Pier Mood: "Every project is a step toward the stage of dreams"

Pier Mood is an Italian DJ, producer, and promoter known for his innovative and versatile approach to electronic music. With a background as a rock musician, he has successfully blended the energy of live performance with house, tech house, and progressive sounds, creating dynamic and engaging sets. His international experience includes performances at clubs such as HIGH Club Benalmadena, TRUE Club Torremolinos, and Radio Beachgrooves Marbella, establishing his reputation across Europe. His productions have been released on prestigious labels like Trax Records and Expmental Records, while his remix collaboration with Eddy Romero reached the top 12 in deep house on Beatport, expanding his global audience. Since 2024, he has launched Mood Nation, a project encompassing events and a label that highlights his growing influence in the industry. Soon to perform at major events like Sonar Week, Amsterdam Dance Event, and summer nights at Ibiza’s Eden, Pier Mood is solidifying his position as one of the most promising talents in the contemporary electronic music scene.

Your career started as a singer and bassist in rock bands across France and Spain. How has that experience influenced your current electronic music?

I still think like a guy in a band, not "just a DJ". Singing and playing bass in rock bands taught me two things that are in every set I play now: groove and attitude. The bass has to tell a story on its own, and the vocal or hook has to feel like someone shouting feelings in your face, not just a nice topline. That rock background also gave me a sense of dynamics: verses, choruses, breakdowns – now I translate that into build-ups, drops, and long tension arcs on the dancefloor. And on stage, I don’t hide behind the decks: I treat every set like a concert, with eye contact, movement, and the feeling that we’re all in the same band for a few hours.

Your EP "Shadow In Stereo" just dropped on Mood Nation. What was the main inspiration behind this project?

"Shadow In Stereo" was born from that space between euphoria and doubt – the moments in a club when the lights hit your face, but inside you’re thinking about everything you don’t show.I wanted an EP where the grooves are very physical, almost hypnotic, but there’s always a "shadow": a melody, a vocal fragment, a dissonant synth that reminds you there’s something deeper going on. It’s influenced by nights in small, sweaty rooms, afterparties where conversations get too honest, and my own transition from rock bands to being alone in the studio with a laptop and a thousand ideas. The “stereo” part is the dialogue: light vs dark, indie vs club, head vs body – constantly talking to each other on the dancefloor.

How would you describe your sound to someone who hasn’t heard you before, especially given your blend of house, tech house, and indie dance?

I usually say: "emotional club music with a stubborn groove". It’s house at the core – groove, warmth, swing – with the low-end and tension of tech house, and the melancholy and attitude of indie. I like tracks that you can dance to without thinking, but if you do pay attention, there’s a story in the chords, in the vocal snippets, in the way things open and close. I’m not interested in doing "copy-paste" tech house; I’m building a sound that can work in a small bar in Barcelona, on the radio in Marbella, and one day at Panorama Bar at 9 a.m. when people are half-dancing, half-crying – that’s the north star.

Being a resident DJ on Radio Beachgrooves Marbella has given you the chance to test many live sets. What do you enjoy most about playing live and interacting with the crowd in real time?

Radio Beachgrooves was like my laboratory with people inside it. On air, I imagined someone driving along the coast, someone cooking at home, someone secretly listening at work – and I built journeys for them in real time. Playing there taught me how a tiny change – one hi-hat, one vocal shot, closing the filter a bit – could shift the whole mood of the listener. That residency forced me to show up consistently, not only when I "felt inspired", and that discipline made my sets tighter and my music selection much sharper. It’s also where I really fell in love with radio as a medium, learning how to tell stories through tracks. Now that I’ve moved to Barcelona, I carry all those lessons with me: every unexpected reaction I saw or felt on the Costa del Sol ended up back in the studio and became part of the way I select and produce music today.

You launched your own label and events with Mood Nation in 2024 but have already worked with many notable artists. What have been the biggest challenges in building this new venture?

The biggest challenge is doing everything DIY but with real quality. With Mood Nation, I’m not just the artist; I’m also the curator, the guy answering emails, planning artwork, thinking about distribution, and making sure every release can stand next to my own favourite labels. Building a label and events platform means saying "no" a lot – to tracks that are good but not us, to line-ups that are easy but not inspiring. Another challenge is financial: we’re still independent, so every party, every release is a bet with real money and real risk. But the reward is that Mood Nation feels like a community and a narrative, not just a logo on a cover.

Your live sets often mix energy and emotion, creating moments of euphoria balanced with more introspective passages. How do you build that musical journey during your performances?

I think in chapters, like a movie or a rock concert.I usually start by grounding people with groove – nothing too crazy, just enough to make everyone feel safe in the rhythm. Then I begin to stretch the emotions: a more emotional chord, a vocal that says something real, a bassline that gets a bit more stubborn. I always try to create at least one or two "panorama moments" in a set – tracks where, in my head, I’m already playing that upstairs floor in Berghain and the whole room breathes together. After those peaks, I bring it back down into something deeper and more hypnotic, so people can recover and then go again. The goal is that, when the lights come on, they feel like they’ve lived a whole story, not just heard a playlist.

Tell us about the electronic music scene in Barcelona: what has impressed you most, and how has it shaped your artistic path?

Barcelona is a collision of worlds: tourists, locals, Latin influences, techno heads, indie kids, all squeezed into small clubs, rooftops, and crazy afters. What impresses me most is how open people are – you can go from deep house to something more indie, to a tougher tech groove, and if it’s honest and groovy, people follow. The city forces you not to be lazy: there are a lot of DJs, a lot of events, so you need a real identity if you want to stand out. For me, Barcelona became the place where my rock past, my love for house, and my curiosity for more experimental stuff finally met. It’s also the perfect launchpad to dream big – you play here, you test ideas in Málaga and Marbella, you travel to Amsterdam – and you keep your eyes on Berlin and that Panorama Bar booth as a natural next step.

Your EP and music focus a lot on "intensity" and "emotional contrast". What feelings do you aim to convey when producing or performing?

I’m obsessed with contrast because that’s how real life feels.The emotions I work with the most are euphoria, loneliness, stubbornness, anger, and irony. Euphoria is obvious – that moment when the drop hits and everyone jumps – but I always want a bit of loneliness or nostalgia in there, something that reminds you you’re human, not just a raver machine. Stubbornness is in the grooves: basslines that don’t give up, patterns that push forward no matter what. Anger appears as tension and distortion, but I never want it to be dark for the sake of it; there’s always a light somewhere. And irony is that little wink – a weird sample, a playful melody – that says: "We’re allowed to have fun while we feel all this".

How do you see your sound evolving in the coming months, and which projects or collaborations excite you the most?

I feel my sound moving towards something more refined but more daring at the same time, surfing the indie sounds and involving more synths.I want the grooves to be even tighter and more functional for proper club systems, while the melodies and arrangements become more personal and unpredictable. I’m excited to keep building on the path opened by releases like Mood Nation, Let It Ride, Group of Groupies, and Beat of Freedom, and to invite more artists I respect into the Mood Nation universe – remixers, vocalists, producers who share that emotional, groove-driven vision. The big picture is clear in my head: take this sound from intimate rooms and radio shows to rooms like DC10, Bret, etc., where you can play long, narrative sets and really test the depth of the music. Every project I’m doing now is a step in that direction.

Finally, what advice would you give to someone looking to break into the international electronic scene today as an independent DJ or producer?

First: build your sound and your story, not just your social media. Play as much as you can – bars, radios, small clubs – and treat every set like it’s your dream club; that’s where you learn what really works. Release only music you’d be proud to play at your own “dream gig,” whether that’s a bar in Berlin, a tiny basement, or a festival in the UK – if a track doesn’t move you deeply, don’t expect it to move the world. Invest time in relationships: labels, promoters, other artists – be useful, be kind, show up. And accept that it’s a long game: there is no overnight "international scene" switch. You grow city by city, track by track, set by set – until one day you look around and realise you’re exactly where you were aiming since the beginning.

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