The pressure of pace in a globalised dance industry, with Carla Martinez

The Warehouse Project, started in Manchester back in 2006 but now running events across the globe, is back in Australia for a series of shows that kick off this weekend.

While TWP’s lineups frequently feature some of the world’s most well-known artists and personalities, with this Australian edition featuring notoriously ‘Aussie’ personality Partiboi69 among others, it’s also an opportunity for more green artists to cut their teeth. While international brands running tours across the globe can be met with mixed responses by local scenes, their ability to launch careers is undeniable.

This weekend, one such local artist is Carla Martinez, Gadigal Land/Sydney-based creative and DJ. Carla is incredibly new to the world of DJing, having just played her first festival only a few months ago.

To be propelled onto the world stage so early into a musical career is part and parcel of modern dance music culture, and we sat down to get her read on what that means for artists in her position.

It’s honestly a bit surreal. Beyond the Valley was such a big moment for me — it was my first proper festival set, and stepping onto a stage like that was something completely new. To now be part of The Warehouse Project lineup is pretty mind-blowing. It’s a place that’s seen so many iconic artists come through, so to be included in any capacity is something I’m genuinely grateful for.

I didn’t come from any kind of musical background or formal training - my introduction to DJing was actually pretty low-key. I started putting mixes together at home while I was at uni, just as a way to take a break from studying. It was more about curating music I loved and creating little soundtracks for myself. I had no real plan with it, but the more time I spent digging for tracks and learning how to blend them, the more I realised how much I enjoyed it. It slowly turned from a casual escape into something I felt really passionate about, and it’s kind of grown from there.

I think I just play what I love to hear when I go out. I’ve always been drawn to sets that feel full of energy and momentum —So naturally, that’s what I end up playing. I never go into a set thinking this has to be intense — There’s this back-and-forth that builds throughout the

night, and I find myself feeding off their energy as much as they’re feeding off mine. That feedback loop is what guides the direction of the set, and more often than not, it takes me somewhere fast-paced and high energy.

I think the shift to harder and faster dance music has a lot to do with the energy people are receptive to right now. As the scene grows and more people get into it, there’s a natural desire for more intensity — something that hits harder and keeps that adrenaline going. It’s also about what works in larger spaces like festivals and big venues, where faster, more driving sounds really fill the space. But it’s all part of the cycle — things continue to shift.

For a set like The Warehouse Project, I tend to get pretty meticulous with my preparation. I’m definitely a bit of a perfectionist, so I spend a lot of time in the weeks leading up to the event really diving deep into music sourcing. It’s not just about picking tracks I like — I’ll go through a lot of new and older music, researching different sounds and finding things that will fit together in a way that feels cohesive. I’ll curate a playlist and refine it over time, making sure everything flows just how I want it to. I like to have a solid foundation, but I also leave space to adapt once I’m actually in the moment, because I know the energy of the crowd will always shift things. It’s all about balance — doing the groundwork, but staying open to spontaneity.

With thousands of people in one space, it amps up the vibe in a way smaller events can't. Crowds generally feed off each other, and an event of this scale just means more people and energy to feed off. There’s a certain freedom that comes with being in such a big crowd — people tend to be more high-energy and rowdy because they feel like they can blend in more. Smaller events are great for their intimacy, but I think the big ones bring something unique in terms of scale and how the energy multiplies.

Australia has always had a strong, passionate dance music community, and events like this really show how much the scene has grown here. It’s a huge opportunity for both local artists and the community as a whole, bringing that international energy and attention. It’s exciting to be part of that. Plus, there’s so much talent coming out of Australia right now, with a lot of big artists making waves globally.

It’s pretty amazing how quickly careers can take off now, especially with social media and streaming platforms playing such a big role. They give so many small, talented artists the opportunity to be discovered and share their music. But there can also be a lot of pressure to keep up with the pace. I think it’s important to remember that building a lasting foundation takes time — it’s not just about the quick rise, but about putting in the work to create something solid. At the end of the day, it’s a privilege to have these extra platforms now, ones that allow new artists to get recognised in ways that wouldn’t have been possible just a few years ago.

I’m really looking forward to being a part of The Warehouse Project — playing alongside some of the bigger names in the scene is such an exciting experience. It feels like a big step for me, especially since I’m still finding my feet in the industry. Looking ahead, I’m most excited about diving more into music production. It’s something I’ve been eager to explore more, and I’m excited to see how it shapes my sound. Honestly, I’m just taking things as they come and enjoying the process, one new experience at a time.

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