By Glenn Elliott
Kassette Weißensee is a monthly house music podcast by Berlin-based DJ Christoph Faust. For each episode, Faust goes on a short walk around the Weißensee in Berlin-Pankow and chats with a local artist.
In the latest episode, Faust sits lakeside with DJ and producer Katy de Jesus for an intimate and illuminating conversation about identity, musical roots, cultural duality, and the quiet resilience it takes to build a creative life.
With the breeze of Strandbad Weißensee and her dog Disco nearby, Katy reflects on the journey that brought her from multicultural Luxembourg to the heart of Berlin’s club scene—unfolding a story that’s as rich in sound as it is in soul.
Born in Luxembourg to Portuguese parents, Katy grew up speaking a blend of French, Portuguese, German, and Luxembourgish, all while navigating the cultural intersections those languages carried. Her early musical world was similarly plural: reggaeton, hip hop, commercial club tracks—all rooted in the immigrant communities she grew up in. But it wasn’t until her mid-twenties that electronic music took hold, reshaping her sonic compass completely.
“I was maybe 25 the first time I experienced it in a proper way,” she shares, describing the visceral pull of a bassline and the unexpected joy of discovering techno not through records, but through the body. Her origin story in music is far from formulaic; it’s more of a slow-burning connection that caught fire in adulthood—proof that the path to becoming a DJ isn’t always a linear one.
Katy speaks openly about the vulnerability of beginning her DJ journey in her thirties, the uncertainty that came with stepping into clubs where others had a decade’s head start, and the moments of doubt that still arise.
I’m very late to the game, but I also know my story is valid.
What makes this interview shine is Katy’s honesty—she doesn’t pretend to have all the answers. Instead, she talks with warmth and thoughtfulness about embracing the process, staying curious, and holding space for growth.
Christoph and Katy also dig into the tension between DJing as a profession and DJing as a passion. While she’s had steady gigs and built a strong community around her, Katy still works a full-time job, balancing her artistic drive with financial reality.
She talks about the complexities of navigating Berlin’s nightlife as someone who doesn’t drink, who doesn’t come from a “cool scene background,” and who often feels like an outsider. It’s these tensions—between inclusion and isolation, between joy and responsibility—that give her sets their emotional depth.
Stylistically, Katy is drawn to sounds that echo her hybrid identity: polyrhythmic, energetic, deeply layered. She name-checks Afro-Latin rhythms, techno with heart, and the occasional pop vocal chopped into something unrecognisable. Her approach is intuitive rather than technical, driven by feeling rather than form, and she credits much of her development to learning from friends and spending hours behind the decks without pressure to perform.
As with many Kassette Weißensee interviews, the setting plays a quiet but powerful role. This isn’t a conversation recorded in a studio or green room. It’s a chat in the open air, the lake glinting behind them, the occasional sound of Disco’s bark or bike bells in the background. There’s something disarming about it, and Katy leans into the setting to speak frankly about gender, community, and the need to break from algorithmic expectations of success.
At one point, she reflects on the performative side of nightlife and the disconnect between what’s shown on social media and what’s really felt in a club or a home studio.
Social media is all curated, but when I play, I want to be present—not perform a version of myself.
This episode is less about flashy highlights and more about taking your time. It’s about a journey shaped by language, borders, family, and friendship—and the patient kind of artistry that forms when you let life breathe into your sound.
Whether you’re a seasoned selector or someone just finding their feet in music, Katy de Jesus reminds us that it’s never too late to start, never too strange to try, and never too much to hold more than one identity at once.
Read on for the full transcript—or listen to the episode on SoundCloud to hear Christoph and Katy’s voices bring it all to life. You can also follow Kassette Weißensee on Spotify Podcasts.
Read Christoph Faust’s interview with Katy de Jesus on Kassette Weißensee
This is a full transcript that has been edited for clarity.
Host: Christoph Faust
Location: Strandbad Weißensee, Berlin
Christoph Faust:
Hello, my name is Christoph Faust. I’m sitting here today with Katy de Jesus. Is it actually pronounced “Jesus” or “Jesus”?
Katy de Jesus:
It’s however you want to say it. Originally, it’s “de Jesus” in Portuguese. But in English, most people say “de Jesus”—like “Katy is the Jesus.”
Christoph:
Perfect. So I’m sitting here with Katy. Hello, Katy.
Katy:
Hello, my love.
Christoph:
We’re enjoying a beautiful view at Strandbad Weißensee. It’s the first time we’re recording here, and we got the premium spot right on the water. Big thanks to the team here for the opportunity. Also with us is Disco—Katy’s dog. Hello, Disco.
So, we’ve known each other a few months now and shared some lovely moments last year. I’m really excited to introduce listeners to Katy’s world of music. Maybe we can start with your background—how did you come to electronic music?
Katy:
I was born and raised in Luxembourg in a Portuguese family. In Luxembourg, we grow up with many languages—at home, I spoke French, Portuguese, and Luxembourgish. At school, I learned German, and so on. The same diversity applied to my friendships. We would shift languages and music with each other constantly.
When I started going out at 17 or so, I was clubbing to commercial electronic music, hip hop, a lot of reggaeton. Luxembourg has huge immigrant communities—Italians, Portuguese, Spanish—so reggaeton and Latino parties were a big thing. That’s where it started for me.
Christoph:
That’s amazing. You’d never expect reggaeton parties in Luxembourg!
Katy:
A lot of people make fun of Luxembourg for that exact reason—some even say there’s more Portuguese spoken there than Luxembourgish. The music scene reflects that diversity. But electronic music actually came late for me—around age 25. I had never connected with it before that.
Christoph:
Really?
Katy:
Yeah. It was my birthday, and my friends took me to Fusion Festival. That was the first time I really felt electronic music—and a few other things too! It was also my first proper festival, with 100,000 people, magic substances… you know, mind-opening experiences. Some doors definitely opened in my head.
It clicked for me instantly. I’d never felt anything like it. I knew something important had just begun.
Christoph:
So what came next?
Katy:
After Fusion came my first after-parties. That’s where I first touched a mixer and records—and I got hooked. I bought my own gear a few months later, set it up in my grandmother’s living room, and that’s where I started. I’d played a bit with a controller before, but at those after-parties, digital music was forbidden. It had to be vinyl.
Christoph:
So you had those purist friends—“only vinyl is real”?
Katy:
Absolutely. And I’m grateful they pushed that idea, even if I don’t agree with it anymore. Today, I believe it doesn’t matter which medium you use—as long as you’re truly connected to it. For me, that connection is with vinyl. It helped shape my musical identity. It forced me to be selective—records are expensive, you carry them physically. You can’t just download 30 tracks the day before a gig. You really have to know who you are musically.
Christoph:
Totally. When I played vinyl at the Macho party recently, I didn’t prepare at all, just woke up that morning and decided to go with vinyl. I felt so much more connected—it demands attention and effort. With CDJs, it’s easy to get lazy. But with vinyl, you’re focused, physically engaged, working throughout the set.
Katy:
Exactly. Vinyl keeps you honest. And it’s not just about mixing—it’s about the relationship you build with the records. You dig through crates, clean them, carry them up five flights of stairs. I live on the top floor! Sometimes I talk to my records on the stairs. I imagine opening the bag and a whole party coming out.
Christoph:
I love that! You’re literally carrying a party.
Katy:
And the pain of it—I like it. It reminds me that I’m doing something that matters. Also, vinyl forced me to stop being clumsy. I used to be super clumsy—knocking glasses over, scratching records. But records treat you how you treat them. So I learned to be careful.
Christoph:
It’s expensive too. A few scratches and you’re down 50 euros.
Katy:
In the beginning, I was mixing with maybe 15–20 records—mostly ones friends gave me. But even then, I learned to be gentle with them. You grow into it.
Christoph:
Totally. And you develop problem-solving skills. Like when there’s feedback from monitors or bad setups—you figure it out. I remember that party on the Glaz terrace, where everything was wrong technically.
Katy:
Yes! The monitors were too close to the turntables, causing feedback. It was frustrating. I tried, but eventually I just had to say, “I can’t play.” I do everything with love, and if the music can’t be appreciated properly, I’d rather not compromise it.
Christoph:
That’s totally valid. The crowd doesn’t always realize it’s a technical issue—they might think it’s you. And not every club is prepared for vinyl DJs anymore.
Katy:
Exactly. They dust off an old Technics and think that’s enough. But good vinyl setups need care. That’s why I’m okay with saying no now if the setup isn’t right.
Christoph:
So let’s rewind a bit. After Fusion and DJing at home, you eventually moved to Berlin?
Katy:
Yes, nine years ago now. It’ll be ten next year! But I didn’t come here to be a DJ. I’d never even been to Berlin before. I was just bored in Luxembourg and needed inspiration. Friends recommended Berlin, and I came. First just for a visit, and then I stayed. It wasn’t about music—it was about the city, the vibe, the freedom.
Christoph:
You felt more inspired here?
Katy:
Absolutely. Luxembourg is stable—but that stability can kill creativity. I needed stimulation. Berlin gave me that. And I felt incredibly free here—safe, even with the chaos. I’d lived in Paris before, but it never gave me the feeling that Berlin did.
Christoph:
And how did you start DJing here?
Katy:
Randomly. I played records at a WG party—one of those famous Veggie parties. A few people from a new collective, Family Unit, heard me and invited me in. We started throwing parties together, and that’s how I got my first real club gigs—my debut was at Anita Berber with Tom Clark. Then came clubs like Sisyphos and Golden Gate.
Christoph:
Amazing. I love hearing these stories of growing into the scene rather than forcing it. You also started your own party series, right?
Katy:
Yes, called Lush. It actually started in Luxembourg, even though I was already living here. I wanted to bring something back home. We threw parties in an old butcher’s shop—not a club. Later, we brought it to Berlin, in places like the Dislofte—a big apartment converted into a party space with Function Ones in the living room. People in the bathtub, people on the bed… wild and wonderful.
Christoph:
I loved that party! But you stopped them?
Katy:
Yeah, life changed. One friend became a parent, others stayed in Luxembourg. We’re still dreaming, but we’re not aligned anymore in terms of time or energy. I’ve moved on to other projects.
Christoph:
New ideas?
Katy:
Yes. I want to do events in spaces that aren’t clubs. I want to include more cultural elements—lights, room design, curating the full vibe. I’m tired of worshipping DJs like gods. There’s so much more behind a good night.
And I already have a name in mind: Saudade—a Portuguese word for longing for something that’s no longer there. That sense of fleeting beauty—that’s what I want to bring into my events.
Christoph:
Beautiful. Let me know if I can help! So much is possible outside the club context.
Katy:
Exactly. It’s more work, but it’s worth it.
Christoph:
Speaking of big things—you had your first Panorama Bar gig last year on International Women’s Day. How was it?
Katy:
Unforgettable. I knew I was ready, emotionally and technically. But I still had to sit with myself beforehand and decide: this set is for me and my friends. I didn’t want nerves to ruin it. We had dinner beforehand. Then I played before the closing—Natalie, Naomi, Foxy were all there. The vibe was amazing. I looked up during my set and thought, “Katy, you’re here. Feel it.” It was a powerful moment.
Christoph:
You’ve played there several times now, right?
Katy:
Yes, I think about six. And what I’ve learned is that playing big clubs is not the beginning—it’s the result of everything that came before. It doesn’t make you a good artist—it just gives you visibility. The real development happens in the smaller clubs, in the years before. Those experiences shaped me.
Christoph:
It’s a whole process—managing stress, people, expectations.
Katy:
Exactly. You grow into it. You learn how to manage yourself, how to protect your energy. I’m glad it took time. When it came, I was really ready.
Christoph:
So what’s coming next in 2025 for Katy de Jesus?
Katy:
Only Jesus knows. But seriously—I hope to keep evolving, to keep the fire going without forcing anything. I want to throw meaningful events, dig deeper into production, and continue my back-to-back sets with my partner, Natalie Robinson. That came as a beautiful surprise. I just want to grow—as a human and an artist.
Christoph:
You’ve got that healthy fire. You do it from the heart—not for fame or money. I’m sure amazing things are coming. Thank you so much for being here.
Katy:
Thank you, my love. And to everyone listening—keep raving. We don’t know how long we’ll be able to.
Christoph:
Exactly. Enjoy every second. Bye everyone!
Follow Katy De Jesus on Instagram and SoundCloud, and listen to her music on SEVEN, the House music label from Berlin.
