Leah Marie [Interview]

Leah Marie (Late Night Music) is a DJ/producer from Melbourne Australia based in Berlin. Leah first jumped behind the decks in 2019 and has since become a key player in Australia's deep, progressive & melodic house scene. Playing iconic venues, festivals and events across Australia, Germany and beyond. Her passions lie with the deeper sides of underground house & techno, which connect with the mind, body and soul.

This week finds Leah Marie making her Musique de Lune Noire debut with a remix of 'Back In Love' by Ash Mellor. Progressive Astronaut caught up with Leah to learn more about her remix of 'Back In Love', growing up in Australia, DJing, future goals and much more. Enjoy!

Hi Leah, thanks for talking to us today. How has the first half of 2025 been for you?

Hey guys, thanks so much for the chance to chat. The first half of 2025 has been good thanks. Busy, busy start to the year. Time is flying by! I can’t believe we’re almost halfway through the year.

Let’s look back on 2025 up to now, what gig of yours has stood out the most and why?

Definitely my gig at Sisyphos a few weeks ago. It’s my favourite venue in Berlin, so it’s extra special to play there. To have pure creative freedom to create a proper journey through various deeper genres of underground house and techno and watch the crowd really feeling the music, and being playful with each other was so special…that’s really what it’s about to me, that ability to bring out the inner child and take people somewhere. Especially in those moments where I could take the energy down a notch and go deeper and slightly more emotive and see a sea of people closing their eyes.

Now let’s look at tracks, what is a track or tracks which have come out this year that has impressed you the most and why?

Ok, neither are prog (don’t hate me haha)…but I absolutely love Laroz and Yuvèe- Rhythm in Motion released on Maccabi House. It’s groovy, chunky, uplifting and emotive all at once and has massive d-floor energy. I played it in my Sisy set and it had a massive response from the crowd. I also really love Luke Alessi’s Day Dreams of Beaches released on Life and Death. It’s such a stunning, uplifting dreamy summer vibes track.

What is a song/track you’ve never stopped listening to since childhood? And why has it stuck with you this long?

In terms of a non-electronic music track, Red Hot Chilli Peppers- By The Way, is absolutely timeless. Everything about it is beautiful to me…the drums, the vocals, the guitar melodies…I was a huge Chilli Peppers fan growing up.

In terms of electronic music tracks, SNAP!- Rhythm is a Dancer has always been an all-time favourite. It never gets old…one of the catchiest electronic tracks ever written.

How did growing up in Australia shape you as a producer and DJ? And who from Australia did you gain inspiration from early in your career and why?

I’d say my biggest musical influential experiences were through the ‘doof scene’ (bush festivals), in particular, Rainbow Serpent Festival. Words really can’t describe or do the magic of Rainbow justice. It’s like a parallel universe designed to stimulate every sense, where for that period of time, everyone brings the best version of themselves and everyone is so comfortable being playful, weird and wonderful with each other.

Seeing Patrice Bäumel play at Market Stage was quite literally mind-blowing to me. I was so entranced by the journeys he created on that dusty d-floor. So for me, within all my sets from the club to the festival stage, I try to instill that sense of creating a proper journey and really try to create an atmosphere that really entices playfulness and human interaction.

You’ve performed alongside some exceptional artists in recent years, Guy J, Marsh, Jody Wisternoff and Yotto come to mind, what would you say have been some of your most memorable gigs and why?

I would say one of my most memorable gigs would be my first bush festival gig at Interstellar Groove back in 2022. That was a bit of a full circle moment for me to play in a setting reflective of where I first fell in love with the more progressive styles of music. My Sisyphos gigs that I mentioned before are also some of my most memorable…that’s also a bit of a full circle moment for me having partied there many times over the years, and also because the vibe on that dance floor is so special. As much as I’ve loved playing those sets supporting massive artists that I look up to, they’ve been more opening style sets, so they’ve been super special to me, but it’s the sets where I feel like I have the most creative freedom and connection with the crowd that are even more memorable.

When you were first getting started in production did you have someone help you or are you completely self-taught? And what would you recommend new producers do to help with the learning curve of production?

I initially started teaching myself production using various YouTube tutorials, but then got to the stage where I felt I really needed in-person lessons to suit my learning style. I’m not a naturally tech-savvy human…I played classical piano for 10 years, so I understand the music side of things; but understanding more about some of the aspects of Ableton, track arrangement and mixdowns definitely required in-person lessons for me. I’m fortunate that some of my good friends are also producers that I look up to that also teach production. I’ve had some lessons with Mike Rish, Dowden, James Beetham and frequently use Dowden and Dilby’s YouTube production tutorials. And I often send my tracks in progress to friends that are more experienced producers for feedback. Production is a never-ending learning journey.

My advice to new producers (not that I’m that experienced to be giving advice), just stick at it despite the initial frustrations. Once you get your head around the program, it’s so much fun. Find YouTube tutorials for things that you want to try and learn and try to implement those in your tracks and when possible get in-person lessons from producers you admire. It’s often handy to learn from different people or even just watching different people make music, as everyone does things differently.

Try to finish tracks from start to finish…I’ve found that I’ve learnt the most from the arrangement and mixing process; Send your tracks or tracks-in-progress to your more experienced producer friends for feedback. My biggest piece of advice (happy to dish out this one but don’t always listen to it myself), don’t be so hard on yourself. Some people grasp production easily and can pump tracks out easily, some are slower and take more time with their learning journey. Everyone has a different approach, do what works for you.

Do you think about the future in terms of your career in electronic music? Goals you’d like to achieve etc, or is it more of living in the moment?

I do have goals that I want to achieve, but I also try to go with the flow and take things as they come. Ultimately I feel like the festival scene is where my music suits best, and would love to play at more festivals on a global scale…I’d love to play at Fusion Festival, Boom, Bucht der Träumer, Burning Man and Rainbow Serpent. I’d also love to play at Stereo in Montreal.

In terms of production goals, I’d love to get to the stage where I can make a track (to high quality releasable standard) in a few days. I also want to go in a bit of a different direction once my next projects are done. I’d love to explore making deep house and even potentially a bit of deep techno.

It’s also a goal of mine to be signed to a touring agency.

Myself, Dilby and Dowden have also just launched our new event series, ‘KONTRAST.’ in Berlin. The goal is to grow our own little community of like-minded lovers of the deeper, groovier sides of house music.

You have a new remix of ‘Back In Love’ by Ash Mellor out now via Musique de Lune’s Noire division.  Tell us a bit about the remix and what sort of vibe you were going for on it.

I’m drawn to depth, groove and organic percussive elements. So I really wanted to take the track in a direction that was deeper, more primitive with the rolling tom bass-line, groove-centred but also a bit more uplifting. I wanted it to really get people going on the dancefloor and to hopefully also make them feel something without it being in an overly emotive way within the track. I’m really happy with how it turned out.

What do you generally look for in a track when deciding whether or not it can yield a good remix given your production style? And what was it about ‘Back In Love’ which made you want to remix it?

If the original has a prominent vocal, pad or melodic components it definitely makes life easier trying to make a remix for it. I loved the main vocal element and lead melody from the original. As soon as I heard it, I was like ok, I want to make the vocal more of a prominent feature throughout the track and layer it in different ways to create a more uplifting vibe.

Let our readers inside your studio for a moment, what is your current setup and what studio tools are featured heavily in your recent productions and more specifically on your ‘Back in Love’ remix?

My home studio is shocking haha…it’s very minimalistic since moving to Berlin. I just don’t have the space for a more equipped studio setup. I literally have my laptop with Ableton as my DAW, my Adam Tv5 speakers, my headphones (need to get new mixing headphones soon) and only recently got a midi-keyboard here.

How much play has the remix gotten in your sets and where do you generally program it?

I’ve played my remix at my last few club gigs here in Berlin and it’s gotten a great response from the crowd which is nice to see. I usually play the track in the second half of the set somewhere. Usually when I want to delve deeper and add a bit more emotion to the vibe. Depends on the vibe of the event at the time of course and where I think it fits in best.

Shifting to DJing for a moment, in addition to being a regular across Australia’s nightlife in recent years you’ve also performed abroad in Germany, Portugal, the Netherlands and the UK, so please tell us your approach to DJing and how you approach programming your sets.

I put a lot of thought and effort into everything I play, and I dig deep for tracks. I almost always play on the fly, except when it’s a festival type set, then I might think about curating the set to ensure it’s really including all the tracks I want to play to create a particular experience for the ravers; but even then, I still have multiple other playlists and tracks available to me that I think may suit the vibe in case I want to take it in a different direction at the time.

I think versatility is so important and it’s something I pride myself on. I’m always drawn to depth, groove, particular perc elements and tend to be drawn to rolling basslines, but I think that there’s music for every moment in time, and that you don’t need to be bound by genre. I’ve always said, it’s not about me as the DJ, it’s about the dancefloor…a good DJ reads the vibe well and tailors the musical journey accordingly for that point in time.

I always consider the set time and what energy levels would work well for that time, I always consider the venue and the type of crowd that venue may attract, and who the artists are playing before and after me so I can transition in and out of their sets without disrupting the vibe at the time. I also consider the vibe and reaction I endeavor to help create on each dancefloor.

When I get booked for each gig, in advance when tracks come to mind that I think would suit the gig, I note it down (I also do this for dream gigs so that when/if the time comes, I don’t forget those special tracks that I may want to play). I basically then have playlists with different genres for the vibe I’m thinking of going with, which include some of those noted tracks along with other tracks that have sounded like they’d be special when going through my track library and existing playlists.

What were some of the main challenges and goals when starting out as a DJ and how have they changed over time?

Some of the main challenges/goals when starting out is just getting your foot in the door for gig opportunities and obviously refining/honing in on your technical skill set, the ability to play on different equipment/sound systems/venues, developing your sound, and playing to different vibes in an appropriate way.

Whereas now, I’d say some of the main challenges/goals for me are more around getting gigs internationally and locally on more globally renowned stages, knowing my worth with set fee negotiations, and continuously adapting my sound.

What is it about DJing, compared to producing your own music, that makes it interesting for you?

Being behind the decks is my happy place. Each time I’m behind the decks it’s a different musical journey with different emotions and influences poured into that set.

It’s also that sense of human connection. It’s incredibly special to play in front of a crowd and to look out on the dancefloor and see that you’ve helped to take people on a journey, to make them feel something, to create moments of pure joy, or moments of shared musical appreciation. The crowd interaction is something that I really love…I absolutely hate public speaking and drama performing type things, so it’s not coming from a ‘centre of attention standpoint’ but I see playing to crowd as a shared experience rather than you performing “for them”, you’re creating a vibe and a memory together…and that’s something you obviously don’t get with production which is usually quite private (collabs as an exception) and your own musical journey in your studio etc. I do love making music, but I’ll always be a DJ first and producer second.

Can you tell me a bit about how your work as a DJ has influenced your view of music, your way of listening to tracks and perhaps also, your work as a producer?

I’ve played across various different settings in my time as a DJ. I think I’ve learnt so much from the bar gigs that I’ve played in the past. You learn so much from gigs where you’re playing outside of your ‘usual style of music’ and for those extended periods of time. Like I used to play in swanky Speakeasies/high end restaurants with jazzy house vibes or 8 hour bar gigs that were less catered to underground sounds; and you learn to play to all kinds of different audiences and to create a background vibe that still entices the patrons but doesn’t make you the focal point for that setting. You learn to pay attention to involuntary movement to music, like head nodding or toe-tapping as a sign of people being engaged without them even realizing. Playing in these settings helped me to broaden the categories of music I’d play or listen to and also helped me to learn how to take it down a notch with opening sets.

I’ve had the opportunity to support some fantastic world-class artists in the past, and learning to really delve into what tracks would work best to set the tone for their event and also to try to start the d-floor but still keeping it chill, is something that I also really learnt a lot from. It taught me to pay great attention to track selection, pay more attention to the elements in each track that create changes in energy, and to really learn how the energy in sets really influences the event trajectory/vibe as a whole.

So now when I listen to tracks or am searching for new music, I always try to look into an array of genres and tracks with different energies to be able to stay versatile in the sets I play. And same with my production, I’m trying more and more to experiment with using elements of different genres and to really pay attention to how each element contributes to energy and flow of the track and to keep things unique.

How important would say networking is in making it as an artist in 2025? And what role (if any) has it played in your own success?

Despite the influence of social media and it’s increasing pull on getting bookings in certain musical settings, I think networking is still very important. I think it’s important to explore the events you may want to play at to ensure that you suit the vibe of the event, but also that the event also aligns with your musical values.

But I also think promoters and bookers can tell from a mile away when the networking isn’t authentic and when there’s clear motives behind turning up to an event. I honestly try not to see supporting other events as “networking”, as then it feels forced. I kind of see it as developing or building relationships with people that have a similar love of music. Some of my favourite events to play for here in Berlin or back in Aus are run by the most lovely humans out there. You’ll naturally gravitate to the people you want to surround yourself with.

I’m not gonna lie though, as I’ve gotten older, I’m much more selective with which events I go to support, but that’s purely from an energy conservation perspective and life commitment perspective. We’re all busy, and sometimes you just can’t fit it all in without burning yourself out. I always feel bad when I don’t support an event from someone that books me, but yeah, sometimes you just can’t fit it all in.

If you are not DJing, producing or socializing at clubs, where do we find you? And doing what?

You’ll find me somewhere where there’s good food haha. I loveeeee cooking and eating. I’m a massive foodie. Anyone that knows me knows that my life revolves around my stomach. So I’m often socializing with friends in a culinary-oriented way.

I also absolutely love the sun and the ocean. That’s also my happy place and the one place where I feel like I can fully switch off mentally and relax. Obviously Berlin has no ocean…but anytime it’s sunny and warm, you can find me in one of the parks, the spree, or travelling somewhere with an ocean.

You can also find me running somewhere. Running is like meditation to me.

If you could set up an event with a line-up of five artists of your choice, who would you book and what set times would you ascribe to the artists? (Do not include yourself)

Gooood question…my 5 artists would be Patrice Bäumel, D-Nox & Beckers, John Digweed, Gorge and Claudio PRC. It would be a day-night outdoor festival setting (I think the daytime/sunset/sunrise brings out the most playful vibes). The set times are purely based on energy/vibe, not who I think is a headliner; they’re all equally world-class artists.

17.00-20.00 Gorge

20.00-23.00 John Digweed

23.00-01.00 D-nox & Beckers

01.00-04.00 Patrice Bäumel

04.00-07.00 Claudio PRC

If you were not a DJ/Producer what do you think you’d be doing with your life? (Something not music related)

 If being a professional beach nomad was an occupation, I’d be doing that haha. But in all seriousness…I’m currently not a full time DJ/producer…I was for a period back in Aus, but definitely not since moving to Berlin. I probably would be doing what I’m doing now, but in a way that gives me better life balance, more financial stability and more time for music.

I’m working as a Pilates teacher in Berlin, and back in Australia I was a physiotherapist (still am, but just not practicing here in Berlin). I love anatomy, physiology and find the human body fascinating. I’m also passionate about health and fitness and helping people to achieve their fitness or clinical goals. I’d just like to find the balance that allows me to focus even more energy on music and my other hobbies/loved ones. But hey, I think 90% of us are constantly trying to find that sweet spot with life balance.

What’s something people do not know about you?

I am not a morning person. For the first hour of the day I love silence and no one talking to me…and honestly before I have a coffee, I’m best to avoid (unless you’re bringing me a coffee or food haha).

I call coffee my “anti-c*** elixir”.

What TV series have you been enjoying recently and what are some of your all time favourites?

Oh man, my after work routine when I don’t want to use my brain is to watch something to wind down…Where to begin…

Last of Us, The Penguin, Baby Reindeer, The Bear, White Lotus, House of the Dragon, Fallout and The Mandalorian. There’s more but I can’t remember them all right now.

Some of my all time faves: Game of Thrones, The Witcher, Seinfeld (my go-to when I don’t want to think), Everybody Loves Raymond, Breaking Bad, The Queen’s Gambit, Brooklyn 99, Shameless (US version), The Nanny, Family Guy and Friends.

What can we look forward to from you across the rest of 2025? Any releases or gigs you are looking forward to?

I’ve got some exciting gigs coming up in 2025. I’m playing at Zurück zu den Wurzeln Festival in a couple weeks…super excited for that one. As I mentioned before, the bush-festival stage is my favourite to play on. It’s a world-class melodic lineup on the Märchenwald Stage and excited to contribute my sound to the Sunday morning.

As briefly mentioned before, also excited to be running our new Kontrast event at the end of June with Dowden and Dilby. I’m also super excited to be playing at Immer Wieder Gerne Festival again…it’s a small festival just outside of the Berlin. It has such an awesome team of people behind it…proper community vibes, weird and wackiness galore.

I’ve got some exciting tracks coming out later this year. Gave one a test run at Sisyphos and it had a massive crowd response. So excited to share that one with the world in due time.

'Back In Love' is available now via Musique de Lune Noire: https://tinyurl.com/yckadt7y