Lilya Mandre has emerged as one of the most exciting names on the melodic house and indie dance circuit, building an international profile through emotionally rich productions and appearances everywhere from underground clubs to major festivals. Originally from Casablanca and now based in Paris, her music draws on a broad range of influences, balancing cinematic atmosphere with dancefloor energy.
With her latest single Harper on KOOKOO Records, she continues that evolution, delivering a dark, evocative record that reflects both her growing confidence as a producer and her willingness to push her sound into new territory. We caught up with Lila to discuss her musical upbringing, finding her own identity, staying connected to her roots, and what comes next.
Growing up in Casablanca, what were some of the artists, records or experiences that first sparked your interest in electronic music?
My dad was always listening to tribal music, my stepdad loved Oum Kalthoum and old Arabic songs, my mom listened to pop music, and my older brother was into electronic music. As a kid, I used to get a little bored listening to my dad’s or stepdad’s playlists, so we eventually found a middle ground and started listening to older French and English songs together. I grew up loving artists like Jacques Brel, Bob Marley, and Stevie Wonder. Looking back, I think my taste today is a combination of all those influences.
I’ve always been deeply passionate about music, especially slow love songs. Then I discovered electronic music, and everything clicked. Frank Wiedemann was probably my first major inspiration. When I started DJing, my USB was full of Afterlife and Innervisions records. Those labels really shaped my sound in the beginning.
I think I’m the result of everything I loved and even the things I didn’t love. I’m lucky because I feel like I carry a little bit of all of it. I also realized later in life that I naturally connect with midtempo music. Very slow or very fast BPMs never felt as instinctive to dance to, whereas electronic music just felt effortless.
The biggest spark actually came from my older brother. He’s three years older than me, and he used to invite his friends over to throw parties. He had this little DJ controller my mom bought him, and I thought it was the coolest thing in the world. Watching him made me want to be part of that world. A year later, I decided to learn how to DJ because I wanted to be the DJ at my own 14th birthday party.
You’ve played everywhere from clubs to major festivals. Do you approach those environments differently, or does your mindset stay largely the same?
I definitely approach every setting differently. Festivals and clubs are completely different experiences, and so is every country. I would never play exactly the same set in Berlin as I would in Egypt.
One thing I always love doing is surprising people with older songs they know but have forgotten. Music is like perfume, it has this incredible ability to bring back memories that nothing else can. That’s one of my favorite ways to adapt while still staying true to myself.
Earlier in my career, I sometimes got lost trying to please the crowd and ended up telling a completely different story than the one I originally wanted to tell. Sometimes that’s part of the job, and sometimes it’s actually the right thing to do. But today I try my best to stay true to myself and bring people into my world rather than constantly chasing theirs.
I probably prefer festivals. They feel a little more open, with less pressure and more room to experiment. I also love being surrounded by other DJs. Watching their sets, hearing their stories, and exchanging experiences always inspires me and broadens my musical perspective.
Clubs are amazing too, but people are often there specifically to see you, so there’s naturally a bit more pressure not to disappoint. That pressure isn’t necessarily a bad thing, it pushes you to grow and sometimes encourages you to take creative risks.
Your sound has evolved considerably over the years. What do you think has changed most about you as an artist since your earliest releases?
Confidence and experience. The more I grow, the more comfortable I feel being myself and exploring new sounds. I’ve stopped feeling like I need to please everyone or become someone else to succeed. If I’m here today, it’s for a reason. Learning more about myself, staying grounded, and remaining open to new sounds, experiences, and people naturally helps my music evolve.
I’ve also been lucky enough to spend time in the studio with artists I admire, and I’ve learned so much from each of them.
As my career has grown, so has my musical taste. I listen to far more than just DJ music. I download songs that simply move me, whether they’re electronic or not. Playing festivals has also exposed me to so much incredible music. Watching other DJs perform, seeing how they build a set, and learning from their approach continues to inspire me.
I think the biggest change is that I know what I want now, while still staying completely open.
You’ve built an international career while remaining closely connected to your roots. How important is that balance to you?
It’s incredibly important. Roots keep me grounded. Without roots, any wind can carry you away. Staying connected to where I come from gives me stability, confidence, and a sense of identity.
No matter what happens, I know I’ll always have a place to go back to and recharge. After long periods of touring, I love returning to Morocco. Touring means constantly changing cities, hotel rooms, time zones, and meeting new people. It’s exciting, but it can also be exhausting.
Being with my family gives me the energy I need before heading back out on the road.
What has been the most valuable lesson you’ve learned from sharing line,ups with some of the biggest names in electronic music?
They never stop working. Even after reaching the top, they still pay attention to every little detail and never take anything for granted. That was a huge lesson for me. I think there’s this idea that DJs are just artists who love to party, but behind the scenes, the level of dedication is incredible. It made me realize that there’s always room to improve and that success isn’t built on luck, t’s built on consistency, discipline, and hard work.
I was also surprised by how present and generous many of them are. They’ll arrive early for soundcheck, make sure the lighting and visuals are exactly right, ask how you’ve been treated, whether you’re happy with your set, and if everything went well. They genuinely care about the people around them and about delivering the best experience possible.
Watching that level of professionalism has inspired me to keep learning and to pay attention to every aspect of what I do, no matter how big or small.
What first attracted you to KOOKOO Records, and why did Harper feel like the right release for the label?
KOOKOO is a sublabel of Unidisc, which was one of the first Canadian labels I ever connected with after moving to Montreal. They also booked me for my very first Igloofest on their stage, and they’ve always been closely connected to my group of friends there.
I had just moved to Paris when this release came together, and putting out Harper on KOOKOO felt like the perfect way to honor everything Montreal gave me. It felt meaningful to close that chapter with a label that had been part of my journey from the beginning.
Harper has a strong emotional undercurrent running through it. What were you hoping listeners would take away from the record?
What I love most about art is that it’s completely subjective.
The way Harper makes me feel is probably very different from how someone else will experience it, and I’m genuinely excited to hear people’s interpretations. The only thing I know for sure is that I want people to dance and feel confident, like the coolest version of themselves. The track feels rock inspired, electronic, vintage, dark, sexy… it’s very much a night song.
To me, it’s a conversation between two people. The guy is completely in love, he dreams about her, prays for her, thinks about her constantly, while the girl keeps playing with his emotions. She leaves him for someone else but still tells him she’ll always love him and never let him down.
It’s emotionally intense because so many people can relate to one side or the other: the one who loves too much or the one who keeps the other person chasing.
But what’s funny is that my own interpretation changed completely while creating the visuals for the record. I ended up seeing the story in a totally different way. That’s what I love about music, every listener brings their own experiences, and the meaning keeps evolving. Soooo it really depends on people’s experiences, and why they listen to it.
When you’re not touring or making music, how do you switch off and recharge creatively?
The first thing I do is go back to Morocco and spend time with my family. I swim, go to the gym, and just slow down. Ironically, making music is also how I recharge. I usually create when I’m feeling grounded again. It’s my way of processing everything I’ve experienced while touring and turning those emotions into something creative.
But staying in Morocco for too long can also become overwhelming! Sometimes I just need to go back to my apartment in Paris, enjoy some quiet, spend time alone, gather my thoughts, ride my bike, read, see friends, and take care of myself.
That balance between movement and stillness is really important to me.
Looking ahead, what are your biggest ambitions for the next chapter of your career?
A big ambition is to sing on my own records. I’ve been writing a lot recently, and while production is already such a powerful form of expression, combining it with my own lyrics feels even more personal. I’m excited to discover that side of myself because I know it will naturally influence my production too.
I also just moved to Paris, which feels like the beginning of a completely new chapter. I’m excited to meet new artists, collaborate across different creative worlds, attend Fashion Week, and continue growing, not just as a musician, but as an artist overall.
Harper is out now on KOOKOO Records