mixmag netherlands
The conversation here is less about identity as branding and more about the conditions that shape how that identity is recei- ved, challenged, and sometimes resisted.
What emerges is not a complaint but a clear account of imbalan- ce. The lack of support systems, the blurred boundaries within nightlife, and the persistence of token representation all point to a culture that still places the burden on individuals rather than addressing the structure itself. Ammara speaks about it without softening the reality, but also wi- thout letting it define the trajec- tory of her work. The position is firm: recognition of the problem, without allowing it to dictate the outcome.
“It’s definitely not easy being a woman in such a male-domi- nated industry and I’ve found it really tough at times. Working in nightlife especially, the lines get blurred way too often and people forget that this is our job, not just a party. There’s no real support system either, no HR, no one to go to when something happens, which can make it quite scary to speak up. I’ve had a lot of si- tuations where I’ve felt uncom- fortable, both in and out of clubs, and that’s something sadly most women I know in this industry can relate to. Although I am glad to have built deep connections with other women in dance music through our shared experience making us feel seen and less alo- ne it is sad that this is our reality. There’s a responsibility on ever- yone, industry-wide to make sure women feel safe and respected. There still needs to be a lot done in terms of line ups too, time and time again I see the same male names on flyers with one or two token female acts and it’s just not good enough. The issues we face even extend to online hate with men constantly feeling the need to comment on our bodies. The amount of online hate I’ve
had because of an outfit I chose to wear during a set is truly ba- ffling. Sadly, it feels like women have a lot more to prove to be taken seriously in this world, but I’m not going to let that stop me from being who I am.”
“Connection is everything. I make a real effort to engage with the crowd, whether
that’s through
eye contact or just being fully present in the moment. I’m not someone who hides behind the decks, I want people to feel seen and part of what’s happening. That sense of togetherness is what makes a set truly special. I give everything I have, every time. The Netherlands is definitely be- coming somewhere I feel really at home sonically. I recently pla- yed A State of Trance in Rotter- dam and honestly it was one of my favourite sets I’ve ever done. There’s such a strong dance mu- sic culture there and the crowd really know their stuff, so getting that kind of reaction meant a lot to me.”
What Ammara offers, ultimate- ly, is not just pace or impact. It is permission: to feel too much, to let that intensity become move- ment, to treat the dancefloor as a place where emotion can be released rather than concealed. That is why her sets linger after the rush itself has passed. They are not only about escalation. They are about surrender. That sense of exchange, between ar- tist and crowd, between control and release, sits at the center of everything she does.
For an artist moving this quickly, the project already feels unusua- lly whole. Not fixed, not comple- te, but coherent in a way that many artists take much longer to reach. The strongest impression Ammara leaves is not that she is becoming someone new. It is that she is finally expanding in direct proportion to who she already is.
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