lolsnake
I’ve hand-drawn and created the flyers for all my events for the last nine years, and the characters I draw are all directly influenced by my dancefloor experiences. If I only did one, the story would feel unfinished.
When I’m curating Weeeirdos, the visual identity is just as impor- tant as the lineup because it sets the tone for the world we’re invi- ting people into. Translating vi- sual thinking into sound is about creating a sense of place. By kee- ping these practices intertwined, I can build an atmosphere that is more immersive and honest. It’s all part of the same desire to create something unpredictable and raw whether you’re looking at it or dancing to it.”
As her profile has expanded in- ternationally, maintaining that same honesty has become in- creasingly important.
Touring
introduces pressure to adapt, to flatten complexity into some- thing more universally consuma- ble. LOLSNAKE resists that ins- tinct by protecting the creative isolation that allowed her voice to develop in the first place. Her process remains intentionally in- sulated from industry standardi- zation.
That refusal to conform extends beyond music into the emotio- nal philosophy behind her sets. She is not interested in delivering polished perfection or predicta- ble crowd service. The goal is to create experiences that linger precisely because they feel uns- table, surprising, and emotiona- lly contradictory. What she calls “Techno Mischief” becomes less a stylistic choice and more a me- thodology.
“Maintaining my voice comes down to protecting the bubble I’ve built for myself. I’m entirely self-taught, and because I didn’t follow the established rules of how to play, I’ve always gone my own way. I don’t listen to other artists’ recorded sets because I want my creative process to re- main unfiltered and unpolluted by industry trends.
While I’ve been inspired by the energy of live sets I’ve experien-
ced in clubs over the years, I na- vigate touring by staying in my own lane. I don’t want to provide a ‘standard’ experience just becau- se it’s expected. I stay grounded by focusing on the same emotio- nal architecture and mischievous energy I’ve always had. For me, the balance is easy: as long as I am being honest and inviting the audience to be as complex and wild as they want to be, I am sta- ying true to my core.”
Her relationship to sound is also deeply informed by cultural me- mory. Arabic music, particularly artists like Fairouz and Oum Kal- thoum, introduced an emotional scale that continues to surface in her sets today. Not necessari- ly through direct references, but through pacing, dramatic ten-
sion, and emotional excess. There is a theatricality to her approach that feels inherited as much as developed.
“Heritage plays a massive role in the emotional language of my sets because it taught me that music is meant to be felt in the entire body. Those early sonic memories gave me a love for long, building tensions and dra- matic releases. It’s why I’m not afraid to let a set be too much or deeply vulnerable. I’ve cried du- ring some of my sets. I feel like I’m translating that soulful, an- cestral drama into a club context. It’s about creating a space where the music carries a weight that feels both ancient and future at the same time.”
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