EDM House Network catches up with the versatile producer on a boat between stages at Belgium’s premier electronic music festival

In an exclusive interview with EDM House Network, multi-genre electronic music producer Wuki shared insights about his creative process, recent collaborations, and first-time experience at Tomorrowland 2025. Speaking aboard one of the festival’s signature boats traveling between the Planaxis and Crystal Garden stages, the artist opened up about his genre-blending approach that has made him a standout name in electronic dance music.

From Remixer to Multi-Genre Pioneer

Wuki’s journey in electronic music began with remixing, a foundation that continues to influence his production style today. “I’ve always considered myself like a remixer,” Wuki explained during our boat conversation. “I try to use genres as like a tool instead of like a boundary. I’ll make drum and bass, I’ll make house, I’ll make techno – whatever makes that remix the best.”

This philosophy has led to releases across multiple prestigious labels, including OWSLA, and has established Wuki as an artist who refuses to be confined to a single genre. His biggest commercial success, “Sunshine,” showcases his tech house capabilities, though he admits categorizing himself remains challenging.

The Skrillex Effect: A Career-Defining Collaboration

One of the most significant developments in Wuki’s career came through his collaboration with dubstep legend Skrillex. “The biggest thing that happened to me this year is I have a collab with Skrillex on his album, which is like such a huge deal,” Wuki revealed, his excitement evident despite the boat’s ambient festival noise.

Working with Skrillex proved to be an inspiring experience for the multi-genre producer. “He works so hard, he’s just constantly on the computer, he can work so fast. He’s very inspiring,” Wuki shared, describing the electronic music icon’s legendary work ethic.

The collaboration represents more than just a career milestone – it’s validation from an artist Wuki credits with shaping the American electronic music landscape. “There’s a good argument that without Skrillex, a lot of us wouldn’t have careers in America. He’s like total pioneer, total inspiration.”

Tomorrowland Debut: Living Up to the Hype

For Wuki, Tomorrowland 2025 marked his first appearance at the world-renowned Belgian festival, and the experience exceeded his expectations. “This is my first Tomorrowland and I’ve always heard that this is such a great festival and it’s true,” he said, fresh off his performance. “Everything from the artist area to the crowd – it’s awesome.”

The festival’s unique atmosphere and production quality clearly resonated with the artist, who noted how the entire experience, including the boat transportation system, contributes to Tomorrowland’s legendary status in the electronic music world.

DJ Philosophy: Chaos Meets Control

When it comes to live performances, Wuki embraces a more spontaneous approach compared to his studio work. “My DJ set is way more chaotic than my production,” he admitted. “I can kind of keep things pretty dialed in in my studio, but then when I DJ it’s like whatever, I’ll go wherever.”

This freestyle approach extends to his set preparation, or lack thereof. Rather than meticulously planning every transition, Wuki relies on his deep knowledge of his music catalog and crowd reading skills. “I definitely learned not to plan out my sets because then you get too nervous and like you try too hard,” he explained.

Recent Releases and Future Projects

Beyond his Skrillex collaboration, Wuki has maintained a steady output of diverse releases. Recent highlights include a track with Lee Foss on his Repopulate Mars label and a remix of Paramore’s “Ain’t It Fun” – a project that held special personal significance for the producer.

Looking ahead, Wuki teased an ambitious fall project: “In the fall I’m gonna be dropping this big mixtape with all my remixes and I’m gonna do a tour around that.” This upcoming release promises to showcase the full spectrum of his remix capabilities across multiple genres.

Exploring New Territories

Despite his extensive discography spanning multiple electronic music styles, Wuki continues to push into unexplored territory. “I haven’t released any drum and bass, but I think I’m gonna try to do some drum and bass or jungle this year,” he revealed, hinting at yet another genre expansion for his already diverse catalog.

From iconic radio moments to building global dance communities, Ruben de Ronde opens up about his career, Ibiza 2025, and the evolving future of trance music.

Dutch DJ, producer, and Twitch streamer Ruben de Ronde is no stranger to the spotlight—or the underground. Known for his long-standing role with A State of Trance Radio and his pioneering presence on Twitch, de Ronde has played a defining role in shaping the future of trance music over the past two decades. In an exclusive chat with Adam K and Amy Farina on 10 Days in Dance, he dives deep into genre fluidity, streaming culture, and what lies ahead for the global dance scene.

From Broadcast Booths to Global Stages

Ruben’s journey into electronic music began with humble, almost hidden roots—literally broadcasting from a container at Tomorrowland. That experience blossomed into a long-term media collaboration and a significant role at A State of Trance, where he has co-hosted with Armin van Buuren for over 18 years.

“The biggest shift has been seeing how fans connect to music,” Ruben explains. “It used to be about getting on air or in a club. Now, it’s about community and access.”

Ibiza 2025: The Scene is Shifting

Reflecting on a packed 2025 schedule, Ruben highlights how Ibiza’s club culture is mirroring broader trends in the future of trance music. Having already performed at Eden and Ushuaïa before summer officially kicked off, he sees a longer, more inclusive season evolving.

“Ibiza used to start in June and end by September,” he says. “Now, it’s becoming a year-round destination. That changes how we approach shows and sound.”

Ruben’s recent performance alongside Armin van Buuren, Cosmic Gate, and Billy Gillies at Ushuaïa showcases how trance is still a dominant force—even as musical borders become blurrier.

The Power of Streaming and Community

A standout theme in Ruben’s career—and one reshaping the future of trance music—is the rise of artist-driven communities through platforms like Twitch. His “Statemates” community grew from streaming music sessions into real-life friendships, even relationships.

“Streaming lets fans watch a track come to life in real time,” he says. “By the time it’s released, people already love it because they were part of its journey. That’s where the future of trance music lies—in shared creative experience.”

Reimagining Trance Through Collaboration

De Ronde’s new alias, Energy 2000, leans into old-school trance vibes with a modern twist. Collaborations with legends like Ferry Corsten, Mauro Picotto, and York are part of a bigger movement to reshape the sound for a new era.

“I’m not just playing classics—I’m making new music that honors that era. It’s a way to celebrate where trance came from while pushing it forward,” he says.

Projects like Ebenezer (with Steven Bahn) show his commitment to innovation. The project fuses trance and techno, expanding what’s possible within the evolving definition of the genre.

Are Genres Even Relevant Anymore?

Perhaps the most compelling insight Ruben offers is his take on the future of trance music as genre lines dissolve.

“I don’t think more genres are being added—I think genres are disappearing,” he says. “Trance today includes everything from melodic techno to acid to hard trance. It’s all under one big emotional umbrella.”

De Ronde argues that DJs now have a responsibility to introduce fresh sounds that fall outside of listeners’ algorithms. He’s championing a generation of artists like Kiki, Mau P, and Heartstrings, who blend high-BPM intensity with trance’s emotional core.

“The new generation doesn’t care about genre boxes. They want to feel something—and that’s always been the heart of trance.”

Armada, ADE, and What’s Next

Ruben continues to work closely with Armada Music, including a major Statement label relaunch and new artist signings. He also hinted at behind-the-scenes collaborations tied to Q-dance and genre fusion efforts across dance music’s harder and faster edges.

With Amsterdam Dance Event approaching, Ruben expects more spontaneous pop-ups than formal events. “Every year I say I’ll do less, and every year I end up doing more,” he laughs. “That’s the beauty of the scene—it’s alive, evolving, and always unexpected.”

HARDEN is carving out a bold space in indie dance, blending raw emotion, analog grit, and immersive energy into a sound that’s his own.

With a breakout year already in motion, HARDEN is quickly establishing himself as a formidable voice in the indie dance world. His Onyx Doe EP has turned heads on both vinyl and streaming platforms, earning chart-topping success and praise for its gritty, hypnotic sound. Fresh off standout performances at Miami Music Week and ABC Ranch during Coachella, and deeply embedded in Denver’s evolving music scene, HARDEN is pushing boundaries through both sound and community. We caught up with him to talk creative process, influences, and what’s next.

Hi Marc. Thanks so much for speaking with us. How are you and how has your year been so far? Any highlights to air?

I’m great. I’m living a dream. 2025 is one for the books for me. The release of the Onyx Doe EP on vinyl and streaming platforms is probably tops for the year so far, but the gigs have been super special. There have been so many great events, but the shows at Miami Music Week and ABC Ranch during Coachella really stand out for me.

What’s the scene like in Denver? Is there a thriving party and music community? What about labels and record shops, etc?

Denver has a very interesting scene. Denver is very connected and supportive within the party / music communities – you see a lot of the same friends at almost every show. There’s also Red Rocks up the hill as well as other world class venues like Mission Ballroom and others and just about every artist pulls through town. That can cause some fatigue on hard ticket shows but the community generally supports nonetheless. There are some legendary pop-up event companies and the city has a rich music culture. It’s definitely more laid back than Miami or New York, which frankly, is nice. Since there are so many options for events/shows/concerts, some events don’t do as well as they might in other cities, but the city is generally full of music junkies and people that like to tear it up for a few days… it suits me.

How much has Denver shaped your own sound? Tell us about your musical journey up until the present .

I’m not sure that Denver has much influence on my sound, honestly. When I was in my teens, I was really drawn to the post-punk sound of Washington DC as well as some of the indie/lo-fi rock that was coming out of California and New York. I grew up playing electric guitar on a tube amps and the sound I was drawn to wasn’t really represented in my city. Over the years, as I was drawn to dance music, there was a better connection to Denver from a music appreciation perspective. I think that if you listen to HARDEN music, you’ll hear some common threads that you would have heard in the 9:30 or Black Cat 30 years ago in DC. There’s an edge to the music that I feel drawn to, a grime to it, and of course a steady kick. I wouldn’t say that was a Denver sound, at least when I was growing in music. Nowadays though, there are lots of strong indie dance artists/DJs in the community and we definitely love playing off each other and sharing music.

What artists would you say have been the biggest influences on your sound?

Fergie, of course. He’s my musical hero and co-creator. I really dig the dark but still vibey sounds of Oppaacha, Jimi Jules and Mita Gami. I also really enjoy the dark and relentless sound of Gary Beck and Raxon. The dramatic elements of NTO and Angelos are a part of the sound too. Many others, of course.

Can you tell us what ‘Onyx Doe’ represents to you sonically and emotionally? What was the headspace going into this release?

I love the attitude of the song. It comes out and has a position. Strong kick and deep, dark indie sounds, which is what I love most in electronic music now and was represented in the music I loved growing up. The vocal is playful and powerful and is a bit hip hop, which is another genre I love. The sound just hits the vibe for me and I’m super pumped about how it came out. I love the drama in it but also the relentless and hypnotic rhythm underlying the whole track.

The song has some additional sentimental value as I named it after a friend that was ejected from a vehicle and paralyzed. He has “Onyx Doe” tattooed on his knees. That’s what the hospital named him when they couldn’t identify him. His attitude about his circumstance is tremendous and we’ve done a lot in music together. He grinds and loves and has an edge to him, which I think is represented in the song.

As far as the headspace going into the release, I’d say it was an exciting, busy and challenging time that required toughness and an attitude of hope and openness. The song feels like that to me when I hear it.

Your debut EP hit #1 on Beatport’s indie dance chart, with all three tracks landing in the singles chart. How does that early success impact you next time you go in the studio?

It’s nice to be recognized and it’s really nice to have people dance to your tracks. That said, I’m focused on making the music I actually want to listen to and not chasing charts. The music will live on much longer than the charts and there must be integrity in it. There must be a constitution in the sound, a drive, an attitude. If there are chart climbers while the integrity of the HARDEN sound remain in tact, wonderful. It’s a wonderful start but the music has to connect to and drive the soul and has to be something I love. If I love it, I know many others will too.

You’ve shared the stage with some real heavyweights — DJ Tennis, Adam Ten, Super Flu. What’s one standout moment from those shows that’s stuck with you?

Playing with Adam Ten last summer in the RINO Art District really stands out. The studio/creative space that I have poured my soul into is just a block away from it. The show was incredible. We played on an art car that had fire shooting off it, lasers, and the best sound I’ve heard. It was one of the best parties I’ve ever been to in Denver and it was on a Sunday, which sounds impossible. Every time I walk to get a margarita or a coffee a block away, I see where the pop-up was and I get carried back to that day. In my mind, I can see the art car sitting where the stage was and can feel the energy of that day. It’s a beautiful lot with tons of graffiti and I hope someday that I can play another show there. It’s magical.

Casa Alta is more than just a label. It’s a party, a label, a studio, a creative hub… what’s the unifying theme, vision or motivation behind it all?

The unifying theme is unapologetic and independent creativity. There is certainly a Casa Alta way of doing things, and that tends to be finding an edge in the sound and vibe and ensuring that the highest quality people and tools are utilized in creating whatever it is Casa Alta has it’s mind on. Everybody on the Casa Alta team has an intense passion for music and life. We do want to deliver “special” and unique in whatever event, record, or relationship that we are involved in. That said, it has to be done with the intention of an independent spirit, one that that has great taste, a love for tequila and occasionally a short memory, hahaha.

Your events feel really art-forward and immersive. Do you draw inspiration from outside the club world – visual art, architecture and film for example?

That’s a really interesting question. I honestly don’t know. I’ve always been drawn to interesting architecture and that’s certainly a calling card of our shows. I grew up on truly independent rock music and most of the shows I would go to were very small, usually less than 50 people. It was impactful being able to feel the energy of the artists, and that is certainly a major component of what we try to deliver. I also grew up on Tarantino films and the great noir films of the 90s and I’d say that there are some ethereal elements from those movies that you can feel at our events.

What are you building in Denver with the new studio and artist space? Can you give us a glimpse of what that hub will offer?

The space is incredible. It’s 4,000 square feet in the heart of RINO, the arts district of Denver. The space and studio itself are heavily analog focused. It’s a space that connects the old studio designs of the 1960s and 70s to today. The sound system throughout the facility is amazing. The lighting and interior design elements throughout the space are just totally unique, beautiful and sensible.

The equipment in the studio itself is largely analog gear that delivers a beautiful, rich sound you can’t get out of a computer. There’s a beautiful old Space Echo unit we use constantly, a bespoke modular synth we’ve built up over the past year, an original 909 that’s still punching hard, and a Prophet-10 that’s just dripping with character. These pieces are a big part of the sound we’re crafting.

Aside from the studio, there are many areas to relax, play pool, have a beer, or meet with your team in a very vibe-driven and comfortable environment. The space is connected throughout and the aesthetic is unique and timeless. Within the building is a high-fi vinyl listening lounge that houses working vintage equipment as well as turntables and a mixer ready to go at all times. We have 2,500 records in the cabinetry of the vinyl lounge, and another 7500 records in our archive. There’s a stage and dance floor area for artists to test their music in front of a small private audience, or to have a post-show kickback with their team. The sound throughout the facility has been thought out by some of the best and it will be some of the most pristine sound you can find. The facility is private, secured, and sound-proofed. The building is one that nobody will want to leave once in it. That said, if you were to need a drink or a bite, you’re a block or two away from the best Denver has to offer. There’s nothing like this place. I can’t wait to get in.

What’s next? Any dream collaborations, wild concepts or shows we should keep an eye on?

There are some remixes of songs from the Onyx Doe EP coming out soon from Super Flu, Oppaacha, and Arnaud Rebotini, which I’m very excited about. I’m very excited about the next single, “Fugazi,” which has been a blast to play and I think is special. I’m working on a few other tracks and I’m hoping to get a few other remix collaborations done this year. I have a few wild concepts for events up my sleeve yet but I have to keep them to myself or it will spoil the surprise… but they’re pretty wild and I’m sure you’ll hear about them eventually, haha. I’m excited for some shows next summer in places that don’t have a huge house music community and getting creative with that. I’m still figuring that all out but I love the idea of playing to folks that have a reason to be there and sending them home thinking about something they haven’t seen or heard of. There are so many unique venues that are untapped and I want to get the people and the music to them. You’ll see a few this fall in the southwest USA that are absolutely stunning. I can’t wait to share those sets.

What was the last record that blew you away?

Pagan Dance Move by Arnaud Rebotini. What an ass-kicking tune that is. I know it’s 13 years old, but I found it late, ha!