Hedda Stenberg: "Preparation gives me confidence and spontaneity keeps it alive"
- 4 hours ago
- 6 min read
Hedda Stenberg is a Swedish DJ and producer based between Amsterdam and Berlin. Her sound moves through melodic and indie house, balancing driving basslines, percussive flow and melodies that stay with you long after the night ends. Each set is built with intention and instinct, shaped by a precise sense of selection and a clear understanding of how to hold a crowd without forcing it. She has developed a reputation for creating sets that feel alive and constantly shifting, where tension and release are carefully woven together. Behind the decks, her energy is focused and direct, turning clubs and festival stages into spaces that feel both intense and open at the same time. She has developed a reputation for creating sets that feel alive and constantly shifting, where tension and release are carefully woven together. Behind the decks, her energy is focused and direct, turning clubs and festival stages into spaces that feel both intense and open at the same time.
When did you realize you wanted to become a DJ, and what was the defining moment that pushed you to pursue it professionally?
I got hooked on electronic music as a teenager, and then at every party I went to I wanted to be in charge of the music. Then when I was around age 20, I met a girl who was DJing and I got so inspired that I signed up to a DJ course in Spain, and my friend and I soon ended up playing together as a duo. It was just for fun still, but somewhere along the way I realized this was something I genuinely needed to pursue. So in 2020, I decided to move to Amsterdam to get closer to the scene and really commit. It wasn’t the easiest thing, as Covid had just hit and I didn't know anyone there, but pushing through that is something I'll never regret.
Your music spans melodic house, indie dance: how would you describe your sound identity, and how has it evolved over time?
I don’t even think too much about what exact genre I’m playing, I just chase what I think sounds really good and that usually means something very groovy with a driving bassline. Whether that ends up being deeper house or more driving techno depends on the night. My sound has shifted a bit over the years, before I leaned more into melody and emotion. While that’s still there, these days I'm more focused on bringing energy, rhythm and drive. What stays constant is my approach: I dig for new music constantly, but I also go back deep into my archive sometimes and pull out things people haven’t heard in a while. Every set is its own selection. And I always think in terms of a journey, I want it to be storytelling where there is a beginning, a build and a peak.
You’ve played at major European festivals and clubs like Loft, Brunch Elektronik, and Loveland: is there a particular event or set that was especially significant for your artistic growth?
One of my first big festivals was Pleinvrees in Amsterdam at the Gardens of Babylon stage, it was the first big stage I played outside of Sweden. I was nervous, but I came well prepared and I told myself to have fun with it, and that's really become my approach to every gig. Looking back, I think it's the variety of all these different shows and slots that has shaped the artist I am today. I always come prepared with a fresh selection of tracks put together specifically for each gig, but I always leave room to improvise, because reading the dancefloor is always necessary. That balance between preparation and following the energy in the room is something I've really developed over time, and it's become central to how I play.
How important is improvisation during your sets, and how do you balance preparation with spontaneity?
I touched on this a bit already, but in short: preparation gives me confidence and spontaneity keeps it alive. Because you never know what the dancefloor will be like and If the room is telling me something, I try to listen - while still staying true to what I think would be interesting to introduce or try out. You can’t play too safe sets and you can’t play just completely for your own sake either.
You curate events from time to time, what artistic vision are you trying to convey, and how do you select the artists you invite?
Yes, I love doing this and want to do it more — so stay tuned, because I have some exciting events coming this year. For me it's about creating a night that feels cohesive but still full of surprises, where every artist brings their own thing but it all makes sense together as a whole.I love supporting and collaborating with other artists, and I'm especially drawn to booking upcoming talents. There's something really exciting about early supporting someone you believe in and giving people someone new to discover. I'd always rather book someone smaller with a genuinely great track selection and a real connection with the crowd than someone who just has a big Instagram following. That said, this year I'm also collaborating with some bigger artists too, but what all artists share that I’m inviting is that I love what they are doing and I think they are genuine in their art and will fit the vision. That’s what will make it something very special.
What has been the biggest challenge in your journey as a DJ, and how did you overcome it?
I think the biggest challenge is that in this industry, you really are on your own in many ways. You can get great opportunities, but ultimately it's always up to you to show up and deliver, nobody is going to do that for you. There's a lot that goes into it that people don't see: the travels, the late nights, the hours spent on creating music or music digging and just keeping everything going. You have to keep pushing to keep growing or to stay relevant. What’s helped me is trying to stick to good routines, not saying yes to everything and surrounding myself with the right people - because even if you're ultimately responsible for your own journey, who you have around you makes a real difference.
You’ve shared stages with artists like Dixon, Black Coffee, and Camelphat: what have you learned from them, and how has it influenced your own approach?
I think what strikes me most is how different the approaches can be at the highest level. Dixon is very much about educating the dancefloor and challenging the crowd, taking them somewhere unexpected. Black Coffee is more about creating an incredible vibe and just pulling everyone into his world. It’s very interesting to take into account and has made me more aware of what I want to convey. Beyond the music, I've also noticed that the biggest artists tend to be very professional and grounded, which is something I really value and try to carry into how I approach every gig. Playing warm-up sets before some of the biggest artists in the scene has taught me a lot too, because you have to balance building the floor without giving too much away before the headliner.
What do you aim to communicate to people through your sets, and how do you hope your music affects the atmosphere on the dance floor?
I want it to feel like a wild living room where we're all just vibing together. I love playing on stages that are eye level to the dancers because I feel more connected to the floor that way and it feels more like a shared experience. Ultimately I just want people to feel present, free and lose themselves in the music for a while. At some point I also want them to feel like they will explode with energy and excitement. I love dancing myself, so I know exactly what that feeling is like, and that’s what I want to generate.
Looking ahead, what are your main goals both as a DJ and as a producer?
My biggest goal for 2026 has been to get my music released, and it's finally happening very soon so I'm really excited about that. I'm also very interested in collaborating and being creative with other artists, I get so inspired from that. And I have plans to create my own kind of musical space and community, something that feels very much like my own world. More on that soon!
You’ve performed in cities like Amsterdam, Berlin, and Stockholm: how does your performance change depending on the city or the audience?
Every city has its own energy, and every dancefloor does too — I try to meet that while still delivering my signature sound. In Berlin there's more of an opportunity to be experimental and play things I've never played before, because the crowd there is very open to that. In Amsterdam I feel very at home in the scene, and I usually have a good sense before I even arrive of what the audience and vibe is going to be like, which means I can come very prepared and focus on just delivering a cohesive set and enjoying it.
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