Max HeyraudSofia Kourtesis has spent years blurring the lines between where she comes from, where she lives and the music she makes, bringing together the sounds, people and experiences that have shaped her into a singular force within electronic music.
Peruvian-born, Berlin-based artist Sofia Kourtesis has created a unique sound from the places and people that have inspired her. Her music is rooted in her native Peru’s rhythms and musical traditions and infused with the freedom and energy of Berlin’s club culture, shifting effortlessly between house, techno and organic textures, creating a world that pays homage to the dancefloor but is forged through her own personal experiences.
Since the release of her acclaimed debut album, Madres, Kourtesis has continued to straddle personal storytelling, club music and wider cultural conversations. Her story has seen her go from major festivals and collaborations with some of electronic music’s most influential artists to the point where she’s feeling more and more at home making music on her own terms.
Ahead of her Dublin show at Collins Barracks on 28 August, we spoke to Kourtesis about growing up surrounded by music in Peru, finding a sense of freedom in Berlin, the people and artists who have influenced her, her experiences within the LGBTQ+ community, and learning to value honesty over perfection.
Sofia Kourtesis plays The National Museum of Ireland, Collins Barracks in Dublin next Friday, 28th August, along with Berlioz and Ricky Chong as part of the Wider Than Pictures concert series. Tickets on sale now from singularartists.ie and ticketmaster.ie
How did being born in Peru affect you musically? Music is such an important part of life there, and there’s a real passion for rhythm and dance. Did you feel yourself absorbing that from a young age?
Yes, I grew up surrounded by so many different sounds, more traditional music such as music from the Andes, from Indigenous people, Quechua music, but also Peruvian pop, Salsa and many others. My mum taught me music as she loved music herself, so it was always around me. I think I naturally absorbed the importance of music very young.
You later moved to Germany, which has a very different musical landscape. How did that move change or inspire you creatively?
Actually, my dad used to listen to a lot of Kraftwerk, so I already had kind of a connection with German electronic music.
Moving to Germany made me more productive and pushed me further towards electronic music. The clubs here also became like museums to me, places where I could discover and also feel more safe. Being in a space where you can completely be yourself has a huge impact on your creativity.
As I always say: Peru is my heart, Germany is my motor.
I was in London last week, near Finsbury Park, and saw the droves of people heading to the Four Tet All Dayer, which you played. I couldn’t help thinking that something like that would have been much harder to imagine even ten years ago: a lineup of traditionally experimental and underground artists playing in a space that feels more associated with mainstream or pop-oriented acts. Do you agree that those boundaries have shifted, and how do you feel about that?
I think electronic music is becoming more mainstream because it’s good music. Electronic music artists have something to say and something to create.
You’re also playing in Dublin next weekend at Collins Barracks as part of the Wider Than Pictures series, alongside artists like Mac DeMarco, Amyl and the Sniffers and Super Furry Animals. How does it feel to see electronic artists increasingly being placed alongside artists from more traditional or popular corners of music? Do you think that says something about how the electronic world has changed?
The electronic music world changes so fast. Sometimes that can be scary, but I also think it’s beautiful because I don’t think the electronic world and the mainstream music world should be separated. They can work together and learn from each other.
I had the chance to work with artists like Cyndi Lauper, Coldplay and the Pet Shop Boys through remixes, and I think those collaborations show that these two worlds can really come together. Electronic music deserves to be given the same attention, and there’s so much potential when artists from different sides of the music industry work together.
I also wanted to ask more specifically about your relationship with Four Tet, Daphni (Caribou) and Floating Points, who you’ve cited as major influences. What was it about their music that resonated with you so strongly, and how do you think those influences have found their way into your own work?
They are such nice people, very humble and who always looked after me. Daphni and I have a very special relationship, he is like a brother to me. Before I release music, I always send him my demos.
I always play music by Four Tet, Daphni or Floating Points in my sets as a kind of homage. Their music is very important to me and also very inspiring.
You’ve spoken about how deeply influential the LGBTQ+ community has been on you, particularly trans women. What was it like when you first entered queer-friendly spaces? Was there a sense of liberation in experiencing a space where you could feel completely safe and accepted, and how did that freedom affect your creativity?
My mum was very involved in defending trans rights, so I grew up understanding that you should treat people correctly, without judging them, and protect them when they need it. She also taught me they were very strong humans.
When I first entered queer-friendly clubs in Berlin, it really helped me feel safe. It gave me a feeling of freedom that was very important to me.
You’ve also spoken about experiencing severe discrimination and being sent to conversion therapy after being caught kissing another girl at school, which eventually contributed to your move to Berlin. Can you take me back to that period? It sounds incredibly traumatic, and I’m interested in how you were able to process that experience and eventually move forward from it.
It was a very difficult experience, but in some ways it also helped shape who I became.
A nun saw my best friend and me kissing. I took the blame on myself, because her parents were very religious, and I wanted to protect her. People started treating me like I was a demon. They sent me to a priest who was telling me that my thoughts were wrong.
My best friends and my family helped me a lot through that period, and theatre was also very important for me. Performing as an actress gave me a way to express myself, to liberate myself and to process what I had been through.
You’re very generous about shouting out the people who have helped and inspired you. Why is that important to you? I feel like I don’t see enough artists openly acknowledging the people who shaped their careers, even though almost everyone’s creative journey is influenced by the people around them.
Because I feel gratitude towards the people who have been kind to me. When people wanted to protect me or support me, I remember that. I’m a very loyal person, so it’s important for me to acknowledge those people and share their names.
The music industry can be very competitive, so I think it is nice to remember the people who have been good to you and to say thank you.
I read a previous interview where you said that, earlier in your career, you wanted to be perceived as “cool” by your peers, whereas over time you became more interested in making music that came directly from your soul. What sparked that shift in how you approached your art?
I think it was age and experience. When you are younger, being perceived as cool can feel very important. As I got older, I realised that what matters is that the music comes from my heart. And I realised that my heart is not perfect. Perfect music is boring. More corazón, less perfection.
Do you think the music industry encourages artists to interact with their art in ways that fit neatly into particular boxes? And do you think being genuinely and authentically different is rewarded as much today as it perhaps was in the past?
Working in the music industry is difficult because you need to stay relevant, but I think what really makes you stay is having a strong and loyal fan base that continues to support you over time.
It’s not about likes or followers. It’s about having people who genuinely connect with your music and stay with you through the years. And to build that kind of relationship, you have to be authentic and stay true to yourself.
A lot of your music seems to be informed by pain, pressure and difficult experiences, while also finding ways to champion and empower those feelings. I imagine that process can be quite mentally draining. How do you look after yourself when you’re constantly drawing on such personal or emotionally intense material?
Therapy, my friends and my family help me. But to be honest, I’m not completely there yet, as I’m still trying to find my place. It’s an ongoing process. I’m still learning how to take care of myself while making music and dealing with everything that comes with it.
Let’s talk about your DJ Kicks mix. Congratulations, by the way, I really enjoyed it. What kind of preparation goes into putting together a project like that? I imagine it consumes a huge amount of your brain space for a while, particularly when you’re trying to create something cohesive while still representing such a broad range of music.
Yes indeed, it was very difficult to make my DJ-Kicks as I really wanted to tell the perfect story. As you said, it took a lot of brain space, as it was a lot of work and dedication. One of my intentions was to create something accessible, especially in my home country, Peru and make a sense of connection between there and my other home, Germany.
Let’s talk about Ninja Tune, which has been your home base for a while now. What’s your relationship with the label like, and what has made it such a good fit for you as an artist?
I love them. Luke and Chiara are my rocks. It’s been seven years of mutual love, respect and trust. With them, it was really a feeling, an instinct. I always, especially in my music, follow my instincts, and I think that’s why our relationship works so well.
You’re playing Dublin next weekend at Collins Barracks. What can people expect from the show, and is there anything you’re particularly excited about bringing to the Irish audience?
I’m really excited and looking forward to this show. Irish people are some of the friendliest people in the world. They make me feel special. They make me feel at home. I will play some new music and give everything I can.
