Afrodeutsche: ‘When making music, you need to be fearless’
Dazed Clubber Angelika May caught up with the pioneering musician ahead of her set at this year’s Field Day festival. Read the interview on Dazed Digital and don't forget that Dazed Club+ members get 30% off tickets
Vintage shops are being raided, White Claw sales are through the roof, and you’ve had to call in sick once – or twice. It can only mean one thing: the UK festival season has come up stronger and faster than the pill you took last week. With the August bank holiday approaching, London’s Field Day festival looms on the horizon for its 17th year of showcasing some of electronic music’s most revered artists.
Afrodeutsche, born Henrietta Smith-Rolla, is a British-born Ghanaian-Russian-German composer, producer, and DJ based in Manchester. Performing at this year’s Field Day on August 24 at Victoria Park, Afrodeutsche has made a significant impact across various musical landscapes, blending classical solo piano with techno, house, and electro. Her journey began in 2007, and she has since contributed to film and theatre scores, including the BAFTA-nominated short film Kamali. Her live sets and DJ performances, featuring notable slots with Dopplereffekt and Carl Craig, showcase her unique style, combining Drexciyan delights with UK techno.
We caught up with Afrodeutsche to discuss her upcoming set, breaking down barriers between DJs and audiences, and her thoughts on cranes.
Which film score do you find yourself returning to again and again, and what makes it so captivating for you?
Afrodeutsche: I love 80s and 90s movies, but it’s frustrating that many aren’t available on streaming platforms, so I’ve had to buy them on DVD. Some of my staples include works by Alan Silvestri, known for his weighty, iconic sci-fi scores in ‘Back to the Future’ and ‘Flight of the Navigator’, but he’s also capable of making a complete U-turn and composing something ridiculous and hilarious such as ‘Overboard’. Danny Elfman’s score for ‘Batman Returns’ is another standout, as is the beautifully crafted ‘Amadeus’ that used Mozart’s entire catalogue of work. I’ve also been a long-time fan of Hans Zimmer, especially his early work, like ‘The Prince of Egypt’. There’s also an indie gem, 'The Lives of Others’, that inspired me to become a composer.
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