Chloe MooreDublin-based DJ and producer Cody Wong has quickly become a standout name in the new wave of electronic artists blending progressive house, euphoric trance, and driving techno.
Originally from Donegal, he’s earned over 15 million streams and support from BBC Radio 1 and artists like Ben Hemsley, Sim0ne, and Hannah Laing. His 2025 “Drifting in Motion EP” on OBSCUUR and debut Australian tour marked a major leap in his rising career. With high-energy sets and a nostalgic-meets-futuristic sound, Cody Wong is shaping the sound of the dancefloor’s future.
What inspired you to start DJing and producing? Was there a moment that made you say, “This is it, this is what I want to do”?
When I was a kid, my cousin was a DJ, and I always looked up to my cousins like older brothers, so it planted a seed early on. Then, when I was about 15, one of my mates got a set of decks that pushed me to get my own and give it a go. I was DJing for a few years before I properly got into producing. I used to find it challenging, but as I got older and more patient, it started to click with me.
Going to Life Festival in 2019 was a turning point for me. I was just blown away by the whole experience — the crowd, the music, and the energy. I remember standing at the main stage thinking, someday I’m gonna be up there. After that, I got stuck in. I was throwing house parties every week in Sligo, got support from a few Irish DJs I looked up to, and landed a residency in a club in Letterkenny. It was all going in the right direction — until the pandemic hit.
Like many people, I lost motivation during the pandemic. I started doubting myself and saw music more as a hobby again. But when Life Festival returned in 2022, I went with my mates, and something reignited. I told them, “Next year, I’ll be on that stage,” and unbelievably, I was. Ben Hemsley signed one of my tracks and brought me up to play it. That full-circle moment reminded me why I do this. Only this year did I fully realise: this is what I want to pursue.
Do you consciously aim for a specific vibe when you’re producing, or does it come naturally through experimentation?
At the beginning, it was all trial and error — just experimenting with different genres, trying to figure out what felt right. I think that’s how it is for most people starting. I’d go from making house one week to something completely different the next, but over the last 6–7 months, I’ve really started to lock into a sound that feels right to me.
It’s taken years to get to this point. There were a lot of phases where I wasn’t fully happy or confident in what I was making, or I wasn’t being true to myself. But now, I feel like I’ve landed in a space where the music feels natural and true to what I want to put out there. I still keep a bit of that experimental mindset. I try not to box myself in too much. Sometimes, the best ideas come when you’re just messing around with no expectations — but yeah, it’s a class feeling to finally be able to say I’m proud of what I’m making and know what I want my sound to be.
You’ve built a strong online presence. How important is digital exposure today compared to gigging in clubs?
In this day and age, I think it’s really important to be active online. It’s not ideal, but being real, it’s just part of it now, and we kind of have to get on with it and keep moving with the times to stay present.
I think finding a balance between digital presence and gigging is key. Nothing beats the energy of a proper crowd and feeling the response when your music hits. That’s where the real love for it comes in. Social media is great for getting eyes on you, but at the end of the day, people will remember you most for the memories you gave them during your set. That’s why I always try to give everything I have when I’m up there.
How do you prep your DJ sets? Are you someone who plans meticulously or vibes off the crowd?
I’m always digging for new music, but it really depends on the set — how long and where it is. With shorter sets, I tend to be more precise about what I play since there’s less time to make an impact. For longer sets, I have more flexibility to experiment and throw in more unreleased music.
Sometimes I get nervous playing out unreleased stuff, though, just in case it doesn’t go down well with the crowd, but maybe that’s just me overthinking it.
I always have a backup playlist ready, too, so if I need to switch the vibe quickly, I can easily dip into it to keep the energy going.
Was there a specific synth, plugin, or piece of gear that defined the sound of your newest release?
For my latest EP, the synths that stood out were Dune 3 and a few of the U-He plugins. I’ve been using Dune 3 a lot over the past few months. It’s super versatile and has a really clean, powerful sound that cuts through well.
At the same time, U-He plugins like Hive and Diva have been a big part of shaping the more euphoric elements in my tracks. A lot of the main synths on my tracks were made using Diva. Serum is always a go-to in my projects as well.
It does kind of depend on the project, though. I’ll jump between different synths depending on what I’m trying to get across. Some plugins suit certain moods or sounds better, and some are just easier to get ideas out with quickly.
How do you keep your sound evolving without losing what makes it you?
For me, it’s all about staying curious — trying new plugins, exploring different styles, and always digging for fresh sounds. Over time, I’ve found a sound that feels true to me, so even when I experiment, that identity still comes through. I think your music naturally evolves as you grow — each track becomes a snapshot of where you were at that time. In the end, I just try to make music I enjoy. If it excites me, there’s a good chance it’ll connect with others, too.
What’s something about the electronic music world you think needs to change or be challenged?
Attention spans are changing everything — from how we produce tracks to how we present them. I miss being able to drop long club edits and take people on a journey, but now there’s pressure to keep things under three minutes for online engagement. It feels like we’re writing for algorithms, not people.
On top of that, the constant push to stay online feeds burnout and anxiety. We need more openness around artists’ mental health, because at the end of the day, music should be about connection, not content quotas.
Where do you see your sound heading in the next year or two? Any genres or influences you’re excited to explore?
I’m heavily influenced by the euro/bouncy trance scene that’s popping off in Europe — like Germany, Belgium, and the Netherlands. I’ve been to a few events and I just love the energy and atmosphere. It’s all love at these events. No animosity, just people there for the music and to have a good time.
I’m going to keep pushing this sound and see where it takes me. My sets have been going down well in Ireland, so this euro dance/bounce sound is working here. I’ve been getting support from some of my favourite DJs in this genre too, which is cool. So yeah, we’ll see how it goes.
