Dutch DJ, producer, and vocalist Nicky Elisabeth releases her debut album The Way of Love and she’s sculpting out a unique space in the electronic music world.
Nicky has been honing her craft since she began DJing at just 18. Known for her passionate blend of melodic house, techno, and pop, her sound is as fit as f*ck for intimate club nights and next year’s sun-soaked festivals.
She’s deeply influenced by her time in two of Europe’s clubbing capitals, where she’s played sets at iconic UK venues like Fabric and Printworks.
In our B2B convo, she dives deep into the personal journey that shaped The Way of Love, revealing how the album represents her path to self-acceptance.
Let’s take it back to your roots! Growing up in the South of the Netherlands and Belgium, what role did music play in your childhood?
I remember always being very intrigued by music, but unfortunately, it wasn’t a given in my family. My parents and no other family member played an instrument. We did, however, own a piano that I would continuously be fascinated by and play around with.
Were there any early musical influences that shaped your sound?
I’ve recently been revisiting the music I loved as a teenager, and to my surprise, I found quite a few similarities between those tracks and the music I create now. One band that stands out is Bloc Party—their synth lines and the emotions their songs evoke immediately reminded me of my upcoming album, The Way Of Love. It’s something I never would have expected to find such a strong connection to!
You’re based between two iconic cities for electronic music, Amsterdam and London. How has living in these twoclubbing capitals influenced your music and approach to DJing and production?
It’s a beautiful thing to be able to gain so much inspiration from the club cultures in both cities. Amsterdam is really the place where I discovered DJing, so I’ve got a lot to owe to it. Recently, I’ve been spending more time in London and even though it’s been just over a year, I feel like it has already influenced me quite a lot. The clubbing scene here is much more diverse, with a wide range of genres, which has led me to broaden the styles of music I play within my sets. Even when I was just living in Amsterdam, I always had a soft spot for UK dance music, so it’s really nice to get to experience it up close.
On the other hand, when it comes to producing music (especially post-album), I’m trying to stay away from influences as much as I can. It’s so easy to end up copying others, and I think that is just not going to make me happy in the long run. That’s why I try not to take too much inspiration from what’s already been made so I can create something unique.
You’ve been DJing since you were 18, and now you’re about to release your debut album The Way of Love—how has your journey as an artist evolved from those early days in the club scene to where you are now?
“If I think back to ten years ago, the person I was then is just not comparable to who I am now. I think many people who reflect on their past, would feel the same. When I started out, I was just beginning my journey, and I think it takes at least a decade of spending time on a craft to really build full confidence in what you’re doing.
I would say the biggest difference between then and now is how much more I know. Back then, it was all about discovering, and now it’s about refining. It’s been a beautiful process of growth and discovery.”
This debut album explores themes of self-acceptance and the journey to finding self-love. What personal obstacles did you overcome during the creation of The Way of Love that shaped the album’s message?
“Making an album is such a complex and demanding task that requires you to dive deep and really question your beliefs as well as who you think you are, both as a person and artist. It was through the process of creating this album that I found confidence, my voice, and direction; it was an incredibly healing experience in every single way.
When I started working on this body of work, I was very insecure about my abilities. I would continuously doubt if anything I made was good enough and really needed external validation in order to accept that what I had made was ok. After a while, this started to change. I was working so incredibly hard that I started feeling a lot more confident, my writing started feeling more natural, and I stopped second-guessing every melody I wrote. Looking back on it, my perception started shifting from the mind to the heart. I started to feel if something was good or not and stopped over-analysing things.
In time, I learned to accept myself and embrace that some things weren’t perfect yet, and that was okay. I realised that I might not be where I want to be yet, but that it was part of the journey and that there’s so much beauty in growth and imperfection. I discovered that I could take on many forms and that each one was just an expression of my art and a reflection of a specific time in my life.
When I look back on the album, the message I hope to convey is to believe in yourself and your capabilities, whether as an artist or simply as a person. For me, the album represents a significant period in my life where I grew from a girl to a woman. I see myself now with so much more peace and clarity. On top of that, I’ve come to understand that I don’t need to fit in; it’s enough to just be me. This realisation is something I’ll carry forward into all the new music I’ll create.”
Your music blends a range of genres—progressive house, techno, trance, and pop. How do you navigate these influences, and what makes your sound stand out?
Blending different genres is something I really enjoy because it keeps my sets interesting and dynamic. I’m always eager to try new things, and that is reflected in how I build my sets. When transitioning from one sound or genre to another, I look for similarities within the tracks—whether it’s similar drums, the same key, or having a comparable melody. These elements often serve as a great bridge from one track to the next. Sometimes, I prepare specific transitions or know from experience which tracks work well together, but often, while I’m playing, I’ll instinctively think, ‘This track would fit perfectly now.’ A blend of experience and intuition guides me in creating those seamless shifts.
As for what makes my sound stand out, I find it difficult to pinpoint exactly because it feels like an extension of my artistic expression. But if I step back and look at it from a distance, I’d say my sound is, like I said before, very dynamic; a blend of different styles of music that others might not think to combine. I always look for certain musical traits, like a particular sparkle or groove, which gives my sets a cohesiveness.
You’ve played at some of the most legendary venues and festivals, like Printworks, ADE, and Lost Village. Do you have a standout moment or favourite memory from any of these sets?
One of my most special moments from the past year was playing the Anjunadeep show at ADE. I played the opening slot, so I wasn’t expecting much since people usually arrive later, especially during ADE. But right from the beginning of my set, the room started to fill up, and by the end of my hour-long set, almost the entire room— a 3,000-capacity venue—was nearly full.
When I played my own song, ‘Fading,’ I noticed everyone started singing along. I had never experienced anything like that before; it was incredible to see the music I had created at home in my studio connect with so many people. It’s so incredible to see something you’ve made in a personal space resonate in a live setting on such a big scale. The only connection I’d had with these listeners before was online, so experiencing that in person was one of the most memorable moments of my career.
With The Way of Love dropping soon, what’s next for you? Are there any dream collaborations or future projects you’re excited to dive into?
I’ve been thinking a lot about what’s next, and I’ve come to the conclusion that I really want to focus on honing my skills. I want to spend more time refining all aspects of my craft—vocals, drums, mixing, and more. I’m excited to have the time and space to write more freely and explore my sound palette further. The final album phase is all about making sure everything is productionally sound, but it doesn’t leave much room for creative exploration.
In terms of dream collaborations, I’m actually already working with a few artists whose music I really love, and we might release something together in the future. I’ll leave that as a bit of a cliffhanger for now, but I’m very excited for what’s to come!