mixmag germany


Holding the night


For HANAA, the music she is making now does not arrive as intention or inevitable.


strategy. It feels


“It really doesn’t feel like a choice. It comes from somewhere deep inside me, almost like it already exists before I even sit down in the studio. I’m not deciding to make this kind of music. It’s just coming out.”


When she looks back at her ear- lier life, that inevitability begins to make sense.


“I can see now that what I’m doing is a continuation of the way I used music to escape as a child. This sound has been coming out of me for a long time, and only now am I starting to understand why.”


That thread leads directly to the moment electronic music first entered her world, long before production or performance were possibilities.


“My sound today reconnects me to the moment electronic music reached my sister and me and gave us hope. Those were the sounds that let me breathe when life felt too heavy. They gave me space to feel and to exist when everything else felt closed.”


What has shifted is not the emotional source, but the way it is held.


“Now, every track becomes a way of revisiting memories and experiences and giving them shape,” she explains.


“It’s a release. It reflects my past, but it also allows me to process it, to heal, and to connect with other


people.


When you’re honest enough, your own story stops being just yours. That’s when it becomes universal.”


That sense of continuity becomes most tangible during extended or all-night-long sets, where time itself becomes material.


“When I play these kinds of sets, I’m always thinking about creating a journey,” HANAA says. “Not just something people can dance to, but something they can feel.”


The architecture of her nights is intentional but fluid. “I think a lot about rises, about quieter moments, about when to let things breathe and when to release,” she explains. “I want people to experience tension, emotion and euphoria as part of the same flow, not as separate moments.”


Storytelling, for her, is inse- parable from structure. “Every moment matters,” she says. “I’m guiding people through an emo- tional space. They can arrive ca- rrying whatever they’re carrying, without needing to explain it.” The aim is not catharsis in the dramatic sense, but something subtler. “If people leave fee- ling lighter, more present, more connected to themselves, then the night has done its job,” she reflects. “I’m not trying to overwhelm anyone. I’m trying to hold them for a while.”


HANAA’s sound resists fixed categories because her ning history never


liste- respected


them. “Every genre I’ve explored throughout my life has shaped me,” she says. “Being a hybrid artist isn’t a limitation for me. It’s actually what makes my work richer and more honest.” In her sets, trance, groove, bounce, pop and dubstep sit side by side, not as provocation but as lived reali- ty. “That’s how I experience mu- sic emotionally, so that’s how I play it.”


Her references move freely be- tween scenes and scales. “I’ve headbanged to Destroid, gotten completely lost watching Martin Garrix sets on Tomorrowland TV, and fallen in love with the melodic worlds of Møme and Feder,” she says. “French touch had a huge impact on me, but so did the dark, atmospheric energy of Twin Tribes, the hypnotic drive of psytrance connected to my Swiss heritage, and five years I spent deeply studying industrial music.” A live performance by ENSEMBLE in Berlin became a quiet turning point. “It showed me how immersive and emo- tional electronic music can be when it’s treated as a physical environment, not just a genre.”


Artists like Boys Noize, Vitalic, The Hacker and Gesaffelstein remain reference points not for sound, but for approach. “They understand how to navigate un- derground codes while still crea- ting something deeply personal,” she says. “That freedom is what I’m aiming for. Being open to everything I’ve lived and listened to is what allows me to build a sound that’s really mine.”


With the REBIRTH: All Night Long Tour unfolding, a debut single


arriving, and a


that marks a shift in visibility, HANAA avoids framing the moment as arrival. What matters to her is the exchange that happens in real time.


“I want people to feel hope, emotion. A breath of fresh air that’s rooted in authenticity.” There is no promise of resolu- tion attached to that. “I want it to feel human and visceral,” she continues. “A space where people can let go, feel deeply, and reconnect with themselves without judgment.”


year


If someone walks into the room carrying their own weight, she doesn’t claim to remove it.


“I just hope they leave feeling li- ghter, more open, more curious about what’s possible next.” Not healed. Not fixed. Simply shifted forward, still moving, still brea- thing.


Stripped of narrative flourish, what defines HANAA’s work at this stage is consistency rather than rupture. The name change, the touring cycle, the growing visibility are markers, but they are not the story themselves. What runs through her music, her process, and her perfor- mance practice is a sustained commitment to emotional clarity, even when the sound accelerates.


Rather than


positioning her output as a re- action to the moment, HANAA operates with a longer nal


inter- timeline, one shaped by


repetition, patience, and an ongoing refusal to separate feeling from function.


As her profile continues to


expand, the impact of that approach is most evident on the dance floor. Her sets do not chase immediacy or spectacle, but build trust over time, allowing intensity to emerge without urgency. The result is a space that prioritises presence over payoff,


where movement


becomes a shared language rather than a directive. In an ecosystem increasingly driven by compression and visibility, HANAA’s work suggests a different logic: one where staying with the process matters more than arriving anywhere in particular.


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