It’s been almost a month since Biianco dropped Bruv Parade, and the track is still everywhere, from late-night festival sets to sweaty club basements. Their hyper-charged, cheeky twist on Da Hool’s Love Parade doesn’t just nod to rave history; it kicks the door open with a grin.
Running at a breathless 150 BPM and built around that unmistakable synth line, the track flips nostalgia into a full-blown club weapon. Biianco injects it with their signature playfulness, turning the song into a shared moment between the DJ and crowd. No wonder DJs like Ki/Ki, Sim0ne, and Mija were spinning it from day one, or that fans flooded the artist’s inbox asking for the release date before it was even announced.
But Biianco is much more than just a viral track. Based in London but rooted in LA’s creative chaos, they’re a producer, vocalist, engineer, DJ, and live performer, and they’re also navigating the music world with partial sight loss. In this interview, they open up about how their visual impairment has shaped their process, from dealing with lighting on stage to needing to close one eye just to read a screen. It’s that resilience, honesty, and ability to turn challenges into creative fuel that really sets them apart. And with their next single, a high-energy collab with Ammara called Lock It, dropping August 28th via Ultra Records, it’s clear they’re just getting started.
Hey Biianco! How are you doing? Where are you chatting with us from today?
I’m actually chatting with you on a flight from Munich back to my home in London. So, hello from 35k feet in the air.
Your new track, Bruv Parade, dropped less than two weeks ago, and it’s already making waves. What kind of vibe were you going for with this one?
I was trying to pay homage to Da Hool’s iconic Meet Her at the Loveparade track. I also wanted to make something that would fit seamlessly into my DJ sets from an energy, speed, and historical perspective.
What made you want to revisit that iconic tune and put your own spin on it?
For the past year I’d heard so many different edits of this, and I wanted to make one that placed the synth front and centre but also was self-aware enough to break the fourth wall with the audience and acknowledge it (“ohhhh you wanna hear that thing?!”).
You cranked up the tempo to 150 BPM, which is pretty wild. Was that a conscious move to make something crazier for the dancefloor?
That’s the BPM I spin around, so that’s why I chose it.
How did you balance paying tribute with keeping it fresh and uniquely yours?
I think tapping into self-awareness of the iconic synth line and this new culture of editing every classic track to death that has slammed into the dance scene was my way of keeping it fresh and real.
I love your playful vocal lines, like “this ain’t THAT song.” How important was humour or cheekiness to the track’s personality?
I wanted to turn it into an inside joke that the DJ and the audience are in on together, but also honour that unstoppable sound.
You’re a multi-instrumentalist, producer, engineer, vocalist, DJ, and live artist. How do you juggle all those roles when you’re making new music?
I actually think of it more as little weapons I have that make creating music a bit easier for me. The only role that feels more difficult to balance is that I am often the vocalist on many of my tracks, as well as take the lead on the engineering and production. This is where I’ve started building a community of close-knit collaborators I can lean on. If I’m going to be the singer on something as well as the producer, I’ll bring an amazing top-line vocalist in to help me write a part for my voice. Otherwise, the balance between sidechaining the bass and writing a vocal melody can make my right and left brain explode.
Your music’s blowing up with millions of streams and major DJ support. How does that kind of recognition impact your creative process?
I like to listen to what is resonating, both with other DJs and with audiences, and then lean more in that direction. It may encourage me to make more tracks like that so I can hand them off to the DJs who have supported similar tracks in the past.
You mentioned getting over two hundred messages asking when Bruv Parade was coming out. How does that fan hype affect you?
It makes me want to get the song out very quickly! But in all seriousness, Bruv Parade was actually the third song I’ve had that had a very significant viral moment with lots of people asking for it on socials. That’s only the first step in the process of giving a track legs. Then you need to properly promote it.
You’ve had to deal with partial sight loss while building your career. How has that experience shaped your music or performance style?
Being visually impaired has forced me to adjust in more ways than you can imagine. Even sitting here typing these answers, I have to shut one eye to see the screen clearly. I am often deciding whether the lighting in a club or stage is distracting so much that I need to cover my impacted eye (hence, the eye patch). I’ve definitely needed to practice more to get to the level where I’m at because sometimes I can’t see what my right hand is doing (it’s my right eye that’s been impacted).
How does Bruv Parade fit into your sets?
Always in the middle and always before another iconic remake. I’ve created something that I can’t wait to show the world. It always tends to be an audience favourite too.
You’ve played major festivals and clubs all over the world. Is there a place or crowd that’s really connected with Bruv Parade so far?
Germany — literally anywhere in Germany. They are the official babysitters of that track. The audience’s appreciation is unmatched.
Your Gaia party brand supports FLINTA artists globally. How does that commitment influence your music and community?
Well, I’ll tell you I’ve had many, many long and impassioned conversations with FLINTA DJs and artists where we’ve expressed how exhausting it can be to fight for a name and a spot for yourself in such a cis-male dominated industry. It’s been a bit of a bonding experience for a lot of us to discuss how necessary these types of equalising efforts are. It’s been beautiful to connect and build relationships with the artists I have the privilege of bringing onto these lineups. I cannot wait to announce some of the shows we have coming up.
Ultra Records seems like the perfect home for your sound. How did that partnership come about?
After my first big viral moment, I went through a period where my team suddenly had a ton of labels trying to sign us. Ultra showed up so decisively and never wavered as we navigated that process, and they’ve become like a little family to me now.
Any wild moments or challenges you want to share from the Bruv Parade production process?
We had to get Da Hool’s permission to let us release it, which definitely took some time, but ultimately, I love thinking that such a legend approved me releasing an homage to their track.
You trained in LA, but now you’re London-based. How do those two scenes influence your sound?
LA has the warmest and most loyal friendships you can ever find. London has the warmest, most loyal music scene you can ever find. So, when I got to London — and Europe in general, because I spend a week every month in Berlin working on music — I found my voice and my sound. But it’s often the friendships and the passion from Los Angeles that continue to elevate and champion it.
Thinking back to when you collaborated with Moonzz on pray2u a few years ago, how has everything changed for you since then?
For one, I’m a visually disabled ex-pat who makes 150 BPM hard trance now!
If you had to describe Bruv Parade in three words for someone hearing it for the first time, what would they be?
DJ’s best friend.
What’s next for Biianco? Any exciting projects or collabs coming up?
Gaia’s all over the world. Non-stop music I’m making with so many new friends. To be honest, I’m just getting started.
* Biianco “Bruv Parade” is out now. Get it here. Look out for their debut collaboration with Ammara, “Lock It”, out August 28th, also on Ultra Records.
