mixmag netherlands
Touring has made her relationship with language and energy more complex. Rap in Catalan and Spanish travels differently across cultures, and yet audiences across continents have responded with a unity that still surprises her.
Greece stands as a turning point. Her memories of Athens and Thessaloniki carry the intensity of a threshold crossed, a realisation of scale and resonance. The crowd did not wait for translation; they understood her through force, presence, and rhythm.
“The first time I went to Greece was one of the craziest experiences
I have had. We
played for more than a thousand people in Athens and had incredible energy in Thessaloniki. As someone who performs rap in Catalan and Spanish, it is special and rare to see language no longer be a barrier. As a DJ, I am still new, but playing at Fabrik Madrid, performing at Nexus festival, or doing a B2B with Gea at Spook, mixing makina at such an iconic place, felt like medals. I feel blessed.”
These places formed an emotional map of her artistic growth, each one adding a different layer to her sense of self onstage.
THE GROOVE AND THE SHADOW
Her album Queens of Groove opened
another dimension
After nearly ten years of work, Santa Salut observes a scene that is evolving rapidly, both sonically and socially. Electronic music has grown heavier, faster, and more extreme. The spaces around it have become more inclusive, though not without friction. The shift, she notes, was earned, not granted.
“We have been fighting for our place by showing our talent and proving things through action. More spaces now welcome different identities, and we are building something powerful together. My vision carries my femininity and you can feel the difference when a woman or a feminine man is playing. The way
036
I play Schranz is not the same as a man does, and that difference makes the culture richer.”
Her sets carry these nuances in subtle, decisive gestures. A melodic line cut into a hard drop, a rap chorus resurfacing amid a 170 BPM barrage, a queer-coded reference slipped into a room that doesn’t expect it. The booth becomes a site where cultural threads collide and fuse, but never blur.
Despite the spontaneity that defines her
stage presence,
Santa Salut is not an artist who improvises blindly. Her sets obey an internal logic, one built around contrasts and emotional architecture.
“I like to visualise what I want to do before going onstage. I imagine if I want to start softer or come in hard, where I want a reference to appear, when I want to sing, when I want tension. I divide the set into parts. The only thing I know for sure is that I want to finish with madness, with hardcore, with something so raw that it becomes funny. I love that final sprint.”
Her performances feel ritualistic because they allow instinct and preparation to coexist. She builds routes for the audience but leaves room for chaos to erupt at precisely the right moment.
of Santa Salut’s artistry: introspective, soulful, rooted in instrumental musicianship and the warmth of late-90s and early-2000s textures. It is a body of work shaped not by walls of kicks, but by narrative weight and emotional contour.
“‘Queens of Groove’ is a serious album with instruments and real musicians. It embraces the groove of the 90s and 00s, inspired by The Fugees, soul, and jazz. The lyrics are introspective. They talk about anxiety, fear, courage, and the pride of being a woman who knows herself.”
On 11 December, she released an
EP featuring Queens of Groove, remixes of along with
an unreleased cut produced by Fectro. The project gathers three reinterpretations by Caravel, Teri
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