Few figures in electronic music carry the kind of quiet authority that Steve Bug does. Over more than three decades, the Berlin-based producer and DJ has built a reputation not on chasing trends, but on an unwavering commitment to sound, craft, and independence. With his latest release Why Not Us, a collaboration with Ammo Avenue featuring vocals from Mikey V, Bug reflects on the making of the record, the evolving philosophy behind his long-running label Poker Flat Recordings, and what it means to keep believing in music when the industry around it keeps shifting. He talks honestly about collaboration, the pressures of social media algorithms, the promises and pitfalls of AI, and why, after all this time, the excitement still comes from the music itself.
“Why Not Us” is a collaboration between you and two other artists, how did you and Ammo Avenue first connect, and how do you balance your own established sonic identity with leaving space for a collaborator to genuinely shape the direction of the music? Do you prefer to work alone or with another artist?
We first met at a gig at Lost Beach Club in Montañita, Ecuador, and stayed in touch afterwards. At some point we decided to try a collaboration.
The main idea for Why Not Us came from my side. I already had the track and the vocals from Mikey V, but I got stuck. So I sent it to Sebastian to see if he felt it. He added a bassline that suddenly brought everything together. After a bit of back and forth the track was finished.
For Don’t Stop The Music it was the opposite — Sebastian had the main idea and I added some elements.
Collaborations work best when you stay open to what the other person brings in. Sometimes ideas get flipped completely, sometimes it’s just small details that elevate the track. In the end both artists should be happy with the result. I do enjoy working alone, but collaborations can definitely push an idea further, especially when you’re stuck.
Mikey V brought his vocal talents to the title track, did you record it together or was it a remote collaboration? What is the idea behind the lyrics?
It was a remote collaboration, which doesn’t always work perfectly for vocals, but Mikey really understands the vibe of the tracks.
A little fun fact: I already had these vocals. Mikey had sent me three different ideas for another collaboration I did with Denney last year on Hot Creations, and one of those ideas ended up fitting perfectly for this track.
You’ve been making music since the early 90s, what still excites you about electronic music today, and has the source of that excitement changed over the decades?
I fell in love with house and techno in the late 80s and luckily that never changed. The excitement still comes mainly from the music itself. But over time, the world around me also started influencing my productions more.
There’s a lot of great music being released today, but sometimes I wish there was a bit more experimentation. After almost four decades of electronic music it’s hard to reinvent things completely, but sometimes it feels like many tracks follow the same blueprint. I’d love to hear more people taking risks again — both in the studio and in their DJ sets.
Poker Flat Recordings has been running for over 25 years now. How has your philosophy for what gets released on the label evolved, and what does a record need to have to earn a spot on it in 2026?
The philosophy has always been simple: we release music we truly love. We never chased hype. Of course tastes evolve, but the main factor is still that we genuinely believe in the track.
Today it’s harder to make back the investment of releasing music, especially with new artists. But if we really believe in a track and see potential in the artist, we’re still happy to take that risk. A good example is Leroy Barry, whose upcoming Poker Flat release includes a remix by Darius Syrossian.
Running an independent label over that kind of timeframe comes with serious challenges, what has been the hardest period for Poker Flat, and what kept you going through it?
Running an independent label has definitely become more challenging. Fewer people actually buy music now, and most listeners just stream playlists instead of actively digging for records. In the past many DJs followed labels because they trusted their musical direction. That culture has changed quite a bit.
On top of that, streaming platforms pay very little per stream, especially for independent artists and labels. So it’s not always easy, but we keep going because we still believe in the music.
Berlin has been your home base for a long time. How much does the city still influence your sound and your thinking as an artist, and do you feel the local scene has changed a lot recently?
In the early days Berlin — and Hamburg before that — definitely influenced my sound. Today my influences come from many different places.
Berlin is still a special city for electronic music, but you can’t really compare Berlin in the 90s and early 2000s with today. Running clubs has become much harder due to rising costs and city development.
We might see more clubs closing in the coming years, but that could also create space again for smaller venues with a more intimate atmosphere.
Touring and studio work demand completely different states of mind, how do you personally manage that transition, and do you have a preference – being on the road vs being in the studio?
For me it always came as one package — studio work, touring, running the labels, all of it.
It never really felt like work because it’s something I genuinely love doing. I also started mixing and engineering tracks for other artists, which I really enjoy.
The only downsides are sometimes very long travel days to gigs and the pressure of social media. The idea that an algorithm decides how visible you are doesn’t feel very creative to me.
AI is becoming an increasingly present topic in music production and the wider industry. Where do you stand on it: tool, threat, or something more complicated?
It really depends on how you use it. As a tool it can help with certain processes, but if you rely on it completely it becomes much harder to develop your own sound. At the same time, regulation will probably become necessary — but technology usually moves much faster than regulations.
For a young producer or DJ trying to find their footing right now, what’s the most honest and useful piece of advice you could give them, something you wish someone had told you early on?
Learn the roots and the history of the music. Get inspired by other artists, but take your time to develop your own sound. Know your craft, stay consistent and don’t rush things. Building something meaningful in music usually takes time.
As the release lands in March 2026, what does the rest of the year look like for you? Are there more collaborations, releases, or shows you’re excited about in the pipeline that you can share?
There are a few exciting things coming up this year. There’s a collaboration with Pornbugs coming soon on Bondage Music, followed by a solo EP on NuGroove. And in June a collaboration with Josh Wink will be released on Laurent Garnier’s Cod3QR label.