Sydney Blu was the one behind the decks when no one expected a woman to be there. Over a career spanning decades, from Ottawa’s underground clubs to Pride Toronto’s main stage, from residencies and record deals to opening for deadmau5 in front of 35,000 people, she has never stopped pushing. Along the way, she held residencies at iconic venues, performed at clubs and festivals worldwide, released multiple tracks and carved out a reputation not just as a DJ, but as a voice the scene couldn’t ignore.
Now, with a new EP with Dilby and Starving Yet Full, landing alongside the continued global expansion of her initiative Change the Beat, she tells us about the music that changed her life, the industry that tried to limit her, and why the most important work she’s ever done might just be the work that lifts others up.
You’re releasing a new EP with Starving Yet Full on the vocals, an artist with such a rich history, known for his vocals on a legendary “Hungry for the Power” and another established producer, Dilby. How did this collaboration come about and how was the creative process of it?
Dilby and I met in Berlin while I was living there, and we quickly became friends. We’ve stayed in touch ever since. We make and enjoy similar music, and I’ve always loved learning from him as a producer – he’s absolutely brilliant.
Starving Yet Full and I go back even further. He’s part Canadian and lived in Toronto for many years. We formally met during his time with Azari & III, but he actually knew who I was long before that. I used to DJ a lot of LGBTQ2S+ events in Toronto that he would attend regularly.
Not long after Azari & III disbanded, I had moved back to Canada and he began performing alongside me at some major shows. We shared the stage at Pride Toronto’s Central Stage, the closing of Toronto’s legendary Footwork nightclub, and several other events before he eventually moved to Europe and later back to Africa.
Even though we haven’t seen each other in over ten years, we’ve always stayed connected. When the opportunity came up to collaborate with both Dilby and Starving Yet Full, it felt incredibly natural. The creative process was very organic, and bringing together three artists with such different experiences and histories made the record feel really special.
Take us back to the very beginning… before the gigs, before the records, before any of it. What was the moment or the music that made you fall in love with electronic music, and what finally made you think “I want to be the one behind the decks”?
When I was younger, I was always drawn to electronic music. Artists like Daft Punk and Robert Miles were on constant rotation, and I often used electronic tracks for my dance routines in high school.
The moment everything really changed, though, was when I was in college and someone brought me to an underground house music club in Ottawa. I fell in love instantly. Looking back, it felt like the day I walked into that club was the day I was introduced to the rest of my life.
Before that, I had no real idea what I wanted to do with my future. I was in school for something completely unrelated, but once I discovered underground dance music, there was no escaping it. The music connected with me on such a deep level that I knew it was going to be a major part of my life.
It took me a little while to realize that I could actually make a career out of it, but from that first night, I was hooked. Electronic music quite literally changed my life.
You started in Toronto’s underground scene at a time when very few women were behind the decks. What was it actually like being in the scene back then from a woman’s perspective?
There were aspects of it that I absolutely loved because being one of the few women DJing at the time made me feel unique. I was also inspired by the women who came before me and helped pave the way.
At the same time, it was incredibly challenging. I was one of the first women in Toronto playing five nights a week across all of the city’s major clubs, working at the same level and frequency as many of the top male DJs. That brought opportunities, success, and respect from parts of the industry, but it also came with a significant amount of misogyny.
There were definitely male DJs and industry people who didn’t like me simply because I was a woman succeeding in a space that was overwhelmingly male. I was also very outspoken and never afraid to stand up for myself if I felt I wasn’t being treated fairly. Because of that, I wasn’t always popular.
Looking back, some of the things I experienced would never be tolerated today. The way women were sometimes treated in the industry then simply wouldn’t be acceptable now, and rightly so.
It wasn’t easy, but I never allowed it to stop me. Over time, many of the people who initially doubted me came to respect me and recognize that the challenges I faced weren’t fair. I’m proud that I pushed through it, and I’m proud that the next generation of women entering the industry won’t have to endure many of the things that my generation did.
Your project Change the Beat started from a very specific statistic – less than 5% of signed artists in dance music identifying as women or gender-expansive. Years in, do you feel that number has moved? And what does real progress actually look like to you beyond the stats?
I think we’ve moved the needle, although not as much as I had hoped. That said, every month we see progress. Our community of women and gender-expansive producers continues to grow, we’re helping more artists get signed to record labels, and we’re expanding the reach of Change the Beat year after year.
To me, real progress goes beyond statistics. It’s about creating spaces where women and gender-expansive artists feel welcomed, supported, and empowered to participate in music production. For a long time, that has been one of the biggest barriers.
There are still people who believe the industry is already equal and that it should simply be “about the music.” But the reality is that many women don’t see themselves represented on male-dominated labels, and that can make it intimidating to put themselves forward. Even today, bias still exists in music production, whether people want to acknowledge it or not.
The good news is that we’re seeing more women making music, more women signing records, and more women supporting one another. That’s what progress looks like to me, and it’s something I work toward every single day.
Change the Beat has thrown events across some of the world’s best cities: Miami, Ibiza, New York, Toronto, each with their own scene and energy. How do you tailor the experience to each city, and is there a dream city or venue you haven’t taken it to yet that’s still on the list? What are your plans for this year?
Every city has its own culture, audience, and energy, so we work closely with local promoters and talent buyers to build lineups that make sense for that market. If there’s a particular female artist who resonates strongly in a city, we may book her as a headliner and then pair her with emerging local talent. Supporting artists within each community is a big part of what we do.
Beyond the performances, we almost always include an educational component. Whether it’s a workshop, panel, or networking event, our goal is to bring people together, create meaningful connections, and provide valuable industry knowledge alongside the music.
This year is shaping up to be our biggest yet. We’re taking over the main stage at Pride Toronto on June 25, returning to New York later this summer, and exploring opportunities in Europe, including London and Ibiza. We’re also planning a 10-city Canadian tour this fall, along with additional events throughout the U.S. and internationally.
Ultimately, the mission remains the same no matter where we go: building community and creating opportunities for women and underrepresented artists around the world.
After all these years of touring as such an established DJ, is there a venue, a crowd, or a specific night that still stands out to you?
It’s difficult to choose just one because I’ve been fortunate enough to experience so many unforgettable moments throughout my career.
My residency at Vertigo in Toronto created some incredible memories, and playing legendary venues like Pacha in New York and Space Ibiza were definitely major milestones. One moment that stands out was opening for deadmau5 in front of 35,000 people at Toronto’s Rogers Centre. That was a surreal experience.
I’ve also had amazing moments in Miami, including Space, and in Los Angeles at Avalon Hollywood. The truth is, there isn’t just one defining memory. There have been so many special nights, incredible crowds, and career highlights over the years.
I feel very lucky, and the exciting part is that I’m not done yet. Hopefully there are still many more unforgettable moments ahead.
Touring at the level you do is glamorous from the outside but can be grueling from the inside. What does nobody tell you about life on the road, and how have you learned to protect your energy across it all?
I’m still learning, to be honest. This year especially has taught me a lot because I’ve been touring more than ever before, and I’ve also gotten sick more than I ever have. What people don’t always realize is that the constant travel, lack of sleep, time zone changes, and pressure to always be “on” can really take a toll on your body.
I’ve become much more conscious about taking care of myself. I’m taking my health more seriously, drinking far less alcohol than I used to, prioritizing supplements and vitamins, and being much more strategic about travel. I’ve learned that taking a red-eye flight just to save a few hours isn’t always worth it.
One of the biggest lessons I’ve learned is that burnout and exhaustion make you incredibly vulnerable to getting sick. When you’re constantly sleep-deprived, your body eventually lets you know. So these days, protecting my energy isn’t a luxury – it’s a necessity if I want to continue doing what I love at a high level.
AI is reshaping music production faster than most conversations can keep up with. As someone who has spent years mentoring emerging producers, how are you thinking about what it means for the next generation trying to develop their own voice?
I think AI can be a useful tool when used appropriately. Technology has always evolved, and producers have always found new ways to create music.
Where I struggle is when people use AI to generate an entire song and then try to pass it off as their own artistry. To me, that completely misses the point of making music. Music is ultimately about human connection, storytelling, emotion, and perspective.
If someone uses AI in a similar way to using a sample, a loop, or a production tool, that’s one thing. But if the entire creative process begins and ends with typing a prompt, I don’t see much value in that. People connect with artists because they want to hear something human.
I also think audiences are becoming increasingly aware of how AI is being used. As detection tools improve, it will become harder and harder to hide. In the long run, I believe authenticity will always win. The artists who develop their own voice and perspective will be the ones who stand out.
If you could sit down with the version of yourself that was just starting out, what’s the one thing you would tell her knowing what you know now?
I would tell her, “You’re going to have an amazing career, but it’s not going to happen the way you planned.”
There will be challenges, rejection, setbacks, stress, and moments where you’ll question everything. But there will also be incredible victories, unforgettable experiences, and accomplishments beyond anything you could have imagined.
What I’ve learned is that every difficult moment teaches you something. The setbacks build resilience, the failures teach you lessons, and the challenges ultimately make you stronger.
So I’d tell her not to give up. Stay focused, keep believing in yourself, embrace both the highs and the lows, and trust that every part of the journey is shaping you into the person you’re meant to become.
2026 is shaping up to be a big year: new music, a new collaboration, the continued growth of Change the Beat. Anything else you’re excited about for this year that you’d like to share with us?
I’m incredibly excited about everything that’s coming this year. I have a lot of new music on the way – more than people probably realize. There are several records that haven’t been announced yet, and I can’t wait to share them.
Of course, “A Long Way” with Dilby and Starving Yet Full is coming out on June 19, and that’s a release I’m particularly proud of.
Beyond the music, I’m excited about the continued growth of Change the Beat. The organization is expanding faster than I ever imagined, and my goal is to take it around the world. I want to continue mentoring women and gender-expansive artists globally, creating opportunities, and helping more producers get signed to record labels.
Ultimately, my mission is to help create a more balanced and inclusive electronic music industry. If I can help even a small part of the next generation find their place in this scene, then I’ll consider that a success. That’s what drives me every day.