Sacha Muki: "I chase imperfections—that’s where magic is"

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Sacha, born in the 1980s in the south of France, is an influential figure in the international underground music scene. His passion for music began at the age of 14 thanks to a Wu-Tang Clan vinyl, which introduced him to the world of hip hop and skate, DMC, and graffiti culture. Later, he got closer to house music through parties on the French Riviera, starting his DJ career in clubs in Cannes. In 2007, he became a resident DJ at Palais Club and then at Gotha Club, sharing the decks with big names like Solomun, Carl Cox, and David Guetta. A highlight was mixing at Prince’s after party, where he was invited to "scratch" throughout the entire show. In 2008, he moved to London, where he secured a residency and played in over 25 countries at prominent festivals and clubs. At the same time, he is one of the main DJs at BAL des FOUS, a very popular daytime event. As a producer, he uses vintage synthesizers and drum machines, creating a contemporary sound with influences from italo, new wave, punk, and funk. He has released several EPs from 2017 to the present, including some charitable projects, and continues to work on new endeavors.

Your first real encounter with music was through a Wu-Tang Clan vinyl at age 14. How did that moment shape your relationship with sound, and what elements of hip-hop still influence your music today?

I was already immersed in hip-hop culture — the skateboarding, the graffiti, the mixtapes on cassette — but the day I laid my hand on that Genius/GZA vinyl was the moment everything clicked. That tactile connection, the feeling of controlling the music with your own hands… I knew right then that this was what I wanted to do. What still stays with me today is that culture, because hip-hop wasn’t just a genre, it was a movement. And of course, the art of sampling. That mindset, that way of flipping and reinterpreting sounds, is still central to how I create music today.

These days, I don’t really listen to hip-hop anymore — except for my vinyl collection from ’94 to 2001, which I still treasure.

You've shared the decks with legends like Carl Cox, Solomun, Jamie Jones — and even played for Prince. Which of those encounters left the biggest mark on you, either emotionally or creatively?

I’ve shared the booth with many big names, but Carl Cox and Prince left two very different, yet equally powerful marks on me.

Carl’s energy is unmatched — after more than 30 years, he’s still driven by pure love for music, with a humility that’s rare in this industry. I’ve had such a good connection with him that one day, I was offered the chance to play at Epizode Festival in Vietnam — but only if Carl agreed to let me open for him. I had to ask him directly, and guess what? He said yes without hesitation. That kind of openness, that generosity, is something I don’t see often these days.

Most DJs today are more like influencers — deep into fashion, shallow on music. They call themselves producers but buy ready-made tracks. Carl is the exact opposite: real, grounded, and still obsessed with sound. Sharing a moment like that with him gave me a huge push — it made me want to level up.

Prince, on the other hand, was much colder and more discreet. But what an artist. People only see the moment you shine — the show, the lights — but they forget what it takes to get there. Prince spent years alone in his garage learning every instrument. I did the same in my teenage bedroom, four years of obsession, learning, trial and error. That silent grind — the invisible part of the journey — is what truly shapes you. Watching him reminded me that greatness doesn’t always speak loud.

Your sound blends italo, new wave, funk, and punk influences over a strong electronic foundation. What does your creative process look like in the studio, and how important are your vintage analog machines in shaping your signature sound?

For me, everything starts with a jam — no screens, no mouse, just hands on the machines. I like to keep it raw and spontaneous. I’ll often start with a groove on the drum machine, then layer a bassline from the SH-101 or Moog Voyager, and let it evolve from there.

My vintage analog gears are essential — it brings unpredictability, texture, and soul that you just can’t fake. The Juno-106, OB-6, Matriarch… they all have their own voice, and they talk to each other in ways that inspire me. I don’t overthink it — I follow the mood, I chase imperfections. That’s where the magic is.

Italo, new wave, punk,funk — those weren’t just influences, they were the sounds I grew up on. Even before I could name them, they were already in me — in the TV ads of the '80s and '90s, in Japanese cartoons, in the background of everyday life.

As I got older, I realized that all this music was made with the same legendary synths I now have the chance to own. That discovery hit me like a wave — it became the same kind of obsession I felt the first time I touched a vinyl. There’s something magical about reconnecting with the sound of your youth, but this time, being the one shaping it.

Bal des Fous has become a cultural phenomenon, drawing thousands each time. What makes this event so personal and unique for you, and how do you keep its identity alive in an ever-evolving scene?

Bal des Fous is much more than a party — it’s a part of my life. Before becoming what it is today, we started over 15 years ago in tiny clubs, with just 200 or 300 people on a Sunday afternoon. It was never about hype — just a shared love for House music and letting go.

Then we moved to a bigger open-air venue by the sea, and things grew fast: 1,000 people, then 1,500, then 3,000 — the full capacity at the time. Eventually, we moved to the iconic Palais des Festivals in Cannes. That was a turning point: 5,000 people gathering from 4pm to midnight.

Today, more than 8,000 people want to come — but only 5,000 can get in. That says everything.

The COVID crisis hit just one year after we moved to the Palais. It deeply affected us — not only in terms of momentum and logistics, but also emotionally. It disrupted our energy and even changed the music we were playing for a while.

But even after all that, the spirit of Bal des Fous remains untouched: it’s still about freedom, connection, and creating something unforgettable, together. We’ve never followed trends — we protect its soul by staying true to what made it special: raw energy, joy, and human connection.

With an international career spanning Cannes, London, Tulum, and Tel Aviv — what are you looking for in the music and projects you choose today? What’s your vision for the next chapter ?

After years of playing across places like Cannes, London, Tulum, and Tel Aviv, I’ve become very selective about the projects I take on. These days, I’m looking for depth — whether it’s a party, a collaboration, or a venue. It has to carry soul, intention, and a real connection with the audience.

I also spend one to two months a year in Asia, especially in Thailand, where the scene and the clubbers are simply incredible. There’s a raw energy and a pure love for music that always recharges me.

DJing is still at the heart of what I do — I love the connection, the freedom, the spontaneity of it. But I also want to take things further. I’ve started integrating machines into my sets to create a more hybrid, more immersive experience — something between a DJ set and a live performance, where improvisation and emotion can really take over.

The next chapter is about staying inspired, digging deeper in the studio, and creating moments that feel true — to me, and to the people on the dancefloor. I also have a new track “Dish You" coming soon on Indie House Records which is one of my fav label a the moment. Stay tuned.