IN CONVERSATION WITH MIA MENDI
Interview by Samo Šajn
UK duo Mia Mendi kick off 2026 with some of their most notable debuts to date, releasing “Angel Wings” with Skuro on Solomun’s Diynamic Music as part of the ‘Four To The Floor 47’ mini compilation. The release follows closely behind “Run Free” with TH;EN on Massano’s Simulate. The pair continue building momentum through global touring and key label partnerships, with James Oliver driving immersive live performances whilst Meti Mehmeti sharpens their bold studio sound.
“Angel Wings” has a really bright, flowing energy. What was the vibe in the studio when you were making it?
Meti:
It came together quite fluidly across a few sessions. Once the main melodic idea appeared, it gave us a clear direction to build around, and that felt very natural.
James:
The lead really set the tone early on. It had this sense of lift and openness. From there, our focus was on shaping the space around it carefully, giving it room to breathe and move freely, while making sure every element still felt deliberate and cohesive.
Do you ever have happy accidents in the studio that completely change a track? Did that happen on this one?
James:
Working remotely almost invites those kinds of moments into the process. You open a new version expecting one thing, and something reveals itself that you might not have planned. Those surprises can shift the direction of a track in the best way.
Meti:
With this one, it wasn’t so much about an accident as it was about clarity. The melody revealed itself early, and it immediately felt like the core of the record. Once we recognised that, everything else was built intentionally around it, with every layer there to support and elevate that central idea.
Skuro joined you on this track. What was the funniest or most surprising thing about working together?
Meti:
Honestly, what surprised me was how naturally everything aligned without needing much explanation or overanalysing. It felt like we were all pushing in the same direction from the start. That kind of alignment doesn’t happen every day.
James:
Each version came back reinforcing the same idea rather than pulling it somewhere else. That was probably the biggest surprise for me. There was no tug of war creatively. It made it much easier to stay precise and not lose the identity of the track.
Your music balances experimental ideas with something really danceable. How do you keep that mix from tipping too far one way or the other?
James:
It starts with defining the foundation. Once you’re clear on what the track is built around, whether it’s a melody, a groove, or a specific energy, that becomes your anchor. When that’s locked in, you don’t feel the need to overcomplicate things.
Meti:
Everything else becomes supportive rather than competitive. You can experiment, push textures, try unexpected elements, but they have to serve the core idea. The moment something fights for attention instead of adding to it, it doesn’t belong.
When you’re producing together, do you usually split tasks, or is it more of a free-for-all jam session?
Meti:
It’s quite fluid. With this one in particular, it was more about passing the project back and forth and refining what was already resonating.
James:
Each pass is about pushing the same idea further rather than changing direction entirely. It keeps the process focused and controlled.
Are there any sounds or techniques you’re obsessed with experimenting with right now?
James:
Lately, the focus has been on finding sounds that feel complete on their own. Something that can hold attention without overcomplicating things or needing too many layers.
Meti:
Especially for larger spaces, where a single element needs presence. If one sound can fill the space by itself, everything around it becomes about enhancing that power rather than stacking for the sake of it.
If “Angel Wings” had a personality, how would you describe it?
Meti:
It feels playful on the surface, but there’s a darker current running underneath. There’s tension there, and despite the title, it’s not as innocent as it first sounds.
James:
Yeah, there’s a bit of a devil-may-care attitude to it. It feels like it’s not asking for permission, just moving how it wants to. There’s that push and pull where it could tip either way, but it never actually loses balance.
Do you imagine people dancing to your tracks while you’re making them, or is it more about the feeling the music gives you in the moment?
James:
When I’m listening back, there’s always a figure in my mind moving to it. If I’m sitting working, that figure does the dancing for me, so you’re already seeing how it lives in a space before you’re even in one.
Meti:
But it still comes back to feeling. If it translates for you internally, you know it’s going to connect physically as well when people are actually in the room.
When people hear the track for the first time, what’s the reaction you hope sticks with them?
Meti:
That it pulls you in instantly. There’s no gap between hearing it and being part of it. You’re not observing the track, you’re feeling it.
James:
It should feel like that first rush when you walk into a party and everything’s already popping off. You’re not waiting for it to build, you fall straight into it, engulfed in peak energy.
What’s something you want to try next, a sound, a style, or a type of collaboration you haven’t done yet?
James:
We’re moving more into mainstage territory now, but keeping our identity intact. It’s still about strong, recognisable ideas, just built to hit harder in bigger spaces. In terms of collaborations, there are a few artists we’ve looked up to for a while that we’d love to work with.
Meti:
Some of those names we’ll keep close to our chest for now, haha. But stepping into rooms with more artists who’ve inspired us — that’s the next evolution for us. Where we’re headed is about maintaining impact without losing control. Making records that feel immediate but still have depth when you sit with them.
