Brazilian DJ, producer and vocalist MALU has spent the last few years establishing herself as one of the country’s most promising house music talents. Having shared stages with the likes of Steve Angello, BLOND, Mochakk and Vintage Culture, and appeared at major events including Tomorrowland Brazil and Greenvalley, she’s built a reputation for energetic sets that blend house music’s emotional side with club-focused impact.
Now making her debut on Toolroom alongside Illyus & Barrientos with the new single ‘Right Here’, MALU joins us to discuss her journey into electronic music, the influence of São Paulo’s club culture, working with one of her longtime production heroes, and how her approach to making records has evolved as her career continues to gather momentum.
What first pulled you towards electronic music, and can you remember the moment you realised you wanted to make it yourself rather than just listen to it?
I’ve always been connected to art in a broader sense. I danced classical ballet for about 15 years, and when I moved away from my hometown to study, I felt the need to stay connected to music/art in some way. Around 7 years ago, I took a DJ course more out of curiosity than anything else, without any real expectations at the time. Not long after that, I had the opportunity to play a warm-up set at a club in the city I was living in. I was still at a very early stage, but the feeling I had on that stage was something I will never forget, it made everything very clear to me: I needed to live from music.
From that moment on, I started developing my identity more seriously, both as a DJ and as a producer, building my own project step by step and focusing on authenticity as the core of everything I do. I think, in the end, I’ve always known how connected I am to art and how it represents a form of communication with the audience. For me, it’s a constant exchange.
That sense of connection is what continues to drive me today, whether I’m playing or working in the studio. It’s about creating moments where music goes beyond just sound and becomes a shared experience.
Were there any particular artists, records or scenes that had a lasting impact on your sound when you were starting out?
I believe my journey into electronic music has been somewhat different from other people’s. I’ve always loved playing music, and Brazil, being such a culturally diverse country, naturally leads to a lot of different musical styles blending together.
In my early opportunities playing longer sets, I always tried to keep the foundation of electronic music, but at the same time I would blend it with other genres, including some that are very present in Brazilian culture. Over time, electronic music, and more specifically house music, started pulling me in very naturally, almost like a magnet.
From that point on, I began not only expanding my musical curation to get closer to that scene, but also studying house music culture more deeply. And that process is what brought me here.
Even today, I’m in a constant process of getting closer to my identity and to what makes me authentic in what I do, and I believe this is an ongoing journey for any DJ. I’ve been on this path for a few years now, but it was around three years ago that I was really able to steer the project in the direction I wanted.
I remember one of the most important moments in that process was a trip I took with my boyfriend to Ibiza. It was my first time there, and experiencing everything the clubs and the scene had to offer was a real turning point for me.
When it comes to references, I could mention many, but taking advantage of this release, I would like to make a special mention to what I consider, in my opinion, the “father of house music”: Carl Cox. He has always been a major artistic and musical reference for me, and it was a very special moment to see him play “Right Here” a few days ago, a track I will be releasing with Illyus Barrientos on June 12th.
I also can’t fail to mention Brazilian female artists who are deeply connected to house music and who bring me a lot of pride and inspiration, such as Aline Rocha, Camila Jun, Curol, Carola, and many others who have been working for years to take house music culture from Brazil to the world.
São Paulo has such a rich club culture. How much has the city influenced the way you approach both DJing and production?
São Paulo has had a huge influence on the way I see both DJing and production. It’s a city with a very vibrant scene, where you can experience different types of clubs, crowds, and musical experiences within the same week. It’s no coincidence that not only São Paulo, but Brazil as a whole, is responsible for some of the best clubs and festivals in the world.
That naturally teaches you, in practice, to read the dancefloor in a much more sensitive way and to understand how to build sets that truly follow the energy of the moment, without losing your identity.
How did ‘Right Here’ come together? Was it a track that developed quickly, or did it go through a lot of different versions before reaching its final form?
I’ve always been a big fan of Illyus Barrientos’ productions, and about two years ago I connected with him and started sending over some tracks. He was always very open and supportive, giving me valuable feedback, which not only strengthened our relationship but also helped me grow as an artist.
‘Right Here’ feels like a natural culmination of that ongoing process over the years, now coming together on a label like Toolroom Records, which understands, values, and believes in the same things we do. Working with Illyus and releasing on Toolroom is a dream come true, not only for me but I believe for anyone who truly loves house music and follows this scene.
It’s funny to say, but the workflow from starting to finishing this track felt very natural. I believe the process was quite fast because of the strong connection in taste and style between Illyus and myself. We worked with an incredible songwriter, Gustavo, who was involved in the vocal and helped us land exactly on the energy and idea we were aiming for.
From there, we developed an instrumental that supported and respected the feeling of the track.
When you’re in the studio, what are the small details that make the difference between a good track and one you’re genuinely excited about releasing?
In the studio, I think the difference between a good track and one I’m genuinely excited to release always starts with the idea. For me, a strong idea is everything, and it’s directly connected to the feeling the track gives me.
Of course, sound quality, groove, and mix are important, but what really makes the difference is when there’s a clear concept behind the track and everything feels aligned around it. Even in more club-focused music, I need to feel that there’s something alive in it,whether it’s a vocal, a texture, or the way the energy evolves.
When the idea is strong and everything else supports it naturally, that’s usually when I know I’m truly excited about releasing the track.
When you’re starting a new track, do you tend to begin with drums, bass, chords or vocals, or does it change every time?
It really changes from track to track. I don’t have a fixed formula like always starting with drums or always starting with a melody, vocals. Sometimes I receive or record a vocal that sparks the beginning of a track, other times I start from a drum idea that has been in my head.
I usually like to start from an idea, but for me the most important part is how that idea develops into something complete. I also don’t do everything alone, I rely a lot on working with people I trust who help me finish the projects and bring that final touch to the elements that still need improvement.
I think that collaboration is a key part of my process, because it helps the track reach its full potential while still keeping the original idea intact.
Looking back at your earliest productions, what do you hear now that you couldn’t hear at the time?
When I look back at my earliest productions, I honestly still feel like I’m at the beginning of something much bigger. My perception of my work has evolved a lot, but more in terms of intention and awareness than anything else.
I’ve always valued feedback from people I trust and who understand where I am in my journey as a producer. Illyus is definitely one of those people, he has always been very kind, honest, and generous with his feedback, which has played an important role in my development.
Over time, I’ve become much more focused on details and the overall purpose of each element in a track. Earlier on, I was more driven by the excitement of finishing music, while now I try to make sure every decision actually serves the identity and feeling of the record.
I think that ongoing dialogue, both with myself and with people I respect, is what has shaped my artistic growth so far.
How has your production process changed over the last few years as you’ve moved from being an emerging artist to releasing on labels like Toolroom?
Over the last few years, my production process has become much more intentional. When I started out, I was more focused on exploring ideas and finishing tracks as a way to learn and develop my skills. Today, I’m much more selective about what I choose to pursue and release.
Releasing on labels like Toolroom naturally raises the level of attention to detail, so I’ve become more focused on refining each element of a track, from the initial idea all the way through to the final mix and arrangement.
Another big change is that I now value feedback and collaboration much more. Having trusted people around me, like Illyus, who can give honest and constructive input, has been really important in helping me elevate my productions.
I do feel like I’m part of the process and more confident in my artistic decisions now, but at the same time I’m very aware that there is still a lot for me to learn and improve. I think that balance is what keeps me evolving.
Overall, my process has shifted from just creating music to really shaping and refining ideas with more clarity and purpose.