It’s a name we all know, but not quite like this.
London-based Moroccan bass legend Lou Amini has had a belter of a year, dominating international lineups both large and small amongst her other behind-the-scenes work, truly hitting her stride as the reincarnated SICARIA.
Releasing her debut ‘Blood, Sweat & Self’ EP last year, the certified ‘slayer of decks’ and dubstep royalty joins our next STUDIO Invites in Paris this month, to lay her heaviest dance weapons and deepest basslines on us, in her trademark introspective yet toe-tapping listening journey. It’s an exciting prospect; free to explore the full width and breadth of her sonic visions, SICARIA is now synonymous with the mind-wobbling, journeyman dubstep that still makes for a head-banging set you need to dance to.
But aside from the wubs, the queen of dubstep has also spent the year in service of her community, setting into motion various projects and ideas that platform the underground and the glowing talent coming through at all levels and within all areas, popping up across the bass landscape throughout 2024. We caught up with her on where she is here and now within this next installment of her illustrious career; talking serious music business, global dubstep, how community is key, keeping the underground alive, and all things SICARIA.
Lou! Thank you so much for sitting down with us ahead of the show. Let’s get stuck in. We’d love to hear more about how SICARIA came to be, what’s the story behind the name?
Hello! Great to be here! So, SICARIA is a natural evolution from Sicaria Sound. While Sicaria Sound worked beautifully as a duo name, it felt too much like a collaborative identity rather than something I could carry forward on my own. Dropping “Sound” allowed me to create space for the legacy of Sicaria Sound to exist as its own entity, acknowledging Sancha’s role in its history, while carving out a clear path for myself as an individual artist.
There’s no elaborate backstory to the name itself. Sancha and I were watching TV one day when a trailer for Sicario came on, and we both felt that the energy of the name aligned with the vision we had for the project. Sicario translates to “hitman” in Spanish, which wasn’t the intention per se, but it captures a sense of intensity, power, and the grit we wanted to bring into electronic music. That ethos – pushing boundaries, making an impact – still resonates deeply with me.
What a neat little connection. Let’s go back to the start. What drew you to mixing?
I’ve been a raver since I was about 16 years old, completely captivated by electronic music, not just the sound of it, but the movement, the energy, and the way it brought people together on the dancefloor. Growing up I found a real sense of belonging in that community! As a bit of a misfit, it was a space where I finally felt like I fit in. But one thing that stood out to me early on was the lack of representation. There weren’t many women, let alone North African DJs, in the spaces I was in. It was clear that people who looked like me weren’t being reflected in the culture, and I wanted to change that. I wanted to be that representation for others who might feel the same way I did.
What I love most about mixing is the ability to command the dance floor. There’s something magical about creating moments that make people let go, feel joy, and connect. It’s an incredible feeling to be the one behind that energy; really crafting a journey that resonates with everyone in the room.
Absolutely. DJs control the energy, the mood, the experience… But on the flip side, is there anything specific you find challenging about it?
There’s not much I dislike about the art of DJing itself – it’s something I truly love! But being a modern DJ comes with its own set of challenges. For one, I’d like to think of myself as a bit of a grandma these days; I’m not as much of a fan of late, late nights anymore. I’m definitely more of a festival or day rave girly at this point! The hardest part is the intense travel. It’s physically exhausting and can feel quite isolating since I’m alone for about 90% of the time. This year especially, I’ve been focusing on finding ways to create a better balance between this career and my personal life, which is so important for staying grounded and happy.
It’s absolutely crucial to look after your physical and mental wellbeing. What’s the journey been like in finding your personal style?
I’d describe it as probably heavy bass paired with interesting drums and percussion: it’s the kind of music that makes you screw up your face while still being able to dance and have fun. Finding my sound has been pretty natural really. The bassier side comes from my love for those deep, weighty sounds I’ve been drawn to since I started raving in my mid-teens.
As for the percussion, that’s where my Moroccan roots come through. I’ve always been drawn to intricate, complex rhythms – it’s just in my blood! Simple four-to-the-floor doesn’t really do it for me; there has to be something dynamic and exciting in the drums to keep me hooked. It’s a blend of what I grew up with and what I’ve fallen in love with over time.
Thinking about your Moroccan roots; have you performed there? Is there a strong dubstep/140 scene in Morocco?
Yes! Back when I was part of Sicaria Sound, we played at Atlas Electronic in Marrakech. That booking remains one of my most treasured experiences because it meant so much to return and perform in my home country – or as we say in Morocco, l’bled.
That said, there really isn’t much of a dubstep or 140 scene in Morocco, so it was also one of the most challenging crowds we’ve ever played to. The audience leaned more toward French rap or some of the more obvious house and techno sounds. While I absolutely loved being at the festival and immersing myself in the electronic music community in Morocco, the actual set wasn’t the most enjoyable for us. It was a bittersweet moment; playing in my homeland was an honor, but it was clear our sound was a bit niche for that particular space.
Bittersweet indeed. Is there a certain creation process when it comes to preparing a set?
Preparing a set is something I’ve never struggled with; I honestly love the process too much to experience creative block in this area. In fact, it’s something that makes me even more excited for the event itself because I’m eager to bring my ideas to life in a live setting.
My process usually starts with compiling all my recent finds. From there, I lock in the opener, which is typically a big track with a drawn-out instrumental that sets the tone. Once that’s in place, I build a sonic journey from start to finish, making sure to include lots of my signature creative blends, chops, and double drops along the way. When it comes to preparing for radio or editorial mixes, the process is pretty similar, but I tend to approach it with a specific theme in mind: something that ties in with the platform’s concept. It’s about balancing creativity with intention, which keeps the process fresh and exciting every time.
I love that principle. How do you generally get around creative blocks?
My go-to solution is to take a step back and focus on consuming other forms of art. It could be watching a film, diving into a good book, visiting galleries, or even just listening to full-length albums; it’s all about shifting my perspective and finding inspiration in unexpected places.
A lot of my creative ideas actually come from things outside of music. For example, the concept for my debut EP was inspired by an oracle card I drew during a tarot reading last year. That experience sparked something in me and gave me a new lens to explore my work through. Sometimes all it takes is engaging with a different medium to reignite that creative spark.
Well, it seems inspiration can come from anywhere, even from the universe itself! This is great advice. So, we can’t not mention the DJ Mag’s ‘Best DJ’ 2023 nomination… you mentioned at the time that a lot of hard work had happened in the first year of going solo, following your parting from Sancha. Can you elaborate?
I’ve already touched on this but the biggest challenge I faced musically after the split from Sancha was confronting how lonely this role can be. When we were working together, we’d be hanging out almost every day and performing shows as a duo, which made the whole experience feel less isolating. But now, I’m mostly on my own, which has taken some time to adjust to after spending 8 years working alongside someone. It’s been a learning curve to navigate that solitude, both in my creative process and in the day-to-day of being a solo artist.
What’s the most difficult challenge you’ve faced in the music industry?
In the music industry, it’s probably been trying to gain the respect of male peers or a predominantly male audience. For example, recently, someone came to one of my shows convinced that my b2b with Skrillex & Peekaboo was pre-recorded (which is wild). Even when they saw me live, they refused to believe I was mixing in real-time. They even said they wanted to stand behind me next time to see exactly what I was doing. It’s this kind of attitude – where I feel like I have to go above and beyond just to be taken seriously – that really stands out. But honestly, it also fuels me to work harder and prove that I belong in this space.
I’m sorry to hear that. We still have a ways to go as a scene. Well, that set blew our minds, as well as Keep Hush: your first solo appearance!
Haha, thank you! My good friend Freshta reached out about a month into me going solo, asking if I’d want to play as part of her curated event in collaboration with Keep Hush, and I was all in! At that time, it felt like I was starting from scratch career-wise, especially since many promoters were skeptical about whether I could bring the same energy as I did with Sicaria Sound, but as a solo artist. Freshta giving me that platform was a turning point where I could prove myself.
As for the Kindred b2b, the short version of how that came about was that I met Skrillex in 2021 through Sgt Pokes at a small party in Peckham, South London, and we stayed loosely in touch. He mentioned wanting to work together at some point, and when the Kindred opportunity came up, it felt like the perfect fit. I honestly think it was my Keep Hush set that convinced Skrillex & Peekaboo to involve me in that stream; it’s wild how things come together sometimes. And the rest, as they say, is history!
Well deserved. Speaking of sets and events, what’s your favorite moment from your Coachella set this year?
I can barely remember that set, to be honest! It was the last stop of a US tour, and I’d flown into Palm Springs on practically no sleep after supporting Chase & Status in Atlanta. I had to get ready on the plane, and the people sitting next to me were not happy about it!
But my favorite moment from the set was when I ran into Sgt Pokes totally by chance, and he ended up hosting my set. That wasn’t planned at all, but it felt like a full-circle moment. Pokes was one of the first people to give Sicaria Sound opportunities early on in our career, so to get together with him and do a set at one of the most famous festivals in the world was incredibly special for both of us.
Favorite country to perform in and why?
This really changes depending on the club or festival I’m playing at. But recently, I’d say Canada has been one of my favorites. It reminds me of the energy we used to have in the UK before the nightlife scene started shifting. The crowds there are just so appreciative of everything, and they’re incredibly open-minded to the different styles of 140 that I play. It’s always a vibe!
I feel that. We love what you’ve been doing with your UK Back 2 Basics Tour, creating opportunities for local collectives and artists. What do you think needs to change for the underground to thrive?
I’d say two main things: collaboration and cooperation. The word ‘community’ has been thrown around a lot recently, but it’s important to truly understand what it means. Artists at an underground level need to come together more, creating opportunities and fostering innovation at the grassroots level. This is key to keeping electronic music both exciting and accessible for new generations. It’s a tough one, though. I try to stay hopeful, but sometimes it feels like the shift in the music industry landscape is here to stay. Maybe it’s us who need to adapt, as the younger generation seems pretty happy with how they’re currently experiencing electronic music.
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Who’s doing good work for the underground cause right now? Anyone you’d like to shout out?
There are so many different people, organisations, and collectives doing amazing work right now, it’s tough to narrow it down, but I’ll mention three concepts – both online and offline – for the sake of this question:
Sherelle, Naina, Ahadadream, and Jamz Supernova teamed up to create an initiative called No Edits, a monthly event that brings the community together. The night typically features a panel, an open decks session, and a chance for producers to test their tunes on a club system.
Dametalmessiah is an online platform I’ve seen blow up over the last couple of years. It spotlights a range of artists, both big and small, as well as old and new songs, while also being super educational and fun. It’s played a huge role in documenting the resurgence of grime and 140 in the UK.
And finally, Elijah’s “Yellow Squares” concept is incredible. It helps underground artists reframe their creativity and music careers in new ways, challenging mainstream UK music establishments. Recently he’s taken his platform global, holding lectures for the underground electronic scene worldwide.
Thank you! This is heartwarming to hear about. Let’s talk production, your debut Blood, Sweat, and Self EP was a beautiful reflection on Cindy Sherman’s work and yourself. Is there any new work on the horizon?
Yes, I’m actually working on another conceptual release for next year which will hopefully feature some vocalists and collaborations with other producers. I’ll be starting to release bits and bobs from February onwards, so stay tuned for that, and I’ve also been approached to contribute a track to a compilation that will be released via a pretty iconic label, so hold tight for that too! Hint: they’re actually going to be celebrating 20 years next year.
What message do you want to convey in your sound (aside from killer basslines)?
That it doesn’t have to be bangers all the time! I aim to release dancefloor killers alongside beautiful music that might even make you want to cry in the club. It’s important to me to reflect all the different sides of my artistry and showcase the full range of my listening palette and the sounds that inspire my work.
What sparked the move into producing in the first place?
A combination of curiosity and necessity. After almost 9 years of DJing, I found myself becoming very particular about what I wanted to play in my sets, and I realized I was beginning to define a ‘sound’ that I wanted to emulate in my own productions. The pandemic also gave me the time to really focus on learning how to craft tunes. It felt like the perfect opportunity to expand my creativity and not something I wanted to let go to waste.
We can’t wait to hear more SICARIA originals! You’re such a well-loved and supported artist – what’s your secret to creating a fanbase?
I would say the love goes both ways; I genuinely appreciate my fanbase for all that they do to support me – whether it’s buying tickets, purchasing my music, or leaving me positive messages. I don’t see this as just a cash-grab. Of course, I recognize the importance of the business side of music, but when you start seeing yourself solely as a product, it can reduce your fans to mere consumers. I see my fans as real people who connect with the experiences I share, and I try to give back by replying to their comments, hosting free giveaways, and showing appreciation in whatever way I can.
I love this. What an embodiment of the community of music. What would your advice be to young artists starting in this day and age?
Take it easy, man. It’s better to build slowly and focus on maintaining your mental and physical health than to push yourself to burnout. Also, stop comparing yourself to other artists in this industry. With social media making everyone so visible, it’s easy to fall into that trap, but it’ll only harm your health and your creativity in the long run.
Sound wisdom! Finally, what’s next for you? Any exciting projects you can share with us? Where can we catch you next, after Paris?
Yes! In terms of shows, I’m intentionally taking a break across January and February to focus on bringing my projects and ideas to life while also making sure I give myself some physical rest. I already have some very exciting festival bookings for 2025 but I’ll share that when I’m allowed. On a separate note, you’ll hopefully be seeing more of my face and hearing more of my voice online as I re-navigate the world of presenting which will be a very interesting personal challenge for next year; hopefully, it goes as well as I want it to!
Interview conducted in November 2024 by Gianina Mesina.
Catch Sicaria in Paris on 21.12 alongside Thys, Tatyana Jane, Bass Paradize & Mafille. Tickets are available here.
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