inafekt
“I’d say it’s a bit of both. I’m not overly conscious of genre in a strict sense, but I am very aware of the context I’m playing in, the venue, the lineup, and the crowd. If someone else on the bill is a big UKG artist, for example, I might slip one or two UKG records into the set because I know they’ll connect
with the room. One
thing that reinforced that mind- set early on was seeing Palms Trax play at a festival in Leeds in 2021. The way he moves be- tween genres so naturally really stuck with me, and since then he’s probably been the DJ who’s influenced my approach to sets the most. One thing I’ve learned from playing in lots of different places is that every crowd res- ponds differently. I usually do a bit of research before a gig and build a playlist around what I think might work there. Someti- mes I’m still tweaking things an hour before I go on, making sure the selections feel right. Versa- tility is definitely an advanta- ge, but only if it’s intentional. I spend most of my time digging for great records, and when I play them it’s because I genuinely be- lieve they deserve to be heard.”
THE VALUE OF CONNECTION
At its core, DJing remains a con- versation. Not in the abstract sense, but in something imme- diate and physical. The exchan- ge between booth and dance- floor defines the success of a set more than any technical pre- cision. It is measured in respon- se, in the way the room reacts without needing to be directed.
That response can take diffe- rent forms. It is not always loud or visible. Sometimes it exists in subtle shifts, in the absence of distraction, in the way peo- ple move when they are fully en- gaged. These moments are not constructed. They emerge when the balance between selection and timing aligns.
For Inafekt, those moments re- main the most significant. They define the reason for conti- nuing, the reference point that everything else is measured against.
“What I’m really looking for is re- ciprocation, a genuine respon- se to the music. That can show itself in lots of ways, no phones out, people dancing, someone shouting towards the booth, so- meone reaching over the decks for a fist bump. Any kind of in- teraction that shows the crowd is feeling what you’re playing is the best feeling as a DJ. One of the first times I really felt that connection properly was in 2023 at Badaboum in Paris. I’d only played in Europe a couple of ti- mes at that point and I was ta- king over from Skin On Skin b2b Swim, so I was already pretty intimidated. I’d flown in on ba- rely any sleep and the hotel was right across the road from the club, so I set an alarm for thirty minutes before my set just to get some rest. But as soon as I started playing something just erupted in the room. It didn’t feel like everyone was focused on the DJ booth, it felt like the crowd were just completely going for it amongst themselves. That’s how DJing should feel. When the lights came up at the end loads of people came over to say they loved the set, and that was the first time I really thought, wow, that is absolutely proper.
I’ve
been chasing that feeling ever since.”
CONTROL, INDEPENDENCE, AND WHAT FOLLOWS
As the project expands, new structures begin to form around it. Touring introduces new en- vironments, each with its own expectations. The challenge be- comes maintaining the same instinct while adapting to di- fferent contexts. The risk lies in becoming too comfortable, in allowing repetition to replace exploration.
Inafekt’s response leans toward discomfort. Placing himself in
unfamiliar situations becomes a way of maintaining sharpness. It forces decisions that cannot rely on habit, reinforcing the impor- tance of instinct over routine.
“Playing in different countries has influenced me massively and I find it fascinating whene- ver I get the chance to play so- mewhere new. Different parts of the world respond to music in very different ways. I love the re- ception I get in the Netherlands for example. I played Bret re- cently and because of the lineup I was on I decided to take a bit of a risk with the set, slowing the BPM down and taking the energy a bit deeper after the artists be- fore me had been playing much harder. The crowd really went with me on that journey and when something like that works it reinforces the trust you have in your instincts as a DJ. I actually like putting myself in situations where I’m slightly outside my comfort zone. Feeling too com- fortable can be dangerous.”
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