biianco
For the Los Angeles edition, the ethos even begins at the door.
“We’ve got an incredible door person who’ll be lightly quizzing people on the party’s ethos before they enter. Think of it like a fun, cheeky remix of the Berghain door, but rooted in values, not exclusivity.”
GAIA is carefully curated like a family tree of disruptors. BIIANCO handpicks artists not just for their DJ skills, but for their vision. “I
than just DJs, they’re visionaries building entire creative ecosystems, both in their sound and in their communities. While the lineups can include cis men, GAIA is inten- tionally FLINTA-forward. I’m curating a list of people I’d want to collaborate with on music or just cook dinner with on a Tuesday night. These are artists who bring integrity, imagination, and a sense of responsibility to the scene. They’re disruptors at the intersection of art forms.”
“I want people to walk away feeling like they experienced some of the most cutting-edge artists in the most inclusive, intentional environment possible. I want them to feel fully open in the best way, emotionally, physically, and artistically. Like they found a piece of themselves on that dance floor that they didn’t know they were missing. If they leave feeling seen, enriched, and euphoric, then GAIA did what it was supposed to do.”
If GAIA is BIIANCO’s statement to the culture, her DJ sets are where that manifesto comes alive in sound. They’ve built a reputation for risk-taking, weaving live acid 303 improvisations into her mixes and treating the booth like a stage rather than a safety net.
“I come from a live music background. I was a classically trained pianist and spent years playing in bands as a singer, synth player, bassist, drummer, and guitarist before becoming a modular
tech-head. So honestly, getting the live element out of my sets would be harder than putting it in. Even the way I spin leans into that ethos: I often use multiple decks at once, stay super active on the mixes, and approach it like a performance, not just track selection.”
“I’m not interested in passive DJing. I want to challenge any complacency that’s crept into the techno scene and push the boundaries of what a DJ set can feel like. Whether it’s improvising on a 303 live or just treating the decks as an instrument, I want to inspire other DJs to take more risks. Some of my friends, like Serafina, Fumi, and the 240 km/h crew, are, in my opinion, among the most athletic DJs in the world. Being around them has raised the bar for me, and I hope I do the same for others.”
Her viral looping video of “Against The Wall” proved just how magnetic that hands-on approach could be, but for BIIANCO, it was never about chasing virality.
synth-obsessed look for artists who are more
“Honestly, I feel fortunate that what I natu- rally do in the studio, hands-on performance,
most with my audience. That video wasn’t calculated at all. I’ve never had an influencer bone in my body, so the only way anything was going to take off was if it involved me literally playing something with my hands.”
What started as instinct has now become their signature move on tour.
“Bringing that into the touring space has been such an effortless extension of my sound. Being at the intersection of live hardware and DJing keeps me creatively engaged,
getting bored.” and frankly, keeps me from
Their approach is rooted in both enginee- ring and artistry. “I say I’m an engineer first because I’m always trying to build what doesn’t exist yet. If something’s missing from a track or my set, whether it’s a sound, a transition, or a feeling, I won’t go digging for it; I’ll just make it. That mindset of shaping your tools to serve your vision is what be- ing engineer-first means to me. The same goes for performance. If I want a specific moment, I’ll use the gear in front of me, the mixer, the decks, the 303, to sculpt it in real time. It’s less about relying on what’s avai- lable and more about constantly innovating with what’s possible.”
That mix of precision and chaos sharpened when they relocated to London, and later Berlin, where the culture transformed them into the artists they are today. “I’ve always loved DJ Gigola’s Live From Earth merch that says ‘I trust the timing of my life’, it perfect- ly sums up my journey. It wasn’t just that I moved to London; it’s that I arrived there as someone who had grown up in America with a classical music background, spent a decade touring in bands, and was still restless. I hadn’t yet found the sound or scene that really lit me up. But once I got to London with that foundation, everything seemed to click into place.”
Now, Berlin has pushed that even further.
“The line between community and art is so thin in our sound and scene, and we’re cons- tantly in dialogue with other artists. For example, one of my closest Berlin-based friends, DJ and producer KTK and I spent months discussing music over dinner, and now we have a track coming out together next month on Teletech. It’s this kind of artistic synergy that London sparked and Berlin has deepened for me. Music will never be extracted from its cultural context, and dance music is arguably one of the most community-driven contexts in the music world. For me, when community and music are interlinked, my art thrives.”
looping, live playing, is what resonates
For some people, the dancefloor is an esca- pe, but for BIIANCO, it’s the opposite. The rave has always been a mirror, a place whe- re they can stand fully in their own skin.
“For me, dance music has never been about escapism; it’s been the exact opposite. It’s been a way to root myself more deeply in who I am. As someone who’s queer, femme, neurodivergent, and partially blind, the dance floor has always felt
where I could actually arrive, not disappear. I hope that my music becomes that same kind of grounding force for others, a ca- talyst for self-definition and unapologetic embodiment, whatever that looks like for them.”
That
so fiercely. It isn’t just a party, but a manifesto, a space designed to center the very communities that built dance music from the ground up. And like its founder, GAIA is not static; it’s meant to evolve, to challenge, to morph into whatever the culture needs next.
“Ultimately, I want to be more than just a musician. I aim to create a cultural ecosystem centered around my art. GAIA is the community-driven vehicle for that vision. It’s designed to grow with the people who shape it, to evolve through the energy and input of the trance and hard dance communities. I’m sure it’ll morph into something I can’t even predict, and that’s the point; it’s collaborative by nature. But if I’m manifesting: I see BIIANCO and GAIA at the forefront of high-energy, high-talent, FLINTA-forward rave culture, offering both sonic catharsis and space for those who need a little Mother Earth goddess energy in harder dance sounds.”
In the end, BIIANCO isn’t just throwing parties or
rewriting what it means to belong in electronic music. GAIA is proof that a rave can also be a refuge, a dancefloor that doubles as a manifesto. Their sets carry the same energy: restless, risk-taking, impossible to reduce to background noise. And maybe that’s the point.
They’re not interested in fitting into the industry’s pre-cut boxes. They’re building their
queerness, community, and the kind of fearless experimentation that makes a scene feel alive again. If you step into GAIA or one of their sets, you’re not just witnessing another DJ behind decks. You’re stepping into a world where music isn’t escapism but embodiment.
For BIIANCO, the future isn’t about louder kicks or faster BPMs. It’s about building spaces where people can finally feel like themselves, and that might just be the loudest statement of all.
own ecosystem, one rooted in dropping tracks. They’re honesty is why GAIA resonates like a space
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