Danny Eviza’s latest release “Good, Bad, Ok” arrived almost by accident, built entirely around a chance discovery of Sam Welch’s voice.

Danny Eviza‘s latest release “Good, Bad, Ok” arrived almost by accident. What began as a chance discovery of Sam Welch’s voice turned into a full collaboration, with Eviza building the entire instrumental around Welch’s melodic demo rather than the other way round. The result is a deep, UK Garage-tinged production that leans further into the more melodic, emotionally driven sound he’s been developing across his recent work, out now via More Than A Feeling and Lilyera. We caught up with Danny Eviza to talk through the making of the track, his first-time collaboration with Sam Welch, and where his sound is headed next.

“Good, Bad, Ok” is a very sentimental track. Was there a specific moment or emotion that inspired the production behind the song?

The track actually started in a very spontaneous way. There wasn’t a specific moment or story behind the production at first. I was looking for a particular emotional atmosphere, and the whole idea developed naturally from Sam’s vocal. Once I heard his voice, I immediately felt there was something special there, and I wanted to build a production around that emotion.

Is this the first time you’ve worked with Sam Welch?

Yes, it is. The collaboration actually happened almost by chance. I came across some of Sam’s music and immediately really liked his voice. I decided to contact him, and he sent me a melodic demo. I connected with it straight away and started building the entire instrumental around his vocal. That’s how “Good, Bad, Ok” was born.

How do you feel Sam’s vocals complete the production?

Sam’s voice was actually the starting point of the production, so in a way the instrumental was built around him rather than the other way around. His vocal already had a strong emotional character, and my goal was to create a production that supported it without taking away from that feeling. I think that’s what gives the track its atmosphere.

The track has been released on More Than A Feeling / Lilyera. What makes the label the right home for “Good, Bad, Ok”?

I’m really happy to be releasing “Good, Bad, Ok” with More Than A Feeling and Lilyera. I feel that the track fits very naturally with the sound and direction of the label. It’s always important to me that a song finds the right home, and I think this release is a great match.

Talk us through the creative process behind “Good, Bad, Ok”. Did the track evolve significantly from the initial idea to the final version?

The creative process was quite different from how I usually work. Instead of starting with an instrumental idea, I started with Sam’s melodic demo. I listened to it and immediately heard the potential, so I began building the instrumental around his melody and vocal. From there, the track evolved through the production, arrangement and sound design until we reached the final version. The original vocal idea was always the heart of the track.

Throughout your career, you’ve explored a variety of dance music subgenres. However, your three most recent releases share a similar deep house sound to “Good, Bad, Ok”. How does this track fit into where you want to take your sound next?

With this track, I moved a little closer to a UK Garage-inspired deep sound, mainly because I felt it suited Sam’s vocal better and helped me create the right groove around it. However, I still see myself staying within a chill and deep house style. In the future, I could also see myself releasing tracks with a darker sound, perhaps moving more towards Tech House. But for now, Deep House remains the style that inspires me the most and feels the most natural to me.

Do you see this more melodic sound as a potential part of your sonic identity going forward, or do you still want to keep experimenting with different styles?

I definitely want to keep experimenting. I don’t think having a recognizable sound means limiting yourself to one genre. For me, it’s more about developing an emotional identity while still being able to explore different sounds, tempos and styles. The melodic side is definitely something I want to continue developing, while keeping that chill and deep feeling that represents me.

Is there a specific message that you’d like listeners to take away from “Good, Bad, Ok”?

I think the main message is that it’s okay to simply be okay. We don’t always have to be extremely happy or completely sad. Sometimes we’re somewhere in the middle, and that’s perfectly normal. I hope listeners can connect with that feeling and find their own meaning in the song.

Is there a particular element of the production that you’re especially proud of?

I’m particularly proud of the way the instrumental was built around Sam’s vocal. Because the vocal was the starting point, I wanted every element of the production to support it and enhance its emotion. I think the balance between the melody, groove and vocal is one of the strongest aspects of the track.

Looking ahead, what can fans expect from Danny Eviza following “Good, Bad, Ok”?

There is definitely more music coming. I’m continuing to work on new productions and collaborations, and I’m exploring this deeper and more melodic side of my sound even further. At the same time, I don’t want to limit myself, so in the future there could also be some darker and more Tech House-oriented releases. For now, though, Deep House remains my strongest source of inspiration.

Ahead of Nibirii Festival’s sixth edition, co-founder Björn Grimm discusses the festival’s origins, its growth, and this year’s lineup.

Recently we got to chat with Björn Grimm, co-founder of Nibirii Festival, in the lead up to the festival’s 6th edition. We discussed the story behind Nibirii, how it’s grown, and what everyone can expect from it this year.

First off take us back to the beginning. Where did the idea for Nibirii Festival come from and how did it all come together?

I was listening to a Vini Vici track by coincidence at the time and it had me thinking of a concept for bringing sounds together at Bootshaus Cologne, which were underrepresented at that time. It became a successful event series pretty quickly and someone offered us a nice place (Dürener Badesee) so we thought about bringing this to the next level – and so we did!

Since that first edition Nibirii has come a long way. How has it been for you to watch it grow from a single day event to a multistage, full weekend festival?

To be honest, it is really hard for me to see it growing because it was huge for me right from the beginning and I am not the person counting and comparing numbers. I think you can compare it with being a parent and you see your child growing and so time is passing and someday you say “wow when did you become a grown adult.” I think it is similar because I was raising this event and was so close to it.

– This year you’ve pulled together an incredible lineup with the likes of Dimension, Hannah Laing, I Hate Models, and Vini Vici to just name a few. What’s the process like in pulling together such a lineup and deciding who you want on those stages?

I think booking is a really difficult task nowadays. Music is changing fast, artists are getting a lot of attention within a few days. Trying to look into the future is nearly impossible. I think the good thing is that we have a great relationship to the artists and we know what we want, and our booker is maybe one of the best in Germany. Shoutout to Paul.

– Nibirii has grown rapidly year on year. What can festivalgoers expect this year that’s maybe developed since 2025?

If we look back at last year, the Unreal stage might have been the biggest thing, and it will be for the Techno genre in 2026. But the other stages have also had a new facelift.

– Planning a festival is a huge challenge to take on. You’ve already had 5 very successful editions, but what are the emotions like for you in the buildup? Do you get nervous or is it all just excitement?

I think this is part of the deal. You will not do this with your heart if you are not getting nervous and excited, sad and happy, frustrated and the full emotional rollercoaster ride.

– How important is it to you to have each stage feel unique in both style and sound?

Stages should be great, 100%. The experience is not only created by the artists playing. It is the surrounding, the friends and people around you, the sound… everything is important. You can have the best stage in front of you but if you can’t share this with someone this stage is worthless.

– What would you say makes Nibirii different to other festivals and has kept on bringing more and more people back?

It is the vibe, the location, the local hosts we bring to the festival.

– What is your favourite thing about Nibirii?

It is the people I am seeing there. Seeing them smiling makes me happy and reminds me why I’m doing this.

– If you had to describe Nibirii in 3 words to someone who hasn’t been before what words you choose?

MUSIC, BEACH, FRIENDS