AAT

A dorm room, a first booking, and a two-year pause

AAT learned to mix in a student room in Berlin during the first coronavirus lockdown, throwing parties for whoever happened to be in the building at a point when nowhere else was open. She has described that period as the start of everything, though it took a while to become a career: her first official booking came in May 2022, and her father died two days later. She stepped away from music for a time afterwards.

Her father is the person she credits with the habits she brought back to it — hard work, humility, keeping the mood up — and he remains the clearest influence she names. Asked to pick records that shaped her, she has pointed to "A History" by Dangerous Dan and Nicky Night Time, the Jamie Jones remix of Teddy Pendergrass's "Life Is A Song Worth Singing", and David Berrie's "Airplane To Madrid": one contemporary club record, one disco-soul reconstruction and one piece of melodic house, which is a fair map of what she plays.

She grew up one of seven children. The detail matters less than the work rate it seems to have produced, because by the time she entered a DJ competition at Toffler in Rotterdam in January 2023 she was treating the craft as a profession rather than a hobby. She won it.

Three years of saying yes

The Toffler Talents win opened the Dutch circuit faster than is usual. Within her first full year she was sharing line-ups with Enzo Siragusa, Manda Moor, Sidney Charles, Nick Curly and Luuk van Dijk — names that place her squarely in the deep-tech and tech-house end of the Netherlands rather than the commercial festival lane she started out playing edits for.

In early 2024 she spent three months touring Asia, with dates in Shanghai, Tokyo, Seoul and Bali. That run coincided with the thing that changed her economics: she entered elrow's contest to find a new resident DJ, with the final tied to the brand's Tenerife operation, and won. From 2025 she has been an official elrow resident, which means a seat on the Spanish company's touring productions rather than a single club night.

At home the list is consistent: Loveland, Thuishaven, Mysteryland, PIV, Free Your Mind, Hush, Boothstock, Audio Obscura and Awakenings. Her own summary of the sequence, given shortly after her first record came out, was blunt about how improbable it still feels — winning both contests changed everything, she said, and becoming an elrow resident while touring internationally still feels surreal.

Two tracks on Haven Trax, then a transatlantic label

Her debut EP, Get Funky, arrived on 17 October 2025 on Haven Trax, the Amsterdam label connected to Thuishaven. It is two tracks: the title piece, built on playful sound design and a tight groove, and "Like This", a harder and faster cut carrying a vocal. She was explicit about the brief she set herself — an EP that would blend perfectly with the real house sound she plays in her sets — which is a producer writing tools for her own bag rather than chasing a streaming audience. She had been making music for roughly eighteen months at that point.

The streaming audience turned up anyway. Her booking agency, 2twenty, which represents her worldwide, puts Get Funky past a million plays inside three months.

2026 has been her first proper release year. Two singles, "Built for This" and "Don't Stop", preceded "Bass Drop / Ready For You", a two-tracker issued on 18 September 2026 — and that one came out on Factory 93 Records, the house and techno imprint inside Insomniac Music Group. For a Dutch DJ two and a half years into a career, a release through the company behind EDC is a route into the American market that the Dutch festival circuit does not supply on its own. Insomniac now carries her artist profile alongside it.

Where she stands, October 2026

Amsterdam Dance Event week in October 2026 found her on bills across the city rather than headlining any of them. The best-documented of those slots is Joseph Capriati presents Metamorfosi at Sugarfactory on Friday 23 October 2026, listed as sold out by Awakenings, which programmes it. Eight days later she crosses to London.

It is worth being straight about the written record. There are, as yet, no long-form press reviews of an AAT set; the trail consists of interviews, guest mixes, release pages and promoter listings. What that trail shows is an artist whose live reputation is being built by bookers and by the rooms themselves rather than by critics — three consecutive years of re-bookings from Loveland and Thuishaven, an elrow residency renewed into a second season, and a label deal that followed the sets rather than preceding them.

What the sets are made of

She started out on commercial edits and tech house and has deliberately widened since. Her own list of what goes into a set runs through deep tech, tech house, jackin house, funky house, UK garage and faster, more uptempo material, and she refuses to be pinned to one subgenre of it. The through-line is groove rather than tempo: records that move a floor sideways instead of building to a drop.

The clearest available document of her selection is the guest mix she recorded for Undrtone's Undrscovered series, published on 30 October 2025, where the stated aim was to keep the selection diverse by blending different subgenres of house while holding the energy up throughout. That is also roughly how her club sets are described by the promoters who book her repeatedly — high-energy, rhythm-led, and more interested in swing than in weight.

Inside someone else's production

Playing for elrow means playing inside a show that is not hers. The Spanish brand's format puts the production first and the DJs inside it: inflatables, stilt-walkers, costumed performers working the crowd, confetti cannons overhead. The Horroween edition at Drumsheds on 31 October 2026 is the fourth London run of that concept and the first after a two-year gap, and it is scaled accordingly — 14,999 capacity, 18-plus, three rooms running simultaneously from 13:00 to 22:30, tickets from £40 plus fees through Kaboodle and Dice, with VIP tables available.

Room X carries the main Horroween stage with MK, Patrick Topping, Alan Fitzpatrick, Oden & Fatzo playing live and Wade among them; Room Y runs a hard-techno and back-to-back programme with Danny Howard and Sarah Story in the mix; Room Z, the smallest at around 450 capacity, is handed to The Disco Express. Fifteen names on the main listing across a nine-and-a-half-hour afternoon means slots measured in the hour-or-so range, not headline length — the arithmetic, not a published set time, since the promoter lists performers alphabetically and has not assigned rooms or times for every act, AAT included.