Br3ndy Blue – Feature Interview – Zone Magazine Issue 052 –

DJ, producer and founder of the Neurotics Recordings. DJ B3ndy Blue first played records in the garage and at school parties before getting a chance to play on the dance floors of clubs and festivals. She started DJ’ing in 1995, when she was invited to play in a Lisbon club, becoming a resident of that club 4 years. This very positive experience gave her the opportunity to learn and develop the skills needed to become a fairly complete DJ. Accustomed to long sets and always with great quality, the focus is definitely the dance floors. As a producer starting in 2001, these creations culminated in her latest inception, Neurotics!

In 2016 Neurotics Recordings was born to the world, bringing irreverence to the dance scene elevating it to the highest level. The rest of the story you’re going to witness…

DJ, manager, and a born entrepreneur. A multifaceted individual who clearly leaves a lasting impression…When and how did music begin for you as a DJ?

For me, music started in a very homemade, unpretentious way. I got married at 24, and we didn’t have much money, so I decided to create the wedding playlist myself. It was something very intimate.

Since I had no knowledge of DJ software or production, I used Adobe Premiere Pro to build the set: I downloaded songs from YouTube, stitched them together as best as I could, and created a three- to four-hour session entirely to my taste—without understanding genres or technique, just guided by intuition.

Five years later, in 2019, I went to Tomorrowland, and that trip completely changed me. When I came back, people around me really encouraged me because they felt I had something special with music. They gifted me my first controller, a DDJ-RX, and even encouraged me to take courses with DJs from the festival itself.

That’s when everything started to become serious. I went from doing it out of necessity and being completely self-taught, to actually training and truly believing I could dedicate myself to this.

Tell us about your biggest influences and your artistic name.

When I started training—through courses with DJ B Jones—I had the chance to speak with major artists like Juan Magán, José AM, and Felix from Lost Frequencies. That’s when my career really began in my mind.

At the time, my influences were very clear: hardcore, hardstyle, and festivals like Defqon.1 and Tomorrowland. I was fascinated by that energy, that intensity, and the whole electronic music world.

Interestingly, someone who influenced me deeply—despite being very different stylistically—was Salvatore Ganacci. I was inspired by his showmanship, how he connects with the audience and turns every set into a performance. Back then, I didn’t distinguish between a technical DJ and a showman; over time, I understood they are different paths, although they can coexist if you know how to balance them.

As for my artistic name, Br3ndy, it comes from something very personal: my middle name, Brenda. I adapted it, changed some letters, and added a number to make it more unique.

I clearly remember the moment I saw ‘Br3ndy’ written with the 3, the ‘y,’ and in blue—my favorite color—and felt I had finally found my identity. I had tried many names before, but this was the first one that truly felt like mine. To this day, very few people know my real name—for most, I am simply Br3ndy.

When and how did you become a manager for well-known artists?

My role as a manager came very naturally, as a result of entering the DJ world. When I got my own manager—someone who helped me break into the industry, get gigs, and understand nightlife—he quickly realized I had a strong skill: people skills.

He always told me that everyone has a strength, and mine was communication—talking to people, building trust, and creating connections.

At the same time, my partner, who is also a DJ, had always wanted someone to manage him. So everything fell into place organically: we joined forces, and he became my first artist. That’s where I truly started as a manager.

From there, I became very active—networking constantly, opening doors, and gradually managing and booking shows across different parts of Spain. I worked with well-known profiles such as Danny BPM, El Cejas, and David Bustamante.

It’s true that not everything was always official, as I also helped friends and acquaintances within the industry, but that doesn’t take away its value. At the end of the day, I was already acting as a manager—creating opportunities and moving artists within the industry.

You must have plenty of stories from the entertainment world. Can you share any?

I’ve been in the entertainment world for about six years, and although it may sound strange, I’m not someone who has typical ‘funny’ anecdotes… my sense of humor is a bit dark (laughs).

But there are moments that stay with you. I remember one in particular: I was playing in a major venue, everything was going perfectly, the energy was high… and suddenly a huge fight broke out—one of those where the entire club gets involved.

What was curious was how I experienced it from the booth: while everything was happening at full intensity—people shouting and moving rapidly—I perceived it in slow motion. It was a very strange, almost cinematic feeling.

I wouldn’t necessarily call it ‘funny,’ but it’s one of those moments that, over time, you look back on and smile at because of how surreal it was.

Let’s talk about the highlights and challenges of your profession.

One thing is very clear to me: people still think being a DJ is just pressing play—and it has absolutely nothing to do with that.

The beauty of this profession is creating moments. It’s not just about playing music; it’s about reading the energy, choosing the right track at the right moment, and creating harmony. For example, I often play during the afternoon, and I aim for everything to align—the sunset, the atmosphere, the smell of the sea, the taste of a cocktail… everything in sync with the music.

The most exciting part is seeing people’s reactions. When you see those faces that say, ‘wow, I’ll never forget this moment,’ that’s when everything makes sense. The same goes for night sets—you don’t have to play only fast or heavy music; you can evoke memories, connect with emotions, take someone back to their childhood or a special moment. For me, that’s the real job of a DJ: touching people’s hearts.

The hardest part is how the industry has changed. It’s no longer enough to be a good DJ—you also have to be an image, a content creator, almost an influencer on platforms like Instagram or TikTok. Sometimes it feels like you constantly have to sell yourself, and not everyone is comfortable with that.

There’s also an industry challenge: talent and experience are not always what’s valued most. Some incredibly talented artists don’t get the same opportunities because they haven’t adapted to this new way of communicating. And on the other hand, some profiles connect more through image and social media.

This creates frustration, ego issues, and comparisons—but it’s the reality. The industry evolves quickly, and if you don’t adapt, you fall behind.

I’ve seen it firsthand. There are DJs with far more experience and incredible technique who don’t have the same visibility. But today, it’s not just about how you play—it’s about everything you build around yourself as an artist.

In the end, the best part is the ability to create emotions and memories; the hardest part is accepting that this is no longer just about music—it’s also about communication, image, and constant adaptation.

Who would you like to work with, and who would you repeat with?

I’ve been lucky enough to share lineups and do warm-ups for both national and international DJs. One name I remember very fondly is Hernán Cattáneo.

Interestingly, I’ve never been able to hear him live while working together because we played in different rooms, but I had the privilege of getting to know him as a person. We had a close, genuine conversation, and he struck me as very humble and human. That matters a lot to me.

I always speak in plural—my husband and I—because we’ve been a team from the start. Behind every set, there’s a lot of joint work: while one focuses on music, the other handles content, contacts, and press kits. We complement each other.

If I had to choose who I’d repeat with, without hesitation, it would be my partner. We have incredible chemistry in the booth—we know when to play, when to hype, how to read the crowd.

One unforgettable night was at the Café del Mar terrace, where we gathered over 1,000 people. The energy was magical—commercial music, constant interaction, balloons, details… a real celebration. We alternated roles, connecting deeply with the audience. It was one of the best nights of my life as a DJ.

He performs under the name Pink Distorcion and has a strong trajectory, having played in venues like Masia, Spook, Fabrik, and Chocolate. He’s an incredible DJ and truly deserves recognition.

So if you ask me who I’d repeat with—it’s him, as many times as possible.

What’s next for you as a DJ?

I feel I’ve achieved beautiful things in Spain, but my next step is going international—exploring other European countries and expanding my market.

Interestingly, I connect most with international audiences—people aged 35–40 and above, especially from the UK, France, and Belgium. That makes me feel I could fit naturally abroad.

I’m also aware of my weaknesses. Traditional Spanish music—flamenco, rumba—is not where I’m strongest. My roots are Argentine, and I grew up with Argentine rock, so my musical sensitivity comes from a different place.

I’d rather excel in what I truly connect with.

My big dream is to perform at a major festival—ideally electronic—and to share that experience with my partner.

More than what I’m missing, I see it as what’s coming: going international, growing, and living that festival experience that truly represents us as a team.

Anecdotes or memorable experiences?

There are many, but what impacts me most is how quickly life can change in this world.

I went from a stable life—married, with a daughter, at home—to taking a leap into this without ever having performed live before.

My first time was in an iconic venue in front of 300 people. I had only practiced at home with headphones… and suddenly I was on stage.

Afterward, I went to the beach alone and cried—because I realized my life had changed forever.

Since then, I’ve played in places like Mombasa Tarifa, Marchica in Aragón, Café del Mar Tarifa, and the W Hotel Barcelona.

It’s been intense, but absolutely worth it.

How do you see AI in the industry?

There’s a lot of ego and envy, as always when something new disrupts the rules. But if an AI-generated track moves people… does it really matter how it was made?

We’ve seen this before with autotune. The audience ultimately decides.

For me, what matters is creating the best possible experience. AI is just another tool—like sync once was.

Why is there so much ego and envy among DJs?

It exists in every profession, but here it’s more visible.

Ego often appears when someone feels they’ve worked hard and sees others rise faster. I’ve experienced it myself—I had moments where success got to my head, until reality grounded me.

Now I aim for balance. There’s always something to learn.

Envy often comes from comparison. But in reality, it’s more about frustration. The industry evolves, and adaptation is key.

At the end of the day, envy doesn’t move you forward—work, attitude, and evolution do.

Where do you see yourself in 10 years?

I’d like to be much more established. Right now, I’m in a pause—I’m seven months pregnant—and that’s made me rethink everything.

I do many things: DJing, artist management, social media, audiovisual content, my own clothing brand, even drone piloting.

I’m structuring everything to come back stronger.

I also had a project with my partner—playing together at events like motorcycle gatherings—which we’ve paused for now.

We’ve always worked as a team, and that team may even grow—our daughter is already creatively involved, and who knows about the future.

Life evolves, and we evolve with it—always as a family.

Advice for those starting out

It’s simple: it’s not enough to know how to DJ or produce—that can be learned.

What really matters today is knowing how to sell yourself.

Marketing, social media, content creation, photography, video—knowing how to communicate who you are.

You can be incredibly talented, but if no one knows you, you’ll stay limited.

Whether you use sync or vinyl doesn’t define you. What matters is positioning, communication, and visibility.

Because you can be the best in the world—but if you don’t know how to promote yourself, no one will ever know.