From Pamplona to the Global Circuit
Aitor Astiz’s relationship with music began long before Ibiza, Beatport charts, or summer residencies. Raised in Pamplona, a city in the north of Spain, his introduction to music came through structure and discipline rather than club culture.
“I’m originally from Pamplona, a small city in the north of Spain with a population of around 200,000 people.”
At just five years old, he asked his parents to enroll him in music school. What followed was years of theory, violin training, and eventually performing as part of a school orchestra that toured across Spain.
“My journey into electronic music really started long before I even discovered club culture. Music has been part of my life since I was a kid. When I was five years old, I told my parents I wanted to study music, especially the violín.”
As he moved into his teenage years, his musical palette expanded. Drums replaced violin for a period. Rock records filled the house.
“My father is a huge rock fan: Scorpions, ZZ Top, The Rolling Stones etc. so I grew up surrounded by strong riffs, groove, and powerful energy.”
That early exposure to rhythm and arrangement would later surface in his productions, not in obvious ways, but in the control and pacing that define them.
Discovering the Scene
Around 2010–2012, Pamplona’s local electronic scene was quietly thriving. International names were passing through, and for a 15-year-old already obsessed with music, it left a deep impression.
“Around 2010–2012… there were a couple of well known clubs where major artists like Marco Carola, Carl Cox, Óscar Mulero, Stefano Noferini and others performed.”
He wasn’t just attending parties. He was observing them.
“I was 15 at the time, and I was fascinated by this world… I was always asking questions, listening, and trying to learn as much as possible.”
When he couldn’t physically be inside the clubs, he turned to Loca FM, listening daily and absorbing everything he could.
“It became my window into the electronic music scene.”
Persistence, at this stage, wasn’t ambition. It was instinct.
“It taught me to chase opportunities even when they’re not easy to access.”
Finding His Sound
Like many producers of his generation, Aitor’s earliest electronic influences came from the mainstream.
“In the beginning, I was more drawn to international artists like Tiësto and David Guetta.”
Over time, that evolved into a deeper relationship with house music. DJ Bee from Loca FM became a daily reference point. Later, Wade’s approach to energy and crowd psychology reshaped how Aitor thought about DJing.
“The way he builds energy, connects with the crowd, and understands the psychology of the dancefloor really shaped how I see the night and how I approach my own sets.”
Seeing a Spanish artist operate globally made the path feel tangible.
“Seeing a Spanish artist reach that level made everything feel more possible.”
His productions today reflect that shift, groove driven, dancefloor focused, precise.
Turning Points
Releases on Metamorfosi, Hellbent, Muse, Deeperfect, Moon Harbour and Moan marked a new chapter. But the real change came when the records began circulating inside major sets.
“A key factor was the consistent support from some of the biggest names in the industry, such as Jamie Jones, Marco Carola, Joseph Capriati, Michael Bibi and others.”
Support in isolation is one thing. Repeated support inside Ibiza residencies and international showcases is another.
“When artists of that level start playing your tracks regularly… that creates momentum.”
For Aitor, that’s when the shift became real.
“The turning point was when my music stopped being just something I believed in, and started being something the scene responded to.”
A Record That Took On a Life of Its Own
During Off Week in Barcelona, Aitor created “Higher House” which he thought would simply be a DJ tool, a functional record made for a specific moment.
“Honestly, I didn’t expect it to grow the way it did at all.”
He was staying at his manager’s place that week, moving between events and studio sessions. One morning, he opened his laptop and began working on a sample he had found a few days earlier. Within hours, the track was nearly finished.
“It came together very naturally, even though it was meant to be a DJ tool, something functional for the dancefloor, with the right energy for that moment.”
The record was sent out immediately. Joseph Capriati supported it first. Soon after, Marco Carola began playing it consistently during his Pacha and Destino residencies. Luciano and Michael Bibi followed. Héctor Couto reached out and signed it to Roush.
“Seeing that level of consistent support was incredible and honestly surreal.”
What began as a DJ tool gradually became one of the most played records of his summer.
“Sometimes the most spontaneous tracks… end up having the biggest connection on the dancefloor.”
Chart Moments
While Ibiza confirmed the dancefloor response, Beatport confirmed the reach.
“Cupcake” and “Do You Like Bass” both entered Beatport’s Top 10, with “Do You Like Bass” reaching #1 on the Hype chart and climbing in the Minimal Deep Tech category. He also ranked among Beatport’s Top 50 best-selling artists in Minimal Deep Tech and Jackin House, becoming one of the highest-selling Spanish artists in the genre.
For Aitor, numbers matter, but they aren’t the end goal.
“Both are very special. Chart performance brings visibility, credibility, and helps position you within the industry.”
But when asked what holds more weight, his answer shifts toward the booth.
“If I had to choose, I would say club reaction.”
“There’s nothing like being in a club and suddenly recognizing the first beats of the next track, realizing the song about to drop is yours. Feeling the crowd react in real time… that’s unbeatable.”
Charts bring exposure. The club brings clarity.
“Charts are important, but the club is where the music truly comes alive.”
Larger Rooms
Support inside major sets eventually turned into stage time.
Playing at Hï Ibiza marked his debut on the island.
“Playing at Hï Ibiza was on another level… it felt like a dream almost something unreal. It was my debut on the island, which made it even more intense.”
Rooms like that demand precision rather than volume.
“In rooms like that, you really have to read every detail, how the crowd reacts to transitions, when to push, when to hold back. It’s less about playing ‘big tracks’ and more about controlling energy with precision.”
At Pacha Ibiza, sharing the booth with Cloonee added another milestone.
“When you’re in rooms at that level, preparation is key, but adaptability is everything.”
These spaces don’t allow shortcuts. They reveal growth.
What’s Next
Momentum hasn’t changed his approach. It’s sharpened it.
With releases lined up across DOSMUNDOS, MOAN, NAIMA, and a remix on Defected, the focus remains steady and intentional. But beyond the labels, what stands out most is where he feels creatively.
“Lately, I’ve been feeling very inspired by house music, so you’ll notice more elements from that world in this project. The grooves feel deeper, a bit more soulful in certain moments, but still with the energy and punch that defines my sets.”
It isn’t a reinvention. It’s refinement.
“It’s not a radical change, but it’s a natural progression, a refinement of where I am creatively right now.”
The upcoming EP, in particular, feels deliberate.
“These are two tracks I made with a lot of care and intention. I didn’t rush them. I really focused on groove, musicality, and how they would feel on a big system.”
For Aitor, growth isn’t just technical. It’s personal.
“For me, this EP represents growth, not just technically, but in terms of confidence and identity.”
And while charts and milestones matter, the end goal remains the same.
“I truly believe they’re going to connect very well with the dancefloor, and I’m excited for people to hear this next step in my sound.”
There’s no sudden pivot. No dramatic shift.
Just progression, built carefully, one release at a time.