Fresh from a standout performance at the Sphere in Las Vegas, Audien returns with Sacrifice, a soaring, emotionally charged single that blends the uplifting melodies of progressive house with the energy and immediacy of today’s dance music. Long celebrated for anthems such as his remix of Bastille’s Pompeii and Something Better, the Grammy-nominated producer continues to evolve while staying true to the euphoric, emotionally driven sound that first made his name.
In this conversation with The Night Bazaar, Audien reflects on the creative freedom that comes with experience, why he now values connection over hype and how some of his best ideas are born thousands of feet in the air with nothing more than a laptop and a pair of earbuds. He also discusses the meaning behind Sacrifice, the possibility of a new label and what fans can expect from the next chapter.
You’ve just played the Sphere in Las Vegas. That place looks incredible. How was it?
It was nuts. Like, I had never been there prior and just walking in there to play was like, what the hell? And it felt very Red rocks. The way the vantage point was from the stage. It was just kind of people going vertically up, which is always kind of an interesting feeling for the artist. But
yeah, it was nuts.
Were the visuals distracting at all while you were playing?
No, actually, as a DJ it was a unique feeling venue. I’ve played a lot of venues and that one definitely stood out to me. Kind of like Red Rocks, I would say very similar.
Your new single Sacrifice feels like an emotional high point in your recent work. What makes that track such a defining release for you this year?
Yeah. So, I worked on the majority of that song when I was actually hanging out in Miami. Like, I didn’t Even have a show there. And I was just there for like a couple weeks and I really think the song came out sounding like what Miami looks like, you know? And so, yeah, that’s why I say it’s probably like my summer song because I made it in such a summery location. But I love that song. It just instantly clicked with me once I heard that top line. And it’s rare these days that I have that feeling with music. My standards are so high at this point.
Was there a moment in the studio when you realised it was something special?
Yeah. We had Sam Harper cut it and sing it and it just came together perfectly. She put her own spin on it and it became like this whole different thing. I love it when records take different shapes.
Audien
What was it about Sam Harper’s voice that made her the perfect fit?
Well, because Sam is a good singer, you know, she just hits all the right cadences and notes in the way that this song needed. And this song needed something specific. We tried nine different singers on it. So, yeah, it was hard to get it right, but it was one of those records that I knew had to happen. And once you know that you can’t stop until you get it kind of thing.
Can you share any behind-the-scenes moments from making the track?
Well, I make them all on the plane. Honestly, I work mostly on the plane.
So, when you’re travelling between gigs, that’s when the ideas happen?
Exactly. So, like on the weekends, like, that’s when I’m in that mode, like fully in that mode. Yeah, that’s when I get most of the work done musically.
Do your gigs inspire the music you make afterwards?
Yeah. So, like, when I’m home, I feel very isolated from my career. And then when I’m on the road, I feel very immersed in my career. So, when I’m on the road, I feel like people are excited about what I’m doing and that kind of translates into me wanting to make something great musically. It just ends up working out that way. I don’t know why.
Audien… rocking!
The theme of giving everything, even when you know the cost, feels very personal. How much does that reflect where you are right now?
Very personal. I mean, I think when you know something needs to come to fruition, you just make it happen, you know, whether it’s money or time, you just make it happen. And it’s just, it’s like a gut feel thing, I think. My intuition has gotten better and better over time, especially when it comes to music and that’s the hardest thing is making decisions, deciding on things when you have options.
Your album First Love felt like a turning point. How does Sacrifice build on that foundation?
I mean, I feel like Sacrifice could have been on that album just because it’s kind of within that sonic sphere of blending the kind of progressive house sounds and the emotional dance music sounds with current styles of music. But that song was done way after. So, yeah, the timing wasn’t right, but it was a great, it would have fit perfectly.
You’ve released on some of progressive house’s most iconic labels over the years. Do you feel more creatively free now than earlier in your career?
Oh, yeah. I used to be so stoked about signing records to labels and all the music industry stuff, but now I just make whatever I feel like needs to be made at any given time. And then we usually work with the label at any given time. Right now, it’s with Enhanced and we’re definitely starting our own label. That’s the first time me mentioning that, but we’re doing that with them. I’m more free now. I make whatever I really want. I think that also yields a better result too. Like, I don’t feel like I need to make one style of music ever.
That must be a great place to be creatively.
Yeah. And I don’t play one style music either. I think anyone who comes to my sets thinks I’m playing purely progressive house, like 2013 EDM. But the truth is I play everything. I play dubstep house, bass house, progressive house, electro house, you know, like it’s a very random set and I think people like that because unexpected and hard to predict.
Audien…. Love
What’s the biggest difference between the audience from your Anjunabeats days and the artist you are today?
I would say the Anjuna audience I was trying to be one thing and was just trying to hone in on one sound. And I think the version of me today, I make a lot of different kinds of music and now I know what I like. I think as you get older, you just know what you like about everything. You just know more about yourself. And so, I think back then I was very naive about what I was doing. I just did stuff. And usually to fit a mould, fit the Anjuna mould or whatever it was at the time or try to get it on a radio show, but now the goal is to just make music that I connect with emotionally and deeply. That’s all I care about.
So now you’re fully being yourself. Is “emotional euphoric music” a genre, a philosophy, or both?
Well, I think that the kind of music I make and play is just different than a lot of other styles of dance music or electronic music because it yields a unique energy and emotion that you just don’t get from other styles of music. It’s just like this real connected feeling. Some people might perceive it as happy sounding music, but I think it’s just uplifting sounding music. And I think it should be appreciated more than it is just because it’s unique. And, you know, you go to techno shows and it’s a totally different vibe than going to see someone who plays big, euphoric, melodic music. It’s just the mood is so different. You know, one is trendy and cool and vogue and the other one is about feeling something. And I’m always going to gravitate towards the latter, you know?
You mentioned making music on aeroplanes. When you create something in headphones, do you instinctively know it will work on a huge stage?
I really don’t know. That’s the thing is, like, I don’t use speakers at all. I make songs mostly in AirPods. And when I say AirPods, I mean, like, the ear buds. And it’s just trial and error. I use a lot of sounds that I know yield a certain result. And when you have a bank of sounds that you know are great, say it’s kick drums or whatever, that takes about half of the work of trying to find something. But once you know whatever it is you’re working with, you can make anything. You don’t really need anything. You don’t need a studio or any expensive equipment. You just need earbuds and a laptop. And you can make any great song.
That’s going to inspire a lot of readers.
Yeah, and the greatest songs are really simple, by the way. They have, like, five elements going on. So, how hard is that?
Audien… Crowd control
You’ve had defining career moments like the remix of Pompeii and Something Better. Where does Sacrifice sit in your personal catalogue?
I think we’ll find out in time. I usually let the people decide first, but at the same time, it’s like Sacrifice kind of represents me finally bridging the gap between what’s currently popular, which is house music, with the melodies and chord progressions and energy of progressive house music. The stuff that I’m really used to making, which is, like, vintage, big room, hands up, emotional, euphoric stuff. So, I think it blends those two worlds. We’ll see, though. I don’t know, maybe people will hate it. Only time will tell. It takes time these days to see if music’s gonna connect or not, you know? That’s why I don’t even celebrate releases anymore. I celebrate it three weeks or four weeks later when it starts to connect, if it starts to connect.
Do you still get nervous before a release?
No, I often forget that I’m releasing pieces. I’m like, oh, wait, that’s coming on Friday. But you know, three weeks later, when I see it starting to stream, that’s when I get actually excited and people start getting excited when I play it at the show. Those are the moments for me, for sure.
After a Grammy nomination and years of chart success, what still drives you creatively in 2026?
Just making stuff, like, trying to make myself impressed with what I’m doing, whether it’s, like, writing chord progressions or working around great top lines, making myself hype on what I’m doing is all I try to do at this point. Like, I don’t care about any of the chart stuff or any of that. I want to just feel like what I’m doing is sick. That’s really it. When I make myself happy with music.
Do you feel you take enough risks creatively? And which risks have paid off most in shaping your sound?
You know, I think what helped me more was when I didn’t. I took a lot of risks. I’ve made a lot of different styles of music just because I love it. I love bouncing around a little bit. But I think it’s when I didn’t take any risks, that’s when it kind of started to help. I realized that consistency is sort of key. And, you know, the more you’re associated with one thing, the easier it is for people to know you, and the easier it is for you to know how to make that one thing or hone in on it. Make it better and modernize it. So, you know, taking risks didn’t really serve me that much in my career. Staying true to my sound did. That’s the truth.
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