Jenn Getz opens up about authenticity in electronic music, the ego-driven club scene, sound healing and her mission to create music with a deeper purpose.
London-born DJ and producer Jenn Getz blends groove-driven house with a deeper exploration of sound, emotion and human connection. Following a breakthrough year in 2026, including her Mixmag Lab set and remix of Hot Since 82’s Another Life, she continues to push creative boundaries and shape her own identity in electronic music.
We sat down with Jenn to talk about music with intention, the role of the DJ and the future of the electronic music scene.
INTERVIEW:
Your music has been getting a lot of attention recently, not just for its groove but for the thinking behind it. You completed an advanced course in sound healing and vibrational therapy, and you’re now bringing that knowledge into the music you make. What led you to combine these two worlds, and how has it changed the way you approach music and your career?
I’ve always been curious about the why in everything I do. With music, I wanted to understand what actually happens to the body and why DJs are able to control the energy of a room. I love being curious. I think it’s so beautiful. I wanted to really understand what I was doing to a room full of people, specifically the science behind it. I love helping people, and part of me wondered how I could do that more intentionally.
Now I think about sound not just as something people hear, but as something they physically feel. I want to make music that makes people dance but also helps them feel better in their bodies.
Your remix of Another Life by Hot Since 82, featuring Lydia Kaye, is a new addition to your production catalogue. What attracted you to this track in the first place, and how did you approach putting your own creative stamp on it while respecting the identity of the original?
I felt so honoured to be asked to put my stamp on this! Hot Since 82 sent me his album before it was released, and Another Life really made me feel something. They’d originally asked me to remix a different track, but I asked if I could do this one instead because I just felt so called to do it.
Lydia’s vocal is so beautiful, so I wanted to keep that at the centre of it. I wanted to make a chunkier club version while still keeping the feeling of the original. That’s always what I’m going for in the studio: music that makes you dance but that you can feel as well.
We often use the words music, sound and vibration as if they mean the same thing. Through your work in sound healing and vibrational therapy, how would you define music scientifically? And what is actually happening when we feel music rather than just hear it?
Music, sound and vibration are actually three different things. Vibration is energy moving. Sound is that vibration travelling through the air and hitting you physically. Music is organised sound. So when you hear music, you’re not just hearing it; you’re feeling physical energy moving through your whole body, and your body responds to that.
Clubs are often seen purely as places for entertainment and escape, yet many people describe their experiences on the dancefloor as deeply emotional or even transformative. Do you believe a dancefloor can be a space for collective healing? And how does it affect people, both mentally and physically?
It’s amazing. You see this collective shift in energy. It’s changing the mind and the body at the same time. That’s what a dancefloor can do when it’s done with intention.
None of this is new, by the way. I didn’t invent any of it. The San people in the Kalahari have one of the oldest healing traditions we know of, trance dancing around a fire until they reach an altered state, believed to pull sickness out of people. Sufi whirling in Turkey involves spinning as a form of meditation to lose the ego completely. Zar ceremonies in Egypt and Sudan are still happening today, with women dancing to specific rhythms for healing.
Way before wellness was a trend, before any of us were doing sound baths in a warehouse, people were dancing together to heal. It’s one of the oldest human tools there is.
Intention is something you speak about often, both in your music and in life. Was there a particular moment when that became important to you? And how has it changed the way you create, in a scene where it can be tempting to simply follow what’s popular?
Music with intention came to me as a download one day a few years ago, and it’s never left me. Now everything I make has to be intentional. It’s not about what’s cool or what everyone else is making. Sound is a journey, not a product. My art is an extension of myself. And honestly, intention matters every single day, in everything you do.
As a DJ, you’re constantly discovering new music and introducing people to different sounds, while production allows you to express your own musical identity. How would you describe the sound you’re developing as an artist today, and how important is it for you to create something recognisable as your own rather than follow current trends?
I don’t fuck with trends, and I don’t fuck with being put in a box. I’ve always felt really strongly about that. When you start out in the industry, everyone tells you that you need to fit in a box and stay in your lane, but I’ve always hated being told what to do, and I hate not being authentic. So I create what I feel that day. It’s all electronic music at the core, but my sound is music with intention. Everything is designed for a reason, and it’s all working towards the same goal.
Electronic music is evolving rapidly, with new subgenres, sounds and artists emerging all the time. From your perspective as a DJ and producer, how do you feel about the current state of the electronic music scene? Do you think the industry is becoming more creative and diverse, or is there a risk of certain sounds and trends becoming too dominant?
I don’t do trends. You can’t be constantly chasing something that changes. For me, as long as I’m being authentic, I don’t care what anyone else is doing. No one can be you better than you.
The role of the DJ has changed a lot in recent years, with social media and big stage productions putting more focus on performance and personality than ever before. From your perspective, has something been lost along the way? And what do you believe the real job of a DJ is today?
There’s so much ego and fakeness now. It’s become less about the art. Some people go straight from their bedroom to a stage because they went viral, with no idea how to read a room. But that’s our only job.
The DJ isn’t the performer; the DJ is the channel. You’re there to read the room and channel the energy back into it.
Looking ahead, what are you most excited about at the moment? Are there any upcoming releases, collaborations, projects or new directions you’re exploring that you can share with us? And where would you love to see yourself and your sound in the next few years?
I’m just excited about the feeling of everything at the moment. I have big releases incoming and an EP called Freedom in December, which is very meaningful to me. I’ve got some exciting collaborations coming next year, and I am working on something really special, but I believe in protecting the energy of things, so I don’t like to share too much before it happens.
To be honest, 2027 is going to be my biggest year yet. I’m on my mission, I know my purpose, and I couldn’t be happier with where I’m heading.
