Interview – Anthony Pappa

When it comes to electronic music in Australia, there is one name that stands out as having been there from the beginning. Anthony Pappa is not just an enduring international DJ, he is a founding father in the scenes of progressive breaks, progressive house, melodic techno and trance. While these genres have changed a lot over the decades since, Anthony’s passion and commitment have stood the test of time. He went deep with Down Under Sound ahead of a tour of the East Coast for the return of Global Underground.

Q. Anthony, you are still touring the globe, playing back-to-back DJ sets with other icons of dance music, like Dave Seaman. How do you find the time to produce and remix music too?

I am very fortunate to still be able to do the job that I love as my full-time career and continue touring the world since I first started DJing 40 years ago. Dave Seaman and I have been good friends for over 30 years, and we really enjoy playing back-to-back whenever possible.

As far as music production goes, it’s about fitting it in whenever possible around the touring schedule. These days, it’s pretty easy to work remotely from anywhere in the world, which helps. When working on music, I collaborate with other producers who are more studio-based than I am, so that also helps with getting things done.

Q. During the pandemic in 2020, you recorded Big Fish Little Fish: Anthony Pappa at Family Fun House Kitchen Rave, Sep 2020 (DJ Mix), which is available on Apple Music. Growing up with Italian origins in Melbourne, it must be a given that family is very important to you. What was the idea behind this mix and how did it help you get through that difficult period of time?

The Big Fish Little Fish organisation and events are excellent. They asked me to play for them before COVID, when my daughter was five years old at the time, and I thought it would be a great thing to be involved in so she could see me DJ and understand what I do.

During the COVID lockdowns, I did a lot of streaming from home, so they asked me if I could do one for them, which of course I was happy to do. The Apple Music mix was the live recording from that stream.

Q. Your EP with Fauxplay and vocalist Leo Wood, ‘See Me’, was released in November last year on Music To Die For Recordings. Recently, the track was included on the GU compilation, Global Underground: Select #11. The digital and CD versions have a continuous mix by UK duo, Trafik. You have collaborated with a lot of other artists over the years. How did this record take shape?

This particular track came together through Johnny Hudson, who is my manager and also the owner of the Music To Die For label. It was his idea to pair me up with Fauxplay so we could work together, and “See Me” was the result of our first collaboration.

Since then, Fauxplay and I have released “Plasm” and “Voltaire” on Sudbeat, and we also have a track titled “Forever Seeking” due to be released on Early Morning. We have a bunch of other tracks that we’re currently working on as well — some of which will be for our follow-up release on Music To Die For, and others for different labels that we have in mind.

Q. The electronic music genre known as progressive breaks has had quite the resurgence in recent times, which is a godsend for fans of your output from around the turn of the millennium. You have produced with some of the artists bringing it back, like Framewerk. In fact, your March 2026 EP together, ‘Sunspill’, is a tour de force of prog breaks, progressive house and melodic techno. That one is out on Capital Heaven. How do you feel about the state of progressive breaks in the modern dance scene?

Working on that collaboration with Framewerk was great. They asked me if we could work on the project together, which was to be the 500th release on their Capital Heaven label. We delivered four mixes, so the package had something for everyone — from ambient and breaks to progressive.

I have always liked breakbeat tracks, and it certainly has its place in the modern scene. Personally, I don’t let genres dictate what I like or play. For me, it’s simply about playing good music, and as a DJ, it’s about programming the right music for the right time and occasion — whatever genre that may be — as long as it’s good and takes you on a journey.

Q. Down Under Sound previously interviewed APRÓ, who supported you when you played at The Warehouse (formerly Family Nightclub) here in Brisbane in 2023, for Berry Juicy. That was followed by the Strawberry Moon Festival at Eaton’s Hill Hotel, also from Profound Sounds Entertainment. I remember seeing you there when you were just an attendee. Do you often attend festivals in Australia, and how does that interest you as opposed to being on the line-up of DJs?

Usually, I only attend a festival if I’m on the lineup and playing at that festival. On the occasion that I saw you, Louise and I had been invited to attend as guests.

Q. You played at Balance Croatia in 2025, and you are returning for the 2026 Balance Festival there. The Balance Music record label originated in Melbourne, and you were the artist responsible for release 006 in 2004, which spanned two mix CDs. What are your thoughts on the festival and seeing how a local label has grown into something encompassing the entire globe, while featuring the biggest names in the scene?

I’m super happy to see Balance grow as an international brand and to be able to host this festival with some of the best DJs in the world. Tom from Balance is such a lovely guy and deserves all the success. I’m extremely proud of what he has accomplished.

Last year’s festival was amazing and definitely one of the highlights of our year, and I can’t wait to do it all again this year. What made the festival so special was the sense of love within our community for our scene and our music — a style and sound that we have all been pushing for many years, which felt like it was all leading to this moment.

The fact that it is a festival dedicated to our sound, rather than a multi-genre festival featuring EDM or techno, also made it very special and relevant to us.

Q. Over the years, you have held DJ residencies in the UK, New York, and Japan, for Renaissance, Twilo and Womb. How have more recent international gigs compared to the time you spent overseas in the past?

The gigs now are just as good as they were back then and, in some cases, even better because of how far our scene has progressed and grown over the years.

I still play events for Renaissance around the world. Most recently, I played for them in Mexico and England, and I’m returning to Japan next week to play at Womb in Tokyo. It’s great to see that these clubs and brands are still going strong.

Q. With decades of experience in electronic music, both in production and as a DJ, and having been involved with countless events, you must have some real gems of wisdom to pass down. Though the scene has changed a great deal since you began, what advice can you give to someone who has started mixing tunes in their bedroom and dabbling in making beats?

Become a DJ because you truly love the music. Produce music because you love it and want to share your sound with the world. Be passionate about what you believe in and work hard at it. Do all of this because you love it and live it.

Do not get into music because of hype, fame, or social media followers. There are too many “fake DJs” out there stealing the spotlight for all the wrong reasons, when more dedicated and talented people should be getting those opportunities to shine.

Q. Hailing back to your GU Nubreed release from 2000 to now in June 2026, you are playing for Global Underground with Sasha, Danny Howells and James Zabiela, with dates in Melbourne, Brisbane and Sydney over the first weekend in June. What sound are you focused on bringing to these events?

My usual sound is what I am currently playing. I’m all about moving forward with my music, which is what I do, and what the other DJs on the night will also be doing.

On a few of the shows, I’ll be playing earlier sets, so I’ll tailor my set for that time, holding it back a little. On one event, I’m playing late, so that set will be more banging.

Thank you, Anthony, for taking time out of your exceptionally busy schedule to indulge us and share your experience. Your music career is truly beyond inspirational, as is your genuine and affable approach to life and those around you.