Every artist has someone to admire or to look up to, in Kara´s case that person is “Spray”
“Technically, his productions are incredibly well-craf- ted—super crisp, detailed, and dynamic—but what impresses me is how much energy and drive they still carry, both in his tracks and his DJ sets. There’s a perfect balance between precision and feeling, which I admire. I also enjoy working with deeper, rolling, more proggy sounds from time to time, so I feel like we’d meet in a really interesting middle ground. A collab like that would be a dream.”
“He also has a more playful alter ego, Spriitzz, which shows how much personality and versatility he brings as an artist. Beyond making a great track, I’d love to just be in the room with someone like that—see how he approaches structure, groove, and sound design, and hopefully take away some creative insight that pushes me forward.”
TOUR LIFE
Touring often comes with highs and lows—adrenali- ne-filled nights followed by solitary travel, brief con- nections, and constant movement. Still, it is refres- hing to hear that Kara gets so much energy from it and translates that creatively into some of the great tracks and projects we all enjoy from him
“I wouldn’t say I experience real lows on the road—it’s mostly just tiredness, to be honest. The travel can be draining, especially with my day job during the week, but I still find it energising overall. What keeps it exciting is the people—the openness from promoters, organisers, venue staff, and the crowd. Even if the interaction is brief, there’s often a genuine interest in my music that makes it all feel worthwhile.”
“I’m also really blessed that creating while traveling suits me so well. Even on very little sleep, I often get the urge to open Ableton and work on something. There’s something about being in motion, between places, that unlocks a different kind of creativity. And yeah, I’ve become a fan of the disco nap—often that quick rest before a late set makes all the difference.”
Out of all your live sets, some stand out in his memory not for the size of the crowd, but for the emotional connection he felt in the room. Sometimes there´s an energy you just can´t fake, especially the first time you play at places like Madrid or London.
“There are two sides to this for me. On one hand, some of the most special moments have come from playing in cities like Antwerp, Madrid, and London. These were my first gigs in each of those places, and seeing people connect with my tracks, so far from home, was ho- nestly surreal. There’s something really powerful about realizing your music has reached people you’ve never met, in completely different corners of the scene.”
“On the other hand, playing in Amsterdam is always special to me. Recent shows at IJland, Levenslang, and Westergasfabriek have felt incredibly meaningful because so many friends and the team I work closely with were there. It’s not just a set—it becomes a sha- red moment with your close environment. In the end, it’s about connection, whether it’s across borders or right at home.”
The name ‘Kara Okay’ is playful, yet it stands out in a scene often dominated by minimalism or mystique.
“The name came to me on a bike ride home—one of those random thoughts that just stuck. A lot of my tracks are pretty vocal-heavy and melodic, almost
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like they’re made to be sung or shouted along to at a karaoke. I split the word and landed on this alter ego: Kara Okay. It felt playful without overexplaining itself.”
“Since then, a surprising number of people have told me they expected Kara Okay to be a somewhat older woman from the UK making these ‘90s dance anthems, which, honestly, sounds kind of iconic. I usually have to disappoint them by just being an ordinary Dutch guy.”
After suffering a knee injury, you took a step back from the physical side of life and leaned deeper into music.
“Before the injury, a lot of my focus was on sports— kite surfing specifically—it was a big part of my routine. When that suddenly stopped, I naturally shifted more into music. I re-discovered producing as something I could do anytime, every day, anywhere—just with headphones and my MacBook. That freedom stuck with me.
What surprised me was how quickly things could move. I could finish a demo in the morning, send it out that afternoon, and see videos of people playing it that weekend. Now I can test it out in a set later that week myself. That kind of instant feedback loop made it all exciting. Strangely, I’m happy it happened—it gave me a reason to fully dive into something I love and probably wouldn’t have explored as seriously otherwise.”
Looking toward the future…
“Looking beyond just releases and gigs, I’d love to work toward an album in the next few years—something with more variety in sound, genres, and collaborations. It feels like a natural next step and a chance to show different sides of what I do without always thinking in terms of club tracks.”
“I’ve also been getting more questions about how I make music, which has made me think about sharing more of that side. Similar to my brother, who works in music education, I’d love to do something for younger kids or aspiring producers one day. Before that, I might have to clean up my projects before anyone takes me seriously.”
MY THOUGHTS
What sets Kara apart is his ability to walk the tightrope between accessibility and depth. He makes music that works for dance floors, for
drives, for solitary listening sessions — yet it never panders. There’s a certain elegance in the way he builds tension and release, often with subtle gestures: a filtered vocal, a perfectly placed break, a bassline that holds back just enough to tease. He doesn’t scream for your attention — he earns it, and then holds it quietly.
Speaking with him, it’s clear his artistry
performative. There’s no facade, no overly polished narrative. Kara Okay speaks like someone who’s still in love with the process, still curious about where the next idea might come from, still fueled by the kind of questions that make great music inevitable. It’s that inner fire — modest but steady — that gives his work its staying power. You don’t just hear it; you feel it, and then you want to return to it.
If this moment in his career signals anything, it’s that Kara Okay is playing a long game — and playing it well. He’s not just releasing tracks; he’s shaping an identity, one that doesn’t rush but resonates. And in a landscape that too often mistakes immediacy for impact, his slow-burning, soul-forward approach is not just refreshing — it’s essential.
Text by: Sergio Niño isn’t late-night
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