Few artists have managed to weave their cultural DNA so seamlessly into contemporary sounds as John Cala. Born in Medellín and forged through the contrasting energies of London and Barcelona, this Colombian producer has become a distinctive voice in the Latin house movement, transforming traditional rhythms into dancefloor anthems that resonate from Tomorrowland’s main stage to Burning Man’s dusty playa.
What started as a chance encounter with a floppy disk and FL Studio has evolved into a remarkable journey that bridges continents and cultures. Cala’s music doesn’t just sample Latin American heritage – it breathes new life into it, creating what he calls a “bridge between cultures, between generations.” His recent releases on Adriatique’s Siamese label and the “El Carretero” on Spinnin’ Records showcase an artist who’s found his unique voice in an increasingly saturated market.
From working grueling 17-hour shifts as a kitchen porter in London to watching crowds sing his name in Mexico, from that first breakthrough moment at Ministry of Sound to envisioning a foundation to support emerging Latin American talent, John Cala’s story is one of persistence, authenticity, and the transformative power of staying true to your roots while embracing the world.
In this interview, we dive deep into the mind of an artist who’s not just making music – he’s building cultural bridges and redefining what Latin electronic music can be.
1. Take us back to the beginning – what first drew you to electronic music production, and did your Colombian roots influence your early sound development?
To be honest, I didn’t really find music, music found me. Even though Colombia is full of incredible sounds like salsa, cumbia, merengue vallenato etc… I was never really interested in music itself when I was younger. Everything changed when a friend gave me a floppy disk with music on it, and then I discovered FL Studio. I didn’t know how to play any instrument, but I locked myself inside for a month and a half, completely obsessed. That was the real beginning. My Colombian roots came later, when I moved to London and then Barcelona. Sometimes you only realize the richness of your culture when you’re far away from it. Distance gave me perspective, and that’s when I started to bring those roots into my sound
2. Moving from Colombia to London and Barcelona is a significant transition – how did this cultural shift impact your music and open new opportunities in your career?
About thirteen years ago I moved to London with the dream of dedicating my life to music. I ended up working 17-hour shifts as a kitchen porter (haha) and eventually I had the chance to play at the gallery in Ministry of Sound. That contrast changes you. It forces you to grow. It keeps you grounded. I was born in Medellín, a city full of talent but also a bit closed off in some ways, so the journey to find my place as an artist was challenging. Later, moving to Barcelona was another turning point. The city is more Mediterranean, open, and full of international energy. Both cities shaped me: London gave me discipline and hunger, Barcelona gave me community and space to grow my sound.
3. Your music has been played at some of the world’s biggest stages like Tomorrowland, Afterlife, and Burning Man. How did it make you feel?
As a producer, hearing my track played at Tomorrowland, a festival I’ve been following for more than 15 years, was a dream come true. Listening to my own music there for the first time was surreal. And Burning Man is something else entirely. It’s not just a festival, it’s a mystical experience with its own culture and energy. Knowing that my track was part of that space felt like stepping into a different dimension, and it’s something I’ll never forget.
4. Which single performance stands out as the most memorable in your career so far? What made that particular moment special?
Every city has its own energy. In Argentina, people dance like never before. In Mexico, they are very passionate, I remember them singing my name at the end of the set for over a minute. But recently, on my tour in India, in Bangalore, there was a moment that really stood out. Sayam, one of my famous tracks, I had always imagined playing in India. When I saw the videos, there was a girl backstage, in the booth, dancing a bit in a typical Wailing Duke style, and I loved that moment. It was special because it reminded me that our imagination of a place or a person rarely matches reality. Seeing her dancing to Sayam with her hands above her head was unique
5. What’s been the most challenging aspect of touring life, and how do you maintain your creative energy while traveling?
The hardest part of touring is not sleeping. Sometimes you have three shows in three days in three different countries; with flights every morning, and it’s very intense. Your body has to be ready for that kind of rhythm. But at the same time, I’ve learned to use it to my advantage. I’m very demanding with myself, so I’m always analyzing the previous set, making corrections, and adding new ideas. In a strange way, the lack of sleep makes me even more creative, because the energy of touring pushes me to keep evolving every night.
6. Your sound is described as blending “Latin American rhythms with global vocal textures and modern electronic sound design.” Can you walk us through your typical production process – how do you achieve this unique fusion?
For me, value is always subjective, so when I’m creating I try not to follow logic. I follow instinct and raw emotion. John Cage once said, “Don’t try to create and analyze at the same time. They’re different processes.” That’s something I truly believe. When I start a track, it’s not about structure or theory, it’s about capturing something real. Later I go back and shape it with more intention.
I don’t know if it happens to you, but for me, most memories seem to come with a song. It’s like music bookmarks moments in life and that brings a certain kind of nostalgia. The track In Spain, with Rigoberta Bandini’s voice, was born in Ibiza last summer. I was at Cala Jondal, thinking the island needed a song that captured the Spanish identity, not in a cliché way, but with real emotion and depth. When I found her vocal, it clicked immediately. It had that warmth, that accent, and the energy to fit perfectly into the Cala universe. Personal, cultural, and with just the right balance of warmth and depth.
7. As AI becomes more prevalent in music production, what are your thoughts on its role in electronic music? Do you see it as a tool or a threat to artistic authenticity?
It’s not about the kitchen, it’s about the chef. AI can be a great tool if you know how to use it with intention. For me, I mostly use it when recording vocals. I don’t sing, and finding a singer can be complicated, from the interpretation to recording. AI helps me move through that process. What worries me the most is data protection. All this information is being exposed and used by big companies to push us to consume more and more, and I fear is the new drug of the 21st century. That’s why I believe there should be regulations, not only for artists and musicians but also for companies, so that AI can be used in a more conscious and controlled way.
8. Tell us about “El Carretero” – what was the inspiration behind this Latin House anthem, and why did you choose Spinning Records for this release?
Spinnin’ has always been on my radar, it’s a label I’ve followed for years. The track is called El Carretero, and honestly, the whole John Cala project kind of started because I’ve always loved boleros and Cuban music. Artists like Celia Cruz, Compay Segundo, Omara Portuondo and others have always inspired me. There’s so much “sabor” and storytelling in that sound. With El Carretero, I wanted to find a way to blend that traditional Cuban energy with electronic music, but without falling into cliché. It was a bit of a creative risk, but Spinnin’ ended up reaching out directly because they believed in the track. That meant a lot. We were able to clear the original vocal, which is tied to one of Cuba’s most iconic voices, Buena Vista Social Club, and that made the project even more meaningful. For me, this release feels like a bridge between cultures, between generations, and I’m proud it’s finally coming out
9. Before this EP, you’ve now done four collaborations with Adriatique’s Siamese label. How did this relationship first come about, and what makes working with them so special?
I still remember when Adriatique played two of my tracks in their set here in Barcelona two years ago. That moment stayed with me. It was one of the first signs that something was starting to move. Years before that, I was sending emails that never got answered, producing music without really knowing if I was on the right path. That was the hardest part, staying consistent without any real feedback.
That moment gave me the first real connection with them. From there, we stayed in touch, and eventually Siamese became a home for some of my most personal releases. What makes it special is their openness, they give you space to take risks, to explore different directions, and to grow. Working with them feels like being part of a creative family where the music always comes first.
10. What advice would you give to upcoming producers about finding their unique voice in such a saturated market?
Don’t rush and don’t chase trends. Take time to listen not only to music but to the world around you. Record sounds, experiment, and create from your own perspective. The hardest part is staying authentic when no one is paying attention yet, but that’s also the most important phase. If you create from within rather than copying formulas, your voice will naturally stand out. Consistency and authenticity are what build a long-lasting career.
11. Beyond this year, what’s your long-term vision for your career? Are there any dream collaborations or stages you’re still hoping to conquer?
When I think about legacy, I don’t really know how I want to be remembered. I just want to find balance between my family, my art, my tours, and rest. It’s sad to remember that many artists, like Antoni Gaudy or Franz Schubert, died poor and without much recognition but later became legends. I don’t want to repeat that story. I want to enjoy life fully because in the end, we don’t know what comes next. I live by one motto: feel it fully. That’s what keeps me moving forward every day. If my projects, ideas, or the foundation I’m building leave a mark or inspire others, that’s incredible. But if not, I’m already grateful for everything I’ve achieved. I was born in Medellín, a city full of talent but also a bit closed off in some ways, so the journey to find my place as an artist was challenging. Now I want to give something back. My vision is to create a foundation that supports emerging artists in Colombia and across Latin America. There’s so much talent, but not always the resources or opportunities. It’s still in the early stages, but I’m committed to making it happen.