IN CONVERSATION WITH SOOYEON

interview by MARIE-PAULINE CESARI
photography HIDHIR BADARUDDIN 

Numéro Netherlands Digital presents Korean DJ sooyeon, a rising force in London’s club scene known for her high-energy sets, bold attitude, and genre-blurring sound. Fusing bass, techno, and UKG, her latest single, 'more than a friend' — released on Jamz Supernova’s Future Bounce — was hailed by Mixmag as one of 2024’s best.

After a summer of standout sets, including Glastonbury, sooyeon is stepping confidently into her own as both a DJ and producer. Formerly known as Oh Annie Oh, her name change reflects a deeper connection to her Korean identity, now woven through every aspect of her creative journey.

In this interview, we catch up with sooyeon to talk about her creative evolution, the making of Block N Delete, and why embracing chaos on the dancefloor might be the most healing thing of all! 

What got you into music and DJing? Who were your early inspirations?  

Honestly, it was the Spice Girls. They were my first memory of being absolutely obsessed with music. I low-key think it’s why I decided to move to London, haha. I also listened to a lot of Radiohead and Björk—a very moody teenager, for sure. But club music was where I really expressed myself, sneaking into clubs to see DJs and electronic artists in Toronto, where I grew up. I always knew I wanted to be part of the music industry, and my love for club music has landed me with the greatest job in the world.

Your sound blends UK bass, techno, and leftfield club music. How did you develop your style?  

I have this memory of being in a club when I was 17, just dancing, vibing, no pretension, and letting the music engulf me. That early entry into club music and curiosity is a memory I hold dear. When I sit down to create a track, that’s who I have in mind as the listener. Being in the UK for over a decade has also influenced a lot of the sounds I’m drawn to—bass, UKG, techno—but I love throwing it all together and creating something fresh.

You’ve played everywhere from huge festivals like Glastonbury to underground clubs. How do you adapt to different crowds?

Whether I’m playing in a 100-capacity room or at a festival for thousands, I approach and prep for the set in the same way. What changes is the energy in the room and the context of the set. I’d play a different set at 11 p.m. in a London club than I would for a 4 a.m. closing set at Glastonbury on Monday morning (which I’ve done!), but playing off and reading the crowd is something I love doing.

'In the club, we are all disassociating' is all about losing yourself on the dancefloor. What inspired the track, and how did the collab with Adam Curtain happen?

I feel like what we need now more than ever is to let go and have a proper good night out. Things are insane in the world right now, and there’s no better place to find and create community than in front of some massive speakers, all connecting through music. Letting go on the dancefloor is what keeps me sane—we all need to do that more. I wanted to create a track that allowed for that.  

I met Adam through a mutual friend of ours—he makes great club music. We collaborated on my first EP and it’s really fun working with him. It feels very comfortable and open. We’re both drawn to similar sounds and energy, and it’s really great when you meet someone like-minded to work with.

The track has a hypnotic, immersive feel. How did you create that vibe in the production?

The lead bass sound that wobbles all over the place was made on a synth we had in the studio that day. I was playing around with manipulating the sound, and it sounded so good we ended up using it as the melody of the track. The drop gives me goosebumps—surround sound vibes—definitely one to listen to on big speakers or headphones. I’m weak for a wobbly bass.

Your next release 'More Than a Friend' is coming soon! What can we expect, and how does it compare to your past work? 

I’m so excited for this release… It’s definitely the fastest and hardest track I’ve put out so far. It’s also the first track I’ve put my own vocals on. I wanted something chaotic and thumping for the summer, and I think it delivers.  

I worked on this track with my partner, Tom VR—he was the one who pushed me to try using my own voice on the track. Because it was him, I felt comfortable doing it, and I’m so glad I did! I’m definitely going to explore this more, and soon you won’t be able to get away from my voice, haha.

You’ve worked with underground producers but also recently with Jax Jones and Rebecca Black. How do you balance those two sides of your music?  

I feel like regardless of the labels you put on music, if the approach to creating something comes from a meaningful and shared intention, that’s what matters.  

With the Jax Jones and Rebecca Black project, I really connected with what Jax wanted to create and the intention behind the track. My approach was, “How can I be part of that?” Jax’s new project is totally different from what he’s known for—he’s trying something new, incorporating how his surroundings have inspired him and what feels true to him.  

All these threads align with what I aim for in my own music, so the collab made total sense. It’s similar to my other collaborations—if you believe in the meaning behind what you’re creating, you’re all just working toward the same thing.

Your remix of 'Bad Boys' drops soon too! What was your approach to reworking the track while keeping your own sound? 

The original track has a very specific sound—Jax describes it as "Polly Pocket techno," which is iconic. I wanted to create a version that carries specific elements, like the addictive vocals of the original, but with a different tone. The OG feels really emotional to me, and I wanted to keep that element, manipulate the vocals to make it ethereal, and of course, make it for the club!

Do you see yourself continuing to balance darker club sounds with more pop-leaning collabs, or do you think one will take over?  

I want to do it all! It’s so easy to put yourself in a box, to only adhere to one lane—but who made the rules? I love being inspired by all kinds of genres and sounds, and I’m also a pop girlie to the core. 2000s pop raised me.  

I only started releasing my music recently, and learning and creating through collaborations across genres is such a gift. I still have that playful curiosity that comes from being at the beginning of a journey, and I want to harness that—it’s magic!

Your podcast 'Don’t Call Me Exotic' tackles identity and representation. How does that tie into your work as an artist?

The podcast has been part of my personal journey and has guided me more into self-discovery and healing. There’s no doubt in my mind that it’s shaped how I approach everything else in life. Looking inward and discovering other people’s journeys in identity and representation has made me more empathetic and opened my perspective—and that can only be a positive in terms of creative expression.  

I recently changed my artist name to my Korean name. My previous name was one I gave myself when my family moved from Seoul to Toronto when I was six years old. After releasing music and seeing that name on streaming platforms and in publications, I realized something didn’t feel right. I ultimately figured out it was the disconnection from that name.  

Changing my name to ‘sooyeon’ was the grown-up me showing up for that six-year-old and giving her the recognition and representation she needed. Having projects like the podcast has given me a chance to learn—and it’s felt like therapy in a lot of ways.

Fashion is a big part of your artistic identity. How does your style influence your performances?  

Fashion and music are so intertwined for me—they’re constantly influencing each other. Since I started putting music out, I’ve been able to incorporate styling and art direction into my projects, which has been so much fun.  

I approach each project with a concept behind the release, and how I want to express that is shown through visuals and styling—whether it’s vulnerability, attitude, confidence, or power. I absolutely love being able to see the music and visuals as one mood and era, the way the pop girlies do it—and I might just bring that whole vibe into the electronic club world.