DJ SHARE (Sharon Pieksma) is never far from a dance floor, always on the go bouncing between gigs and festivals.

But we managed to steal a few minutes with her! In this super quick catch-up, we threw a few fun questions her way to get to know the woman behind the decks.

Can you tell us a bit about your musical journey? Did you start out in the organic house direction, or has your style evolved over time?
Actually, I started out playing deep tech and minimal. That was the sound that first got me booked at clubs in Rotterdam where I’m from, and across the Netherlands. One of the biggest turning points for me was Burning Man. It completely changed how I connect to music. The experience there opened me up to more organic sounds, deeper, more emotive, more layered, and that’s when my style really started to evolve in that direction.

What’s funny is that I’ve recently started mixing some of that older deep tech and minimal music back into my current sets, which has been a fun full-circle moment.

Which of your own produced tracks has a special meaning to you?
A track that’s particularly close to my heart is “Moon.” It stands out from my other productions because it has a deeper, more introspective feel. The whole process was super organic, because I wasn’t overthinking it, it just flowed. I even used my own voice in the track, which made it feel really intimate and honest. The message, “reach for the light, reach for the moon,” is simple but powerful.

What’s the longest set you’ve ever played and how long did it end up being?
That would be a 16-hour set I played at a private event in Moscow, definitely the longest I’ve ever done! It wasn’t planned at all… I think I was originally meant to play maybe four to six hours. But the vibe was just so good, the energy kept flowing, and I somehow ended up behind the decks for a full 16 hours.

It turned into a real journey, not just for the crowd, but for me too. I went through so many different styles and moods, I’m pretty sure I played through my entire USB, including some deep tech tracks from way back in the day. It was intense, but also so much fun.

And yes, there were definitely a few moments where I’d put on a long track, run off to grab a bite, or even just walk around and soak in the energy before jumping back into the mix. It was wild… but in the best way.

DJ SHARE

If you were forced somehow to switch jobs and not be a DJ anymore, what do you think you’d be doing instead?

Wow, that’s a tough one. I feel so deeply connected to music, it’s hard to imagine doing anything else. Music makes me genuinely happy. I listen to it and dig for new tracks literally every day, so I think I’d still stay close to it somehow.

Maybe I’d become a guitarist and focus more on live music… or I’d dive more into organising retreats. I really love the idea of creating meaningful, mindful experiences for people, though I see that more as a passion than a full-time job. Either way, it would have to be something that feeds the soul.

If you were kidnapped and locked in a room with just one song playing on repeat, which one would you want it to be?

What a scenario! But okay, if I had to choose, I’d probably go with something calming and timeless. I don’t always listen to electronic music; I really love more downtempo, dreamy stuff that helps me unwind or gets me inspired.

Something by Thievery Corporation would be high on the list. Their blend of mellow, reggae-influenced sounds always feels full of love and light. But if I had to pick just one track… I think it would be “Porcelain” by Moby. It’s been with me for so long, and I never get tired of it. It has this beautiful calming effect, slowing my mind down in the best way. I could definitely survive on that one.

Connect with SHARE on:

Instagram: https://www.instagram.com/share.musica/
Soundcloud: https://soundcloud.com/sharedj/tracks

Chilsta, Durban-Born DJ & Producer, spoke with EDM House Network about pushing Afro House to the global stage.

Chilsta, a Producer and DJ, channels layered intention into his craft, bringing a confident determination to his place within the Electronic Music landscape. Born and raised in Durban, South Africa, his early immersion in House music sparked not only a deep personal connection to the genre but also a commitment to shaping his own artistic path within it. Drawing on the rich heritage of his African roots, Chilsta has worked to refine a sonic identity that feels both authentic and forward-facing, weaving his rich tapestry of influences to create a sound distinctly his own.

We caught up with Chilsta to unpack the moments that shaped him, the inspirations that continue to drive him, and his vision for his journey moving forward. 

Hi Chilsta! How are you? Thanks for joining us.  

Hi there. I’m doing very well. Thanks for having me! 

Let’s start at the beginning – what first sparked your interest in Electronic Music, and how did your journey as an artist begin to take shape? 

As a kid, my father was a massive House head, and at the time, South Africa was going through its very own House renaissance period. My father would play a lot of House music on road trips, including a lot of mix compilations from record labels like Soul Candi. So, House music was pretty much the norm of my childhood. 

Was there a specific track, moment, or live set that you look back on as the turning point — the thing that made you realise this was the path you wanted to follow? 

At 12 years old (in 2010), my best friend and I would listen to Deadmau5 and Kaskade. It was the track, ‘I Remember,’ which got me hooked onto Electronic Music and its culture. That was when I knew I wanted to be a DJ. I became obsessed with the sound synthesis from Electronic Music, and I’d always be looking at other music Producers at the time. I would introduce my other classmates to this music. At the time, a lot of it was the early Dubstep producers, think of guys like Modestep, Master P, Benga and Skrillex.

How would you define your sound? 

High energy, melodic and unapologetically African with raw textures from Techno. 

What was the process behind developing your sonic identity — was it something intentional, drawing from specific influences, or did it evolve more organically over time?

I was in a DJ duo with my best friend as a teenager, where we would play Progressive House, Bigroom and sometimes Trance. I was an obsessive listener of Trance and the A State of Trance radio show from Armin Van Buuren. Then I started exploring other genres, like Techno, where I was inspired by the groove of DJs like Nicole Moudaber, watching her 2012 Tomorrowland set, which made me explore other parts of underground Electronic Music.  

I then moved to Shanghai as a student, where I was studying International Economics and Trade. I compared the club scene and infrastructure from back home to the city and realized that it was possible to live my Electronic Music dream. Then, I doubled down and produced music that was inspiring me in the scene, from Techno and House, but I wanted to merge it with my own roots from back home. I guess I was missing home and wanted to connect with my own South African heritage. South Africa has always had its own distinct sounds of Electronic Dance Music. 

Are there any artists — whether from Electronic Music or beyond — who’ve had a lasting influence on your sound or creative mindset? 

Armin Van Buuren, Black Coffee, Kaskade, Deadmau5, Carl Cox and Sasha. 

Do you remember the first time you performed your music in front of a crowd? What impact did that moment have on you? 

It felt amazing to watch the crowd react to my music. Music was something I did for fun, but I was obsessed with it, and it took me a long time to have professional, clean-sounding records. So, it really shaped my perception of what’s possible if you work hard and show your love to the music. 

Tell us about your local scene growing up — how did that environment influence your style and development as a Producer or DJ? 

Growing up as a DJ, I think that my city, Durban, South Africa, had a healthy Electronic Music scene, but the scale of nightlife was not as large as other cities like maybe Johannesburg and Cape Town. That was not a disadvantage though. I think the city produced many world-class acts, because we had to put in the hours in the studio more than we were DJing. So, it kept me very focused on music production to try and reach more opportunities. 

How has your relationship with music changed over the years — not just in how you make it, but in how you listen to and connect with it personally? 

I still try to take a beginner’s approach to music. That is, to understand that there are no rules to music, just the feeling of it. Therefore, I trust my taste because I love different types of music, and I understand the history behind it because I am first a music fan and lover, then a DJ/Producer. 

Looking ahead, what are you hoping to explore or achieve over the next five years in your musical journey?  

I’d like to be playing large-scale nightclubs, venues and festivals around the world, where I push the Afro House sound for bigger stages in my own way, drawing in influences from other scenes, with a strong focus on unique and energetic, pulsating, sound design elements. 

As Chilsta continues to carve out his space within the evolving Electronic Music landscape, his passion for both his craft and the global scene remains evident. By honouring his roots while embracing new influences that drive his sound forward, he is building a sonic world that captures his vision and hints at the promising path ahead. So, an Artist in motion, be sure to take note of Chilsta and follow him across social media for the latest updates and news.

Chilsta Online

Spotify | Instagram | Soundcloud 

STBAN fuses flamenco and electronic music on his new single ‘LA PALMA’, out now via FLAMENCA Records. Rooted in tradition and driven by rhythm, the track brings timeless passion to the dancefloor.

STBAN channels centuries of flamenco tradition into the electronic age with his new single ‘LA PALMA’, out now on FLAMENCA Records. Steeped in culture, the track carries the raw heat, passion, and rhythm of this timeless art form.

Distributed via iconic imprint Toolroom Records, ‘LA PALMA’ homes in on the traditional hand clapping indicative of flamenco. The most ancient form of human percussion, ‘la palma’ sets the rhythm of the dance and drives the intensity of the performance. The rising passion and swirling emotion of flamenco dancing quite literally follows the dancer’s hand inside the physical space.

Co-produced with Bryan Colleta (Sparrow & Barbossa) and featuring Spanish singer G.Zamora on vocals, ‘LA PALMA’ simmers with Latin heat, sultry electric guitars taking over from acoustic guitars that gently undulate as the track rises. Brass trumpets bristle in from the lower ends like shimmering Mediterranean sunsets, percussion and syncopated hand claps nestling up against muted bass and synth lines. Weaving everything together is G.Zamora’s Balearic tone, STBAN and Coletta using his vocal as a thread to draw the entire production together.

Released alongside the single’s audio is a beautiful video shot on location across the vibrant North African city of Marrakech, a subtle nod to the Arabic roots of the dance form. Celebrating the instinctive human desire to move to music, the video sees Moroccans of all ages and demographics invited onto a simple rug placed on sidewalks, open parks, plazas, rooftops, then given a pair of headphones. With ‘LA PALMA’ in their ears, citizens young and old let the world around them fall away as they immerse themselves in the momentary freedom music allows. It’s a beautiful reminder that the joy of music connects us, no matter where we are in the world.

With a run of singles set to drop over the coming months, sets confirmed at major festivals this summer – including Montreux Jazz Festival and AirBeat One – and a special residency at iconic MAD Club in Lausanne, STBAN added further momentum to the FLAMENCA project by partnering with Toolroom at this year’s IMS in Ibiza. The deal sees Toolroom powering FLAMENCA Records through distribution and label services, bringing industry expertise and infrastructure to the next phase of the brand’s evolution.

With much more to come from STBAN and FLAMENCA, ‘LA PALMA’ serves as an early indication of what fans of house music – and flamenco – can expect. With that in mind, we thought it was about time to sit down with STBAN to find out more…

Tell us about LA PALMA, how did the track come together?

I’d had the track in my mind for some time, and then a couple of years ago I met Bryan Coletta. For me it was a perfect collaboration; we’re both living in Lausanne, in Switzerland, but Bryan was also living in Madrid and had a close connection to flamenco music. It meant he understood the genre and what we wanted, what our vision was. He came to our studios in Lausanne for two days and the energy was really good, it was really nice to work together with him on LA PALMA.

The title refers to the clapping that you get in traditional flamenco – how did you translate that into the song?

Clapping is one of the most important drums in flamenco music, along with the “tacones”, the heels of the feet, and also the cajon, the drum. They are the three essential rhythms of flamenco music, the primitive roots of the percussion, and for LA PALMA we wanted to really concentrate on and celebrate the clapping.

You have your own label, FLAMENCA Records. We’re guessing from the name that you’re heavily influenced by flamenco music – is that the only genre that we’ll hear from the label?

Of course the first thing for us is fusion of flamenco with electronic music but because of the nature of flamenco, which has always been influenced by different cultures and sounds, we’re open to other genres within the family, just always keeping in mind the Spanish or Latin influences. So it could be, for example, Latin House or Tech House, or even Afro or Tribal.

What music do you have coming next?

We have many tracks coming next, already cooked in the studio oven, from some very incredible artists. We have work from Jesus Fernandez, with also Qubiko, we also have some incredible remixes lined up from artists like PAUZA and Cruzy. We’re very happy to work with these kind of high level artists, DJs and producers.

We heard you struck a deal with none other than Toolroom Records at this year’s IMS – how crucial is it for you to have the support of the Toolroom team?

=Yes! I had the chance to meet Mark Knight at IMS and we spoke at length about the FLAMENCA project. He was very open minded about including us in his organisation, even though we’re relatively new. I think he liked the idea of the flamenco style fused with electronic music. We’re also along the same line of house music, the same beats, even if it’s more of a Latin style or Spanish style. For some of the tracks we’ve produced dub edits, or extended club edits, it gives a real depth to what is a pretty new genre.

Also personally, I really appreciate the values of Mark Knight. He really runs the business as a family and I feel this a lot, it really aligns with our values at FLAMENCA Records. So for me, I think it’s not only the music but the values that are putting everything together to work with a very nice energy. We’ve been working with them for one month now and I really appreciate the professionalism of all his team. It’s a great collaboration for us and one that we value.

Stream this single on all platforms here.