Nikka Lorak operates across multiple disciplines, and that dual perspective shapes how she approaches music from selection through performance. With a background in film directing and fashion photography, her work carries a clear sense of structure and visual awareness, which translates into how she builds sets and releases records.
Originally from Belgium and now moving between London, Mykonos, and the Middle East, she has developed a global footprint that includes appearances at Ministry of Sound, Fabric, O Beach, Afrikaburn, and Dubai Opera, alongside speaking at IMS Dubai on the relationship between visual arts and electronic music culture.
Her latest single “Grateful” continues that trajectory, reflecting a more focused and intentional approach to both production and DJing. The conversation below centers on how she navigates a streaming-first environment while maintaining control over her music library, her decision-making process when selecting tracks, and how she builds a working system that supports consistency in high-pressure club settings.
The Philosophy of Ownership vs. Access
When asked about the difference between owning music and accessing it instantly through streaming platforms, Lorak is clear: “Owning music creates commitment. Streaming creates possibility.”
For Lorak, the distinction is fundamental to her identity as an artist. “When I own a track, it becomes part of my vocabulary. I have tested it, lived with it, understood where it breathes and where it breaks. Streaming is a constant flow of ideas. It inspires, but it is also fleeting. As a DJ, especially in peak time techno, I cannot afford fleeting. Streaming is discovery, but ownership is identity.”
Curating for Impact
The ease of access provided by modern platforms has fundamentally changed how Lorak maintains her library. “It has accelerated everything,” she explains. “I discover far more music than I could ever realistically play. That forces me to be more selective. My library is no longer just a collection, it is a filter. I separate inspiration from execution.”
To ensure her crates reflect deliberate curation rather than convenience, she relies on a rigorous process of testing. “If a track does not survive multiple listens in different environments, it does not stay. I test music in context, not in isolation. A strong track on its own does not mean it will work in a set. My crates are built like narratives. Energy flow, tension, release, contrast. Everything has a role.”
Maintaining Intentionality
In an era where new music is released at an overwhelming pace, Lorak preserves her artistic identity by limiting her intake. “I protect it by limiting it. The tracks that define me are few. That is intentional. If everything feels special, nothing is. I revisit them, refine how I play them, and sometimes remove them from rotation to preserve their impact.”
Ultimately, Lorak’s workflow is defined by the friction she creates on purpose. “I do not perform directly from streaming. If a track is worth playing, I download it, organize it, and prepare it. That process builds a relationship with the music. In a world of instant access, intention becomes a practice.”
