Chloe MooreFrom long Dublin residencies in the early 2010s to releasing on heavyweight imprints like Knee Deep In Sound, Origins, and You & Me Records, Kamorah has steadily built a reputation as one of Ireland’s most exciting underground exports.
His latest release, the No Limits EP on Josh Baker’s You&Me, has already picked up support from the likes of Marco Carola, Richy Ahmed, and Fleur Shore– not to mention regular spins on BBC Radio 1 Dance, a milestone he’s been aiming at since the beginning.
But for Kamorah, it’s never been about chasing trends or locking himself into one corner of the tech house spectrum. His sound is fluid, shifting with whatever he’s feeling at the time — sometimes vocal-driven, sometimes stripped-back, but always designed with a dancefloor in mind.
That ethos is matched by his vision for Dublin: a city buzzing with fresh promoters and hungry young producers, even if he still dreams of a venue three times the size of the old Hangar to truly showcase it.
Grounded, approachable, and with an eye firmly on the future, Kamorah is grafting with intent, whether that’s dropping basslines that crowds literally sing back to him, championing Dublin’s rising stars, or setting his sights on international stages in 2026. For him, there really are no limits.
Your new No Limits EP marks your debut on Josh Baker’s You & Me Records. What inspired this four-track project, and how did it come about?
When I’m making a new track, I always try to picture it being played at a particular club or festival. For this EP, the main track, No Limits, was inspired by the energy on the DC10 terrace. Once it was finished, I sent it to Josh, and I was delighted that he wanted to sign it. We went back and forth for a few months, deciding what other tracks would work on the EP. I’m really happy with the outcome — all four tracks are different but work well together.
Your All Aboard EP on Knee Deep In Sound had a big, vocal-driven tech-house vibe. How do you think your sound has changed or evolved since then?
The vibe of my tracks is always changing. I kind of just roll with whatever I’m feeling at the time, so I don’t have a signature sound. I probably sit somewhere between tech house and minimal, but don’t worry too much about subgenres. Similar to my DJ sets, I like to mix it up with sounds that are all under the same umbrella. No need to follow any rules!
How has the reception been since the release dropped in early July, especially when playing these tracks in your DJ sets?
The reaction to the new EP has been amazing. It’s been supported by a lot of big DJs, including Josh Baker, Marco Carola, Richy Ahmed, and Fleur Shore. I’ve also gotten regular support on BBC Radio 1 Dance, which has been a goal for me since I started making music, so I’m really happy with the response!
Dublin has a vibrant underground and club culture. What iconic local venues or promoters shaped your early gigs, and how does the scene feel today?
I was fortunate to have some great residencies when I started playing back in 2013. I had regular gigs in the Village Garden (now Opium) and was a resident with promoters like Jack, Sense, and Strictly Deep, so I had some great gigs most weekends in places like the Hangar and Button Factory. The set times were always longer back then, so I gained a lot of experience playing four- or five-hour sets.
The Dublin scene is in a good place now. There’s a great mix of promoters running amazing events most weekends, so fair play to them because I know it’s not easy!
That being said, I would love to see a city centre venue that holds 4,000 to 5,000 people, like we see in other cities. Something like the Hangar, but 3 times the size, would be perfect!
Dublin’s got a lot of fresh talent coming through right now. Are there any local artists you’re really into or thinking about working with?
There are so many great producers coming out of Dublin at the moment. I think Obskur and Andrew Azara have paved the way for Irish producers to be really successful in the tech house scene. I’m also loving everything from XTC, Dickie Clare, Lukey, and EOB at the moment. DAYL, a proud Clare man, is also making some great tunes and doing big gigs in Ibiza right now, so I’m excited to see what the future holds for him!
How do you balance the pull between underground credibility and tracks that work on big festival stages?
I believe there’s a fine line between balancing underground credibility and performing on big festival stages. For me, it’s all down to the quality of the music; there are a lot of tracks out there that I know will work on a big stage but aren’t deemed as cheesy or too commercial.
Who were your biggest influences growing up, inside and outside of dance music?
My dad worked as a radio sound engineer for a long time, so naturally, I think the idea of “training your ear” is something that I became familiar with early on. I was also always interested in the technical side of how it all worked, so I think that definitely had an impact on my entry into the music industry. In terms of influences in the music industry, since I first started, I’ve had a lot of respect and admiration for artists like Jamie Jones, Hot Since 82 & John Digweed. They’re great DJs and producers, but I also admire how they carry themselves as people in the industry, something which I think is really important these days!
What do you want people to feel when they leave a Kamorah set?
The goal for me is for people to enjoy the full duration of the set and feel like they were engaged from start to finish. I don’t like the idea of playing whatever for 2 hours, then playing 2 or 3 massive hits at the end to get a reaction and some content for social media. It’s very cliché but the best sets are when the DJ has the respect of the crowd for the full journey, and the energy levels adjust throughout to suit the crowd!
Which track from your recent catalogue gets the biggest response in clubs right now?
The response to “No Limits” has been amazing. I’ve heard people singing the bassline melody, which is always a good sign. “To the Point,” which I released on Origins Records back in December, is still getting support from the likes of Marco Carola, so that’s a close second!
Do you see yourself performing internationally in 2026? Any cities or clubs on your radar?
I hope so! My goal is to be booked to play at one of the big parties in the UK or in one of the big clubs in Ibiza in 2026. I feel like I’ve taken things up a level this year with regular support from big DJs and solid releases, so hopefully, my goals aren’t too far away. I’m a strong believer in grafting for as long as it takes, so I’ll get there at some stage!
What role has the Sub Society collective played in shaping your taste, output, and local exposure?
Sub Society was a great project to be a part of. Jonathan and Eric are good friends, so it felt right that we started a collective like this. We had some great gigs together; we were all busy with a lot of different things, so the project probably didn’t reach its full potential.
Lastly, what impact do you hope your music has on people when they hear it on a dancefloor, or even alone in their headphones?
I care a lot about the quality of my tracks before they go anywhere, so hopefully, that shines through when people are listening. Overall, the aim is to make a hit that still sounds fresh in 10 years- easier said than done!
