Photo Credit: evgenijten
Philipp Straub has spent more than two decades shaping the global dance scene. From his early days in Vienna co-founding The Space Navigator and building one of Central Europe’s most influential booking agencies, to releasing on iconic imprints like Bedrock and Intec, he has cemented his reputation as both an artist and an entrepreneur. His sets are known for their energy, depth, and passion, and he continues to play a key role in developing electronic music communities across Europe, the Middle East, and beyond.
When we were in Vienna to see Carl Cox, something unexpected happened. As we walked into O – der Klub, Philipp Straub was already behind the decks. For nearly two hours we danced our way to the front, completely swept up in his energy. You could tell how much fun he was having, and when Carl came out it felt like two old friends reuniting. Philipp stayed up there all night, smiling and sharing the stage. I was blown away.
The next day I reached out to learn more. By that evening we were chatting and arranging this interview. I really enjoyed seeing him perform, getting to know him, and learning more about his journey. It is an honor to introduce you to Philipp Straub.
A leading head of electronic music and also a successful DJ & producer since 1993.
You’ve been part of the electronic music world since the early 90s, with your first major label signing happening in 1993. How did you first fall in love with dance music, and when did you know you wanted to make a career out of it?
Well, I was looking for finding my own path. I didn’t want to go into the more conservative family business direction and that time was super interesting in terms of culture and music. Europe was on the rise. Freedom was majorly felt around us. The edge from the analog to the digital world. An evolutionary moment. Also, for music. That changed. A lot. And became fresh, more dimensional. Born in the 70s I grew up in the 80s with probably one of the best music chapters in history (I find). That organically led into the 90s when dance music was born. When sneaking into clubs a minor in Vienna and experiencing the vibe, the sound, music from Snap to 2 Unlimited that blew my mind. At the same time music from Jean Michel Jarre or Mike Oldfield inspired me to dream. At some point “clubbings” began and purely played house music. Those moments when experiencing the culture, the spirit around, the vibe I knew I want to be part of it. But you must understand that back then it really was a movement much more than a business. Now it’s the opposite, but some of us “veterans” try to keep the old ethos at least somehow alive and continue to steer the industry into a good direction.
Growing up as the son of hoteliers, you developed a deep appreciation for travel and hospitality. How has that shaped the way you approach DJing and connecting with audiences around the world?
Well researched. Yes, I had the pleasure to grow up always traveling. Once that’s in your DNA you don’t want to miss it. I call it being a global nomad / or global gypsie. My home is the planet or more the people around me can become my home – much more than one place. Maybe one day that changes but so far it does not. Traveling I experience as one of the major essences in life. Meeting new people, new cultures, different vibes, etc.… but also when traveling that’s a great time to reflect and get out of daily routines.
You’ve got quite a few tattoos. Can you tell me about your very first one, and what inspired it?
When I was 17, I was kind of a rebel. Of course, a tattoo was a must. To provoke. Also, my parents. So, I went to a tattoo artist in the suburbs of Vienna. Had one done. But it turned out that the guy wasn’t the best. It was ok, but not a masterpiece. I later met Klaus Fuhrmann, who remains a close friend to this day. He won several championships and is a true old-school master of this craft. Around once a year I meet him for a catch up and we do a little session. Speak about our lives. Health. Conspiracy theories. Listen to music. A place where I leave my phone and watch at home. So over time this summed up. And at some point we kind of embedded a little concept which now slowly is coming into its final round I guess,
Do your tattoos carry a story of your musical journey? Is there one that stands out as especially meaningful to you?
Not really. I got some symbols from Buddhism that mean a lot to me. Some good mantras. And some Japanese letters that stand for labels I released music on. The rest are shaped and patterns that Klaus, the artist, is famous for. Plus, to break a bit of his usual known pattern that always go with the muscular structure of the human body, I embedded stars. I like that contrast of shape and forms.
I recently saw you in Vienna, opening for the legend Carl Cox at O – der Klub. Your set blended seamlessly into Carl’s, and the energy was unforgettable. What was that night like for you from behind the decks?
I started to play in Vienna in the early 90s and always kept playing quite a lot of shows there. When I then moved to Dubai around eight years ago that changed. People say only when you get full support and appreciation in your hometown then you really have global success. I like that. Carl is a very close friend for over 30 years too and once a while we play shows together. Vienna was a home coming basically and the second gig this year for me. It was great, not only as with Carl it’s always a perfect and easy vibe in terms of work, but also as this time I felt like coming home. A young audience that for sure didn’t know me much, but who I could convince with my sound, mixed with so many faces from the different chapters and episodes of my old live in this city. Kids from friends who I had in primary school, friends from different schools as well as work projects. Ranging from 18 to 60 probably. A retrospective of life somehow.
You and Carl clearly share a great relationship. Do you remember the first time you met him? What has it meant for your career and inspiration to share stages with him?
Sure I remember. I took care of an event in Linz, Austria. Danube Rave. 1993, I think. And after the gig brought Carl to the airport in Vienna. But he lost his passport, so we had to stay in Vienna for some days. At that time there was no internet so getting a new passport took time. We bonded in this week and become friends. He then invited me to some of his shows, and I invited him to many of mine. I released on his label, we had vacation together, I stayed in his houses and until today we got the same bond. Like an older brother to me. A true friend. Always there when needed. And that goes far beyond business.
Of course I shared the stage many times in various countries. But I also never wanted to build my career on the back of his. I had my own path with which I am happy with. But it’s great to see that him as one of the few first-generation DJs is still on top of his game.
You’ve played clubs big and small across the globe. Do you prefer intimate club gigs where you’re close to the crowd, or massive festivals with thousands dancing in front of you?
I like every / any gig really. But the bigger the show the more you switch in safety mode. Less room to experiment. When you play a small room and people can see the white in your eye, they can basically look into your soul. So then you must be authentic. Open. Honest. No acting. More challenging but also more pleasing in the end.
Where are some of your favorite venues in the world to perform, and what makes those nights special?
I always loved Japan. It’s just so different to most other places. But there are many amazing destinations around the globe. The scene and world constantly move so within five to 10 years the scene in one place won’t be the same. Which means it’s a ongoing rediscovery.
Over the years, you’ve released on some of the biggest underground and prestigious imprints including Bedrock, Yoshitoshi, Deeperfect, 8bit, and more. Looking back, do you have a release that feels especially pivotal in your career?
I always thought as a DJ you also must release records. It’s two different jobs, but still strongly connected. So yes, I always pushed that angle too. Not only taking gigs from the market but also contributing own music. But it also never really impacted my career enormously. It more made it wholesome and full.
You have worked with so many different labels throughout your career. Are you actively reaching out to them or are they approaching you?
Both ways, but yes label business is very demanding, and you need a lot of patience as artist working with labels.
Can we expect a new single, or maybe even an EP, from you this year?
Yes, a couple of new releases coming.
When you’re producing, where do ideas for tracks usually come from? Do you go into the studio with a plan, or do you let inspiration guide you?
I mainly get ideas when listening to music on the plane. When watching the horizon. Being melancholic a bit. I use this to create an idea. Then in the studio, I continue and develop it into something good. Most of the time at least.
With such a long career, how do you keep evolving your sound while staying true to what makes your sets and productions unique?
The main part is digging music. And going deep. Finding your own sound. DJ tracks are tools for me. Resembling emotions. Some lift you up. Some slow you down, etc. I use them in such way to build my sets. But must feel emotionally touched and connected to each of them.
Your sets are known for putting the clubber at the forefront, almost like you have a sixth sense for reading the room. Can you walk me through how you approach a set whether in a small room or a festival stage?
I try to get an understanding on the venue. The sound system. The time I play. The DJs before and after. The culture, etc. Then I go into research mode and create kind of like a digital record box. A playlist of songs I plan to play. Structured a bit. Probably around 100 to 120 of them. Those I use as basic concept of which I use around 20 to 25. Then once in the flow I mix that with tunes I remember from past shows where I want to recreate a similar energy.
Mistakes happen in live shows. Have you ever had something go wrong during a set? How did you recover and keep the party going?
Happens of course. To the best. Once a while. You just continue. With a smile and confidence. Easy. The worst thing was that once when with Stephan Bodzin on a show in a castle we both been drunk and thought what happens if we pull one plug that was stuck into the wall. Well it turned out all blacked out. Sound. Light. All. It took a while to get back. We had fun. The audience enjoyed us having fun too.
You’re not only a DJ and producer but also the CEO of Titan International and heavily involved with Network Artists. Can you tell me about these companies and the services they provide?
Titan was a typical sub agency for representing many many top DJs in central East Europe. For many many years we dominated and heavily influenced the scene. Network Artists we found in UK as global consultancy company for venue operators and hospitality groups developing strategies for them in entertainment. We also add talent buying as second layer once this is done. Titan now over time also was repositioned a bit and does a bit of management for artists and brands.
Titan is recognized as one of the leading agencies in Central Europe, thanks to your innovative approach. How do you balance wearing so many hats as DJ, producer, CEO, and mentor while staying grounded?
It’s nice. I can choose every day what I want to do. Create music. Play music. Write concepts. Plan new ideas with clients who often are friends and so on. I enjoy that diversity of activities which all somehow are connected to each other still.
You’ve been a mentor and a hero for the BURN Residency competition. Why is nurturing the next generation of talent important to you?
Well it’s important to give back. And when we started there was no one really to support you a lot as we all started around that time. Now it’s about passing on for the legacy I find.
Looking back at your career, what moments stand out as defining milestones?
All in total. That after over 30 years I am still able to curate what I love more less on a daily base.
You once said, “I need excitement in music, and when I generate this for myself, I generate it for my audience.” Can you expand on that philosophy and how it guides your work today?
Authenticity. When you feel motivated or thrilled then it’s easier to pass on this vibe and energy to others including a crowd.
Finally, when fans walk away from one of your sets, what do you hope they feel, remember, and carry with them?
Inspired and happy. Fulfilled. But recognizing that this was reached not with the only usual tracks known everywhere but also with a lot of new music they didn’t know.
Thanks for doing this, man. I really enjoyed seeing you perform and spending time doing this interview. In all the interviews I do, I always give the artist the last word. Go.
Thank you for the opportunity. In the end we all together in this and the individual position is less important than the motivation and adding to it overall. That’s what I appreciate too.
For more information about Philipp Straub:
Website | Facebook | X | Instagram | SoundCloud | YouTube | Spotify
