It’s important to not rush and to never compromise your authenticity and your values. Because trying to do like others, or to take a fast lane will always turn you away from who you are, and the unique things only you can do.
You got to believe in yourself harder than anyone could, even though staying humble. In my opinion, being an artist is not only to be good at your art, to be talented, it’s to keep working constantly at getting better, not letting your own doubts or others’ opinions take over. I also want to add that the reason why you want to make people dance and listen to your music should be based on sincere generosity, not on notoriety, or other egocentric reasons. People feel that, and it will not last long if the intention is not pure.
9. With AI becoming more prevalent in music production, what’s your take on its role in electronic music? Do you see it as a tool, a threat, or something else entirely?
As any new technology there’s good and bad sides.
I think it can be a very good tool for some inspiration, or for knowledge acquisition, but I would never use AI to actually create a whole piece of art. As mentioned earlier, each human is unique and AI can just make that special thing you have in you, totally lost. It might help the impatient ones in the short term, but in the long run it will, in my opinion, just get harder for them to get anywhere. Music should be an authentic piece of art, but in any case, the listeners will be the judge at the end.
10. Looking ahead, where do you see your sound evolving, and what goals are you most excited about achieving in the next phase of your career?
I have tracks coming out now but done 2 years ago (such as a remix just out on Weareidyll Records), and many others more recent too; so my goal is to have all those tracks released, which is already happening with great labels and coming out in the next months.
From there, I think my audience will understand even better my sound and sound evolution. By the way, that’s one of the reasons why I want to have my own label one day, it’s sometimes hard to have your release schedule matching the evolution of your sound.
After this summer touring, I’ll be back in the studio, off shows, and of course continue with more and more of my own tracks. But I also have collab projects with other artists you already know :p Before a new tour probably in India this time.