The heart of club culture is not only the party itself, but the love for the music we share – the connection we experience together and the feeling of being part of something larger for a few hours. Misty gives us the soundtrack for these nights, and this is what he wants to contribute to the scene: to give people a good time with good music. “I genuinely put my heart into it,” he says.
His journey hasn’t always been easy. As an Egyptian DJ, finding visibility beyond regional borders came with its own struggles – one of the reasons he took over Love Attack Records last year, shaping it into a platform that opens doors he once searched for himself. Love, in many ways, runs like a red thread through his work: in the name of the label he now leads, in his collaborations, and in the way he speaks about community. “I think collaboration is key to developing your music and also connecting with different people. Every person I’ve collaborated with ended up becoming a really close friend and but was a stranger at the start.”
Tracks like “Aywa Aywa,” created together with Dish Dash and carried by the Syrian vocals of Ebla, show how naturally he brings different voices into one shared language. In our interview, Misty talks about early nights at Cairo Jazz Club, studio accidents that turned into songs, why validation still matters, and how the club can become a small bubble where the world outside fades for a moment.
header photography by Farida Bustani
Hi Misty, we’re happy to talk to you! (smiles)
Hello! Thank you for having me here. (smiles)
You’re Egyptian, born in Madrid, and now based in Cairo — that’s quite a special mix. How much do all of these places influence you most right now?
So quickly after I was born in Madrid, my family moved back to Cairo. This is my home and where I grew up. Spain is an incredible place with so much influence on my music and home to many artists I follow and grew up listening to. But they are 2 very different cities. Cairo is an overstimulating, extremely busy city and Madrid is quite the opposite in comparison.
I read that Cairo has played a big role in your journey, especially places like Cairo Jazz Club. What did the city teach you about connecting with people?
Cairo Jazz Club is Egypt’s longest standing club and its the first proper venue I ever played in. At that time (2009) I had just started uni and i’d get booked to play at the Jazz Club when they only had 1 or 2 house nights a week. This music was still growing at that time, it didn’t have a huge crowd back then, unlike today. So it was a challenge to really showcase my music and play more of an educator role with my sets. But also, being very careful and having a balance between accessible and not so accessible music.
Your sound blends house, disco, indie dance, and electro. When you’re working on a track, do you think more about genre — or more about feeling?
Its always about what mood I’m in that week. Sometimes, I get driven by a sample I heard and based on that I build the track on the spot without thinking about the genre. In all honesty, 90% of what I do and the decisions taken in the studio come from mistakes that happen when I’m fiddling around, and then decide ‘wait, this sounds good’ and build from that.
A lot of your music also feels very groove-driven and warm. What kind of energy do you always want people to feel on the dancefloor when you play?
Mainly positivity and euphoria. Im currently at a stage in my life where I’m making music that I want people to dance to and have it played out on big sound systems and I think that’s quite evident in the last releases I put out like Aywa Aywa, Ghost & Real Feeling. Im very much still keeping that kind of energy but focusing more on stripping down that sound and building on less elements in my productions.
“Every person I’ve collaborated with ended up becoming a really close friend, but was a stranger at the start.”
Tracks like “Ghost” or “Aywa Aywa” connect different cultures and voices. What draws you to collaboration, especially across borders?
I think collaboration is key to developing your music and also connecting with different people. Every person I’ve collaborated with ended up becoming a really close friend and but was a stranger at the start. Aywa Aywa was a project with Syrian artist Ebla and Saudi DJ’s Dish Dash, along with myself. Having different artists from the same region work together helps not only with ideas but also with marketing your music to different cultures.
I met Ben Evers online and we were fans of each others music and after a few Instagram DM’s we started on Ghost. Funny story, It wasn’t until we finished the track and were ready to put it out when I realized he’s Ben Evers from Adana Twins. Turns out we played together 2 times in Cairo when they visited over the years. It was quite funny…
When a track suddenly connects with a lot of people — for example through charts, strong support, or fan reactions — how do you personally experience that success? And is this something you feel you need, or more like a little extra?
Of course, validation is something we all seek and its not something to be ashamed of. You sit in a studio for hours, you pour your heart into what you do and that kind of ‘approval’ is a sort of nod that you’re doing something right. Some artists are able to rule that out and not need it. But if you’re making music for the club, you want to hear it played out.
I really get the feeling that sharing and community are really important to you. You can sense it in your DJ sets and also through your social media, how much you enjoy connecting and working with others. I find that really beautiful. Do you feel the scene is truly about togetherness, or is there also another side to it?
Thank you for that. Personally, I only really end up working with people I can connect on a personal level and I can call friends. A lot of the community here in Egypt, in terms of crowd, DJ’s and promoters have all been together from a very long time ago, so the connection is quite deep. A lot of people get into the industry hot headed in the beginning, become very competitive and look mainly at the business side of it. It can be quite toxic and like any industry, there will always be those figures that don’t see things the way you do. In the end of the day, some people need to chill. Its just music.
“I’m making music that I want people to dance to and hear on big sound systems.”
Love Attack Records is now something you fully lead. What kind of artists or sounds do you feel excited to push forward through the label?
So we had Toola on board in 2025 who is an Egyptian DJ based in Los Angeles releasing with us a very sexy 3 track house EP called Wunga. We’re focusing on giving more opportunities to artists in the MENA region that share the same sound and direction as us, but also, still very much working with artists globally. As an Egyptian DJ, getting my music heard and signed was a big struggle at first and we’re aiming to be a platform that provides these opportunities to artists.
When you’re not in the studio or behind the decks, what helps you reset or find inspiration again?
Im very fortunate to have a close inner circle of friends. Being around that kind of positivity and traveling together is the best driver for my inspiration.
And also, good food and good movies.
The world feels somehow crazy right now. I mean, maybe it always has been, but at the moment it just feels like a lot. Does music — and dancing, the mood in the club, this sense of being in a shared space — help you switch off and forget everything else, at least for a moment?
100% its usually in these moments when you’re connected so closely in a way with strangers that it makes you switch off and forget the everyday anxieties.
Finally, what would you like people to feel or understand about Misty — beyond the DJ booth? (smiles)
Just a simple guy that doesn’t take life seriously at all. I want to put out good music and laugh non-stop.
Follow Misty for more:
www.instagram.com/misty__live
www.facebook.com/mistyofficialmusic
