With summer coming to an end, Maher Daniel is preparing to bring his sound to southern Spain for the grand closing of Sophie Festival on September 13 (tickets here) at Málaga’s Ogus Park. Sharing the bill with Bicep, Overmono, Ross From Friends, Logic1000, and Mai Iachetti, the night will gather some of the most exciting voices in electronic music today.
For Daniel, who has taken a more selective approach to touring this year, this show feels like the perfect opportunity to reconnect with an audience that comes ready to celebrate one last dance of the season. Sophie Festival, now in its third edition, has quickly positioned itself as a key player in Europe’s open-air circuit, and this closing chapter is set to confirm its rising reputation.
We had the chance to speak with Daniel ahead of his show and look back on his journey so far, from his formative years at Stereo Montreal to the upcoming ten-year anniversary of his label, The Other Side. We also dive into some of the broader issues shaping today’s scene, including his conviction that audiences “should absolutely be more demanding — not just of artists, but also of festivals, labels, and everyone involved in the industry, especially when it comes to values and funding sources.”
Where are you answering us from right now, and how’s your summer been so far?
I’m currently in Montréal, visiting my parents and catching up on some long-overdue admin — things like passport and visa renewals. Summer’s been good: busy, but also pretty chill. I wanted to take more time off this year and be selective with my shows, so it’s worked out well.
You’ll soon be in Málaga for the grand closing of Sophie Festival, sharing the stage with Bicep, Overmono, Ross From Friends, Logic1000, and more. How are you feeling as the date gets closer?
Super excited for this show and happy to be part of the closing ceremony. I’ve seen Sophie grow since day one; when Giorgio first mentioned it, I knew it would be something special for the region. I couldn’t be happier to help close out this season.
Sophie has become one of the most ambitious open-air events in southern Europe. What excites you most about being part of this new chapter for Málaga’s cultural scene?
It’s always great to be part of something fresh and evolving. Even though it’s only their third season, and they had a tough one due to the authorities last year, the resilience and progression have been incredible. I’m really happy to contribute to the cultural growth in Málaga and bring my energy and music to the scene.
What do you think makes a closing night special?
It’s the culmination of an entire season’s work from the team, staff, and artists — everything coming together for one final dance. The fans know it’s the last one, so they show up with extra energy, and I have to match that, which makes it even more special.
“I don’t think my background directly shapes my artistic vision. I grew up playing in a punk band in Dubai, then got into dance music in Montréal. And my Palestinian origin is a core part of my identity.”
When you prepare for a huge open-air event like Sophie, do you approach it differently than you would an intimate after-hours event?
Not particularly. People often talk about higher energy or bigger records for festivals, but for me, every record can be big — it’s about how you play and program them. Sure, I have some tracks that are more festival-oriented, but it always comes down to reading the crowd and creating the right moment.
Looking back, how has your life changed since your first releases compared to where you are now?
With every release, my life changed a bit; it brought me closer to people I admired and wanted to work with. Over time, we all grow and evolve, and those early releases helped shape who I am as an artist today.
Your early years at Stereo Montreal are often remembered as legendary. What did those nights teach you about shaping your sound and building rapport with a crowd?
Those were special days: no cameras, no phones, just music and the dance floor. Being a resident there taught me patience and the value of being an opening act: learning how to build the room and set things up for the headliner. It was all about telling a story and taking everyone on a journey.
You’ve spoken about growing up between Montréal, Dubai, and the US, and being Palestinian by origin. How do those different backgrounds and your roots feed into your vision as an artist today?
I don’t think my background directly shapes my artistic vision, but my upbringing definitely influences who I am. I grew up playing in a punk band in Dubai, then got into dance music in Montréal thanks to my brother. My Palestinian origin is a core part of my identity and personality; it’s always with me.
Back in 2017, you spoke about The Other Side’s second release, where you built a piece around Gabriel García Márquez’s Nobel speech: “The first person that came to mind to remix this record was Ada Kaleh, and he delivered a monster, which I’m extremely happy about,” you said. How do you remember that time?
The label has been a wild ride and still is. I love every minute of it. Even though we’re not putting out as much as we did at the start, those early records really set the foundation for the label and my direction as an artist. Coming up on ten years in 2026 and sixteen releases later, I’m still excited about what’s ahead.
What was your initial vision for The Other Side when you launched it, and how has it evolved over the years?
The original (and still current) vision is to put out cutting-edge music, support new acts, and create a platform for showcases. There’s so much talent out there, and it’s important to give artists a platform. The industry is saturated, so helping others when you can is key.
Running a label means also embracing the artistic journeys of others. Has curating music for others changed the way you approach your own productions?
Definitely. Some of the records I’ve signed constantly blow me away and make me think about new approaches. I’ve learned a lot from the artists I work with, and it’s made me more attentive and evolved my own production style.
You’ve collaborated with some of the most respected names in minimal and house, but also surprised many with your work alongside Sia on I Forgive You. How did that collaboration come about, and what did you take away from that experience?
Big thanks to Dan Bernad (Sia’s husband) for the opportunity! He heard me play at Sunwaves, and through mutual friends, we connected. With her new album, they wanted something different on the remix front, and it was a chance for me to showcase a different side of my production: more broken down, ambient, and electronica. Working with Sia was incredible; I’ve been a fan since her Zero 7 days, so it was a bit surreal.
When you’re in the studio, are you more of a “capture the energy in the moment” type of producer, or do you go deep into endless details?
It depends on the day: sometimes things just click, and other times I get deep into the details and arrangements. But honestly, I love to jam and record. My rule of thumb: always be recording.
Is there a past performance that still gives you goosebumps whenever you think about it?
There have been a lot of special moments, but this year’s 5.5-hour back-to-back with Ricardo closing out the Space Miami terrace stands out. It was our first official, start-to-finish B2B and was just an incredible experience.
As audiences, do you think we should be more demanding not only of artists, but also of festivals, labels, and other industry players, especially when it comes to values, positioning, and where their funding comes from?
Yes, I think audiences should absolutely be more demanding, not just of artists, but also of festivals, labels, and everyone involved in the scene, especially when it comes to values and funding sources. When festivals or labels are tied to controversial funding, like pro-Israeli investment funds, it’s not just a business decision — it directly affects people’s lives.
For those of us watching our own communities suffer, this isn’t abstract or political; it’s deeply personal. By asking hard questions, demanding transparency, or even boycotting events, audiences can push the industry to be more ethical and responsible. The music scene doesn’t exist in a vacuum, and our choices –where we spend our money and attention– can drive real change.
For those of us watching our own communities suffer, this isn’t abstract or political; it’s deeply personal. By asking hard questions, demanding transparency, or even boycotting events, audiences can push the industry to be more ethical and responsible. The music scene doesn’t exist in a vacuum, and our choices –where we spend our money and attention– can drive real change.
And finally, after Sophie’s grand closing, what’s next for you and The Other Side?
For the label, we’re gearing up for The Other Side’s ten-year anniversary tour starting in 2026, so there’s a lot in the works. We’ve got some serious music coming out from artists like Arapu, Dragomir, Alci, Fumiya Tanaka, Thomas Melchior, San Proper, Ohm Hourani, Volkan Akin, and more.
Gig-wise, September is light with a few shows — one for Solid Grooves at DC10 and then some time off before heading to South America and the US for a few shows in October. Honestly, everything feels exciting right now because I took time to focus and get everything aligned, which has given me a real boost.
Gig-wise, September is light with a few shows — one for Solid Grooves at DC10 and then some time off before heading to South America and the US for a few shows in October. Honestly, everything feels exciting right now because I took time to focus and get everything aligned, which has given me a real boost.
