In the ever-evolving landscape of electronic music, few artists embody the spirit of cultural fusion quite like YOUNA. The South Korean producer and DJ, now based in Dubai, has rapidly ascended from curious listener to festival mainstay, sharing stages with icons like ARTBAT and Charlotte de Witte while landing releases on prestigious labels including Armada Electronic. Her sound, a meticulously crafted blend of aggressive peak-time energy, hypnotic melodies, and explosive progressions reflects her unique position at the intersection of Eastern and Western musical traditions.
With her latest release “Serotonin” making waves on Armada Electronic and performances at Ultra and EDC under her belt, YOUNA is taking bold steps on a global techno scene. In this interview, she opens up about her journey from Seoul to Dubai, the evolution of her cinematic approach to production, and why the Middle East feels like destiny for an artist bridging two worlds.
1. Starting from South Korea and now based in Dubai – that’s quite a journey! Can you take us back to your beginnings in electronic music? What first drew you to DJing and production in South Korea, and was there a moment when you knew this was your path?
My music career began in Dubai. Back in Korea, I was simply a listener of electronic music without truly diving deep into it. But after moving to Dubai, the multicultural environment introduced me to techno and house, especially the darker, more emotional side of techno that I had never experienced before. I became deeply captivated and started learning DJing and producing almost simultaneously. Realizing that music is a world with endless possibilities to learn and grow, I knew this was the path I wanted to follow.
2. Your sound is described as blending “Eastern and Western influences” to create a powerful global impact. How has your Korean heritage shaped your musical identity, and do you consciously incorporate elements from your cultural background into your productions?
In the East, audiences gravitate toward powerful and explosive progressions, while in the West, the preference leans more toward subtle, emotional, and groovy flows. Although the roots of my genre lie in Western music culture, my Korean identity naturally blends into it. This comes through in the way I preserve detail and groove while driving the music with intensive buildups and impactful drops. Beyond the sound itself, presenting tracks through visual concepts and building close connections with fans are strengths I’ve carried from Korean culture, and they continue to play a major role in shaping my artistry.
3. How has the Middle Eastern electronic music scene influenced your sound and career trajectory? What opportunities has Dubai opened up that might not have been available elsewhere?
Sometimes I wonder if I would have even started music had I not come to Dubai, because the scene here has influenced me so deeply. World-class artists perform here every week, with productions and scale that rank among the best in the world. This allowed me to experience top sets across different genres firsthand, learn their strengths, and explore how to apply them to my own sound.
As I mentioned earlier, my musical identity sits at the intersection of East and West—and geographically and culturally, the Middle East, especially Dubai, reflects that balance perfectly. My sets combine the detail and emotion of melodic techno with the driving energy of peak-time and the explosive drops of EDM. Interestingly, the strongest response to this hybrid style has come from audiences in the Middle East, which makes Dubai feel like a place I was destined to be.
4. Looking back at these early releases versus your upcoming “Serotonin” on Armada Electronic, how would you describe your sound evolution over these past couple of years?
My early tracks were more restrained, with emotional structures and long breakdowns. With “Dopamine” and “Serotonin,” I began exploring more aggressive synths, driving energy, and powerful progressions. Recently, I’ve also started embedding conceptual elements so that each release feels like part of a series, allowing listeners to follow a continuous story. Every release feels like adding a new chapter to my evolution.
5. Your music is known for combining “aggressive, powerful elements with meticulously designed melodies” while maintaining emotional depth. What’s your production process looks like? Do you have favorite tools or techniques that help you achieve that distinctive “hypnotic and pulsating” sound?
My workflow changes every time. Sometimes it starts with a melody I record on my phone, other times with a drum pattern in the studio. Lately, I prefer starting with a concept—imagining a cinematic scene and then shaping the sounds around it. Other times, I sketch a melody first and visualize the emotions it evokes before developing the track. Once the main idea is there, it’s all about refining details, which can even make me fall out of love with the track I liked most haha.
6. Landing on Armada Electronic with “Serotonin” is a massive milestone, especially after your success on labels like Exx Muzik and Black Rose. How did this opportunity come about, and what does it mean for your career to be working with such an iconic label?
While working on “Dopamine” and “Serotonin,” I felt they would fit well with Armada and sent in my demos. I had almost given up when I suddenly heard back—they wanted to sign both tracks at once. Having my music released on a label with such history and global influence is a huge milestone. On top of that, the professionalism and support of the Armada team allowed me to deliver my message exactly as I envisioned, making it an incredibly rewarding experience.
7. As an artist creating music that “transcends cultural boundaries,” what’s your perspective on AI’s growing role in music production? Do you see it as a tool that could help bridge cultural gaps in electronic music, or are there concerns about maintaining authentic artistic expression?
I actually used AI to generate vocals just a few hours ago. It saves time I used to spend searching for tutorials and helps spark new ideas. Still, the soul of music always comes from the artist. AI can guide, but the vision and final decisions are human. For me, it’s a tool that shortens the process, allowing more focus on creativity and higher-level production. What matters is how each artist uses AI to express something authentic.
8. Performing at major festivals like Ultra and EDC is a dream for many artists. Can you take us behind the scenes – how did these opportunities come about for you? What was it like stepping onto those massive stages, and how did those experiences compare to your expectations?
I caught promoters’ attention through YouTube and Instagram content, combined with the hard work of my manager. But the foundation was built on consistency, quality, and trust from smaller shows. On big stages, I feel overwhelmed at first, but after a few tracks, once I connect with the crowd, it feels no different from other venues. And when thousands of people cheer at the end of the set, it reinforces my belief that my sound belongs on the world’s biggest stages.
9. You’ve shared stages with incredible artists like ARTBAT, Charlotte de Witte, I HATE MODELS, and performed at major festivals like Ultra and EDC. For upcoming producers and DJs trying to break through in today’s competitive scene, what would be your key pieces of advice based on your rapid rise?
Most people will tell you to “find your own sound and style”—and it’s true. But what I’ve learned is that it always takes time. Like love, it comes naturally when you’re open and ready, not when you force it. So don’t rush, explore different genres, listen to other artists, and do the inner work.
In the early years, people may underestimate you and opportunities will feel scarce. But don’t give up. Even if the world doesn’t believe in you yet, keep believing in yourself, keep making the music you love, and keep showing up. If you endure those first tough years, change will come.
10. Where do you see YOUNA heading for the rest of 2025 and beyond?
In November, I’ll be releasing a darker, more dramatic peak-time track, followed in December by a peak-time track influenced by old-school house. The November release will also feature a music video created in collaboration with a Korean creative team. At the moment, I’m building on the foundations of melodic and peak-time techno while exploring and blending other genres such as mid-tempo, drum & bass, EDM, and cinematic sounds to expand my storytelling. In the long term, my vision is to merge music, narrative, and visuals into one—becoming an artist who transcends cultures and genres to inspire people worldwide.