mixmag caribbean
That sense of unpredictability sits at the center of her approach to DJing. LOLSNAKE does not treat a set as a sequence of trac- ks, but as an environment people physically move through. The ar- chitecture matters. So does the emotional temperature inside it. Her sets unfold through pressure and release, industrial textures colliding with moments of deep vulnerability, often without war- ning. The tension is deliberate, but so is the emotional openness underneath it.
What makes her performances compelling is the refusal to re- duce the dancefloor to a single emotional state. Strength and fragility are allowed to coexist. Euphoria is often followed by discomfort. A moment of ag- gression can suddenly dissolve into something intimate. Rather than smoothing out those con- tradictions, she leans into them, allowing the room to experience conflicting
sensations simul-
taneously. The unpredictability becomes part of the emotional structure itself.
“I definitely view a set as a phy- sical space you have to inhabit. If the music is the architecture, then the emotionality is the li- ghting or the atmosphere insi- de that space. I don’t just want to play tracks. I want to build a realm or a structure that fee- ls solid enough to lean on, but unpredictable enough to keep you on edge and curious.
I approach it by layering and buil- ding tension using those indus- trial, metallic textures to crea- te a sense of pressure and then finding the moments to let that deep emotionality break through with melodic touches. It’s about that push and pull. I want people to feel a sense of release, sure, but I also want them to confront the chaos and invite it into their bodies, to be playful, to be mis- chievous.
I’m trying to make the dancefloor feel like a place where you don’t have to be just one thing. I like to make people feel like raging and crying at the same time. So ex- periencing vulnerability but also strength. I want the audience to
feel that same freedom I found when I first moved here, the per- mission to be complex, to be extra and to let the music carry them through those different emotio- nal states without ever needing to explain why.”
Before Berlin, though, there was Manchester. Moving there at ni- neteen became an education not just in music, but in survival, community, and self-definition. The city’s nightlife was chao- tic, often hostile, but within that chaos existed smaller ecosys- tems built through DIY spaces, illegal parties, and communities operating outside mainstream structures. Those early experien- ces fundamentally shaped how she understood nightlife culture.
Rather than waiting for spaces to become welcoming, she learned to seek out or build environments where she could exist comfor- tably. That mentality remains central to Weeeirdos today. The project’s emphasis on inclusivity does not come through softness or sanitization, but through in- tensity grounded in mutual care. Loudness and safety are not po- sitioned as opposites. The energy remains raw, but the intention underneath it is protective.
“I moved to Manchester in 2010 when I was 19, and it was my absolute crash course in music and events. I was obsessed. I was going out to at least three events a week. There was so much to find, unusual venues, DIY hou- se shows, raves around Stran- geways, and the DIY spaces in Salford that were so exciting back then.
Manchester’s nightlife on the sur- face was actually a bit of a ho- rror show at the time. There was so much aggression and it often felt unsafe. Because of that, I had to dig deeper to find the spaces where I actually felt comfortable. I was often going to things alo- ne. That environment taught me that community isn’t something you wait for. It’s something you have to actively seek out or build yourself. It showed me that if the mainstream structures are hos- tile or don’t have a place for you, you just create your own.
Those lessons inform everything I do with Weeeirdos today. It tau- ght me that safe doesn’t have to mean quiet or polite. You can create a space that is loud, raw, and intense, as long as it’s built on a foundation of looking out for
one another. Artistically,
the influences from those early club days allowed me to be free to experiment with sound wi- thout boundaries. It gave me a love for the unpolished and the cross-genre experience. It helped me be more in tune with my emo- tions and less restricted by defi- nitive genres.”
That same fluidity exists within her visual practice. As both a DJ and visual artist, LOLSNAKE approaches sound and image as part of the same language. Flyers, illustrations, and event aesthe- tics are not secondary branding exercises but extensions of the emotional atmosphere she wants to create. The visual identity su- rrounding Weeeirdos carries the same tension as the music itself: playful, distorted, slightly surreal, deeply physical.
The connection between those disciplines feels natural because they emerge from the same ins- tinct. Her drawings often origina- te directly from dancefloor expe- riences, transforming moments of chaos into characters and vi- sual fragments that continue li- ving outside the club. The crosso- ver between mediums allows the project to feel immersive rather than fragmented.
“For me, visual art and sound have never been separate. They are just different ways of descri- bing the same feeling. When I’m out on the weekend performing, I’m thinking in terms of texture, weight, and composition. I see a set as a 3D space. It feels ne- cessary for these two practices to coexist because the interplay between visual and sound makes the experience so much richer and deeper. Both practices cons- tantly inform each other.
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