KASIA: “It’s All About Finding the Energy I Connect with and Channeling it to the Crowd”

We got the lowdown from KASIA at Ultra Music Festival on her set at The Cove, recent releases, and how she approaches performing.

Polish melodic techno producer KASIA has been making major waves across the global dance music scene, and 2025 is shaping up to be one of her biggest years yet. From commanding the stage at Tomorrowland Winter in the heart of the French Alps to returning to her homebase in Miami for an electrifying performance at Ultra Music Festival, her forward momentum is unstoppable.

With a magnetic presence behind the decks and a deep connection to the energy of her audience, KASIA leans into instinct, approaching every set and studio session with spiritual intention. Recent standout releases, like her powerful remix of Ferry Corsten’s classic “Punk,” have also garnered support from legends like David Guetta and Armin van Buuren.

Over the past eight years, KASIA has continued to prove her versatility and emotional depth as both a DJ and producer. Before she jetsets to more shows around the world, we caught up with her at Ultra Music Festival to talk about her creative process, recent milestones, new music, and more. Keep reading for our full conversation!

Stream Ferry Corsten – “Punk” (KASIA Remix) on Spotify:

You just got off the stage here at Ultra. Do you notice the crowd being different than that of other festivals, and how does it feel to be back here?

Always feels good to be back here. It’s my third year playing Ultra, so I’m super happy that I keep coming back. Also, I’m based in Miami, so it’s an honor to play the biggest and most prestigious music event in the whole year in Miami. Last year I played Megastructure, this year at The Cove. I started with The Cove, actually, three years ago. It was good to come back. Yeah, the crowd was very good; the energy was good.

I caught your set at the Megastructure, too. The energy was insane in there.

Yes, and it was raining. I’m happy it didn’t rain during my set this year.

Congratulations on playing Tomorrowland Winter very recently, too. Did you find yourself preparing any differently for this milestone set in your career?

Thank you very much. For Tomorrowland, I knew I was playing in the cold. I expected people to be cold, so I didn’t want to go too hard, even if I usually like to go hard. I was more focused on giving a lot of energy to people and a good vibe. While I was playing, it was snowing — hard. It was really cold on Friday when I was playing. The visibility was like you couldn’t see anything. We couldn’t even ski, but it was fully packed. I tried to give a good vibe more than going hard because it was also a daytime set.

Usually when I prepare my sets, like when I’m playing the tracks, it’s kind of crazy, but some tracks give me goosebumps. This is how I know, “Oh, this is it.” If it gives me goosebumps, it kind of has the X factor. You know this is going to make people feel something; they are going to hear that feeling.

Speaking of Tomorrowland, Tomorrowland Music also just dropped your trance rework of “Ayla.” What does a typical studio session look like for you, and did you find yourself creating this track any differently?

[Laughs] There’s no typical studio session. Sometimes I explore so many ideas, and they go in the trash. Then I’m like, “Okay, that’s not it.” So for me, before I release something, I like to play it a lot. Play, tweak it, play, tweak it. I’ll see how the crowd reacts and be like, “Okay, let’s change the drop or let’s show the drop. The breakdown is a little too long; let’s change it.” So there’s not a typical session.

For “Ayla,” I was more planning to have this as a remix for my own set. I really did not expect it to get released as an official remix or as an original because it came as a KASIA original. I didn’t really have that in mind. I really produced it for fun, as with other tracks I deeply love. Same with “Jungle;” I had no idea I was going to go to Sony Music, and it got released on there. But I just wanted this to be my track to end my set at Tomorrowland Belgium. That’s why I made it, then Sony liked it, and it got released.

So I think the key is that things that I’m really feeling personally — what I truly like — do well. But if I’m trying to just make something to be a hit, it never works. It’s more about connecting; if I find this connection with myself, it also works in my music as well.

It’s interesting that you play it for the crowd and see their reactions, then maybe tweak it after.

Yes. I’m also very spiritual with my environment, so for me, it’s all about finding the energy I connect with and channeling it to the crowd. I would say for me, this is the key.

Another recent release of yours is a remix of Ferry Corsten’s 2002 track “Punk.” Did you get to collaborate with Ferry, and how did that process start?

Actually, I used to listen to his track when I was a teenager, like I remember this track from before I was a raver. My brother was a raver back then, he was listening to this at home. I was like 11 years old or something, but it kind of stuck in my mind. So I really wanted a rework of it. When I played it, I just knew it worked very well. Then, I got a lot of support from David Guetta, Armin van Buuren, and a lot of melodic artists like Massano as well. So we went to Ferry Corsten, and we showed all the love we are getting for our melodic music. They saw it as well; they saw a potential. Ferry played it himself so many times. He then contacted me, and it just became official. But again, there was no expectation. The purpose was not to make it an official remix.

You just played The Drumsheds with Korolova as a back-to-back. How did you guys come together to bounce off each other’s energy for the set? Did you prepare much?

To be honest, when they offered it to me, I was like, “Oh, we kind of have a different sound.” I do not approve so many back-to-backs. I want to feel a connection with a person, not just the music, but a connection with a person. That’s why I haven’t done so many of them in my life. But with Korolova, I was like, “Yeah, we should go with it.” We didn’t prepare. Right now, she lives in Poland, which is where I am from — I live in Miami, but I’m from Poland. So we met there for coffee. We talked, and we decided not to prepare the set. We just decided to go along with it. All we knew is that I was starting. We didn’t even have a closing track.

Everything was done on the spot, as we went. I think maybe that was the key, because we were just like, “Let just see what the crowd feels.” It keeps you on your toes. When you don’t really prepare your set, you really have to be in tune with the crowd. But I think it was more like we took it as a fan. I wasn’t really stressed, even though it was 13,000 people, and the show was sold out.

Oh my gosh. It’s a massive venue.

It’s amazing. I think the energy between us was good. I’m very happy, and for sure, more back-to-backs will happen between us. I saw it went viral on the Internet.

It was all over my social media feed on Instagram.

I didn’t see it, but just I got the news from my manager. I already have a lot of offers asking for more, so I assume it’s going to happen again. She just played right after me at Ultra; we saw each other.

You mentioned you’re from Warsaw. Do you ever find yourself tapping into the music culture that you grew up with or in other places you’ve lived?

I left Poland 12 years ago. Right now, I’m actually getting a place there because I have my whole family there. So summers are usually spent in Europe. When I play in Warsaw, yes, I definitely tap into this because Poland and Europe in general have a little bit harder sound than the US. So whenever I play in Europe, I go a little harder, I let myself go deeper, and I go more toward the techno. Once you are doing this for so many years — I’ve been doing this for eight years — the more you travel, the more you understand each country, what sounds works in which country, and what sounds work in which specific club. Because also, within one country, every club has a little bit different vibe. Even here in Miami, Club Space has a very different vibe than RESISTANCE at M2. I play a lot for RESISTANCE.

RESISTANCE is darker and harder for sure.

The sound system is harder. It’s sexy. I love playing there. It’s so good; they have the best speakers. Seriously, the sound system is really good.

You’re just wrapping up your February and March tour dates. What is one thing that you have to have with you wherever you travel to perform?

Crystals. I have them in my USB case. Good energy only. So, I keep that with me. It’s funny; I believe, as long as you believe in it, I think it’s working. You know, it’s what you believe in. If it has a power, I will have a power.

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