There’s a unique energy that DJ Soulcat brings to the turntables, and it’s not just about the music. Born in the Dominican Republic and now calling Vienna home, she carries with her the sounds of hip-hop, Latin beats, and the cultural pulse of her upbringing. Soulcat’s ability to seamlessly blend genres from Afrobeat to electronic and classic soul makes her a standout. But beyond the music, her work amplifies black voices and musicians across Europe, using her platform to inspire change and bring diverse sounds to the forefront.
In this conversation, Soulcat shares her story, from the early days of DJing vinyl records to becoming a trailblazing force in a male-dominated industry. Whether you’re a music lover or just curious about the power of sound to bridge cultures, this interview offers a deep dive into how DJ Soulcat is transforming the European music scene with her eclectic sound and unrelenting spirit.
Breaking Barriers as a Female DJ in Austria: DJ Soulcat’s Journey
FAB: Let’s start with your story. How did you first get into DJing?
DJ Soulcat: The interest had been building up since childhood. I’m originally from the Dominican Republic, born in 1986, which was during the prime era of hip-hop with DJs, rappers, and the big names of that time. My older cousin was already immersed in the culture, and my father was a DJ and a baseball player. I grew up surrounded by music.
Along with my aunt, I moved to Austria in 1991 when I was five years old. The cultural shock was immediate—everything was different: the music, the people, the way of life. Music became my refuge. I had old tapes from my grandmother and cousin that I listened to constantly. It was one of the few things I could hold onto from my culture. As I grew, I became a music nerd, fascinated by all kinds of genres, from jazz and soul to merengue and salsa. I started studying music, learning the drums, piano, and guitar, and I was always surrounded by friends and colleagues in the music scene. Naturally, I pursued a career in music, though being in Austria made it more challenging.
While I was in high school, I got a part-time job at a local radio station in Upper Styria called Radio FrequEnns. This is where I learned about radio DJing—conducting interviews, cutting audio, and handling the technical side while playing music and jingles. It was an invaluable experience, but since it wasn’t a paid gig, I couldn’t pursue it full-time. After finishing school, like many people, I needed to start earning money.
I did an apprenticeship as a pre-press technician in media design, which was the closest creative career I could find at the time. My mother worked for the company as a cleaning lady, and through her, I got my foot in the door. With my first paycheck, I bought a ticket to New York to visit my siblings, who had moved there. That trip was a turning point for me. Walking through places like Martin Luther King Avenue felt surreal. I reconnected with the culture I had missed for so long.
When I returned to Austria, I felt out of place in the small town of Graz, where I lived. I realised I needed a change, so I moved to Vienna, looking to find like-minded people. Fortunately, I did. However, being Afro-Latin in Austria was still rare. While there were many people of African descent, they would often ask me if I was mixed-race, which added to the challenge of explaining my heritage.
In Vienna, I decided to study photography, especially event photography, since I loved attending concerts and hanging out with musicians. I began to make money from it, landing a contract with Reebok Austria to photograph well-known DJs and musicians. But after a while, I started to question if photography was really what I wanted. Did I want to capture these moments from behind the lens, or did I want to be more involved in the music itself?
One day, a record store owner, who had noticed my frequent vinyl purchases, asked me what I was doing with all that vinyl. Was I just collecting them, or did I plan to play them for others? I told him I was just a collector, supporting the artists. He convinced me to start DJing publicly. That was in 2011—the first time I ever DJed in front of a live audience, playing vinyl records.
In 2013, I joined an all-female DJ collective in Vienna, and that’s when I began DJing professionally. It wasn’t a straightforward journey—it was a winding road from being a music fan to studying music, working as an event photographer, and eventually becoming a DJ. But it all fell into place over time.
FAB: You’ve been on quite a journey. Your professional career started in 2011 after being discovered by your record seller, and then you joined the Female DJ Professional Association in 2013. How did that experience in 2011 shape your approach to DJing?
DJ Soulcat: Yeah, it’s been a continuous journey of developing my musical taste. In 2011, I started out as more of a niche DJ, focusing on specific types of records and hanging out with certain types of people. I was deeply involved in both the local and global hip-hop communities. I met U.S. rap artists, exchanged musical ideas, bought records from them, and immersed myself in old-school hip-hop. So, at first, I catered to a niche audience that appreciated that sound. When you’re working with musicians and artists who love old-school hip-hop, it can be hard to break out of that cycle. Never miss a beat in fashion, arts, beauty, and lifestyle, follow FAB L’Style Magazine.
But, if you want longevity and success as a DJ, you have to evolve. I remember having conversations about autotune when T-Pain first came on the scene. A lot of artists hated it, saying, “Don’t put that on my music; I’m old-school.” But by that point, I was studying audio engineering and began to realise that the raw, dirty sound from the ‘90s didn’t work anymore in the evolving music scene. So, from the perspective of making music, there was already a shift happening with both the artists and the audience.
As a DJ, you start to hit walls. The first is that there’s only so much demand for old-school hip-hop. The second wall is the pay—it becomes stagnant. Unless you’re in a place like Atlanta or New York, where the scene is still thriving, you can’t grow. There’s less competition, which also leads to complacency. You start playing the same songs every weekend because you know they work. But, as a DJ, you’re supposed to bring new music to people, which means constantly researching and digging for fresh tracks.
Fortunately, I started working with a DJ collective called “Brunnhilde“ from Brunnenpassage (Caritas) in the 16th District. They booked me for all kinds of events, including Turkish weddings, which forced me to rethink my approach. I couldn’t play Busta Rhymes or Souls of Mischief at a Turkish wedding, so I had to adjust. That’s when I transitioned from being a niche artist to a more eclectic DJ. I began to see DJing not just as an art but as a service.
I also had to open up my own musical taste. To DJ well, you have to understand the music you’re playing, how to transition between songs, and how to read the energy of the crowd. I started incorporating world music—Austrian, Asian, Turkish, Afghan, Iranian sounds—into my sets. I even recognized some of those tracks as samples in modern hip-hop songs, which opened up a whole new world for me. Producers like Timbaland were probably going through this process much earlier than I did, but they dug into world music to find incredible samples that now make the dance floor shake.
I’ve become much more curious and motivated to keep learning. Every day, I find something new. And it’s not just about the music—I had to learn how to interact with people. Early on, I was very antisocial—just me, my records, my laptop, and my gear. But to build a successful business, you have to be outgoing, network, and really understand what your clients want so you can provide the best service. It changed my personality, the way I listen to music, and even my own personal tastes. It’s been a transformative experience.
FAB: Wow, that’s wonderful. I’m going to hold you to that point about finding something new. We’ve talked about people having issues with T-Pain in the past, especially with his use of autotune. People were like, “What is that?” But recently, he performed in concert, singing “Change Is Gonna Come” by Sam Cooke, and suddenly, everyone was amazed. They were saying, “Oh, he can actually sing this well? Wow!”
DJ Soulcat: Yeah, I know! It’s interesting because autotune started as a sort of gimmick, or a way to usher in the new era of music. For example, a lot of people don’t believe me when I say this, but hip-hop and electronic music cultures have been intertwined from the beginning. Take Chicago, for example. Producers there were working with people like Kenny Dope and Frankie Knuckles. It was a very organic process that eventually became digital over time, with the use of equipment like the MPC and Roland.
When T-Pain came onto the scene, autotune was a logical next step because of how music production—and the way we listen to music—was already evolving with CDs, MP3s, and other digital formats. It was all moving toward the digital age. You couldn’t stop that progression. So, autotune became a sign of where we were headed in music.
Then, of course, you had groups like Daft Punk. There are so many examples of electronic sounds influencing mainstream music. It was inevitable that music would become more electronic at some point. T-Pain just happened to be the first R&B and hip-hop artist to jump on that wave.
Nowadays, people use autotune as a tool to create music that’s more pleasing to the ear. But back in the day, becoming a professional musician required having an outstanding voice or impeccable technique. Today, it’s more about the journey—what you have to say, how unique you are, and the way you present it. People now have so much access to music that it’s less about perfection and more about sharing your story and emotions with others.
Being a musician today means something completely different than it did back then. It’s not necessarily a bad thing. Autotune might have started as a gimmick, but it became part of the larger culture. You used to be able to tell an American artist from the South just by hearing autotune on a track. Now, it’s everywhere, and everyone’s using it. So, it’s become part of the norm, and that’s just how music has evolved.
FAB: You’ve already touched on my next question a bit, but I’m still going to ask. It’s about current trends in the industry. What genre or musical trends are you excited about right now? You’ve mentioned that music, for you, is about telling a story, not necessarily creating a spectacle.
DJ Soulcat: Well, there are two sides to this. On one hand, as I’ve mentioned, I’m a service provider, a professional DJ, who’s there to help you plan musically—whether it’s for a wedding, anniversary, company event, or whatever you need. Crafting the perfect musical flow for an event is similar to creating a song. You have to understand the different phases, know when to play certain types of music, and understand how music affects people emotionally. Music shapes how people feel about a moment.
For example, at a wedding, you’re playing songs that make people feel emotional, so they remember that day or night for the rest of their lives—well, unless they get divorced. If you’re launching a new product, the music needs to feel lofty and cool, representing the essence of your product. So whether it’s a DJ set or a single song, the most important question is: What do I want to inspire in people? How do I want them to feel about me, this event, or this product?
On the other side, of course, I have personal preferences when it comes to genres that resonate with my life. But when I’m booked for a festival, a club night, or an event, I choose genres that cater to the audience I’m playing for.
Let’s say I get booked for something unusual, like an Austrian “Stadel” or a “Kirchfest,” one of those super traditional street festivals. I wouldn’t just play Afrobeat all night. I’d try to blend the genres. There’s even this girl on TikTok—her name escapes me, but I think it’s Emma—who’s doing mashups of Austrian folk music and Afrobeat. It’s genius!
That’s what I mean. If you want to be successful in music today, you need to think about what you’re bringing to the table. Where do you live? What do people want to hear where you are? Do you have a heritage that you can mix into your sound? How do you want people to perceive you? A lot of artists sing about money or relationships they don’t actually have, but they want to be seen that way. Guess what? It starts manifesting. People see you as that, they dance to your songs, and it starts to become true in some way. It’s almost like witchcraft.
Music is powerful, both emotionally and physically. People invest time and effort into engaging with it—getting dressed up, going to events, dancing. In a way, it’s like they’re praying for your success by supporting your art.
So today, music is more than just a passion; it’s a tool. If you’re making music solely because you love it, that’s a hobby. If you’re a professional, you’re creating music to sell something—whether that’s a service, an event, or a product. Music streams and sales alone won’t support you financially. I’m not even talking about getting rich. I mean, being able to pay rent.
Unless you have billions of streams, it’s tough. Snoop Dogg recently said he had 40 billion streams but only earned around 30,000 euros from Spotify. That’s nothing. Just imagine: 80% of artists on Spotify have less than 1,000 streams per song.
FAB: Let’s talk about what you find most challenging about performing live and how you overcome those challenges—if there are any.
DJ Soulcat: Well, the most immediate challenge that comes to mind is when I arrive at a venue and have to start playing right away, without any time to read the crowd or settle into the vibe. It’s tough because—even though you’ve been booked for a hot festival or a popular club—you sometimes feel like you’ve just stepped out of the shower, and you’re still just you. You don’t feel “hot” or “on” yet, but everyone expects you to bring your A-game immediately.
Even if it’s not late at night and people are like, “Oh, that’s the DJ,” you still feel like a regular person. Then, bam—you’re expected to get on and perform right away, especially when you’re no longer the warm-up DJ and it’s primetime. You have to bring your best from the first track and maintain that energy the whole time. That’s definitely one of the hardest parts for me.
I much prefer events like corporate parties or weddings where I can spend more time with the crowd. You’re there for 12, 15 hours, and you get a chance to really read the room. By the time the real party kicks off during primetime, you’ve already built a connection with everyone, and you can anticipate their favourite songs. In those moments, every track hits the mark because you’ve had time to figure out what works. It’s like being a comedian—when you get on stage, not every joke is going to land, right? It’s the same with track selection.
That’s why I love longer gigs where I can spend more time with the guests and patrons, rather than being booked for just one or two hours and having to jump right in and then leave. Those shorter gigs are much more challenging, even though they seem like they should be easier.
FAB: What’s one thing about being a DJ that most people don’t understand or appreciate?
DJ Soulcat: The amount of time we spend alone.
FAB: Sometimes people say, “We could just stream the music online. Why do we even need a DJ? Or we could download a mixtape and let everyone vibe to it.”
DJ Soulcat: Yeah, you could do that, and there’s nothing wrong with it. But it comes down to how much you value your guests. If you’re okay with just playing a pre-mixed tape, that’s your choice. But if you want to give your guests a real experience, a DJ adds a personal touch. They can take song requests, engage with your guests, and make the event more interactive. Some of your guests might even want to chat with the DJ about equipment, like vinyl players, or learn more about the craft.
When you hire a DJ, the music is tailored to fit the mood and purpose of your event. If you just stream music, you’ll have to monitor it constantly. Platforms like Spotify might start playing songs that don’t suit the vibe, and you’ll end up having to change them.
People also think DJing is glamorous, like we’re rock stars or something. But the reality is that most of the time we’re on our own. We travel long distances, sleep in cars or hotel rooms, and spend hours on the road just to get to a gig. There’s also a lot of work behind the scenes—whether it’s going through records or curating the perfect set on the laptop.
FAB: And through all that—sleeping in cars, travelling for hours—how do you manage?
DJ Soulcat: I’ve slept everywhere: in cars, on trains, even in train stations or airports while waiting for a connection. I can pretty much sleep anywhere now.
FAB: And what has been your most memorable experience as a DJ—whether it’s a gig, a collaboration, or a moment of personal achievement? You’ve mentioned sleeping in train stations and hotels, but what stands out?
DJ Soulcat: You want me to be honest? Coming home. Sleeping in my own bed, not having to lug equipment around, and not finding USB sticks in my pockets. Also, knowing my bank account is sorted, and I can buy food and take care of my daughter. Those are the greatest moments for me. When the job is done, it’s done. It’s out of my head. You get what I’m saying? Even compliments don’t mean much anymore because I’ve seen too much.
I’ve worked with agencies where people lie to your face. They’ll say, “You were the best DJ, I couldn’t ask for anyone better, everything was perfect,” and then the next day, they send a complaint to the agency, just to try and get a discount. They’ll make up stories because they found the invoice too high. So, yeah, even praise doesn’t hold weight anymore.
I’d rather people be upfront with me. If I’m playing the wrong song at the wrong time, just come over and say, “Hey, can you play something else?” or “Can you save this for later?” We can talk like adults. But, some people aren’t like that. They’ll throw tantrums and act like the DJ ruined their whole event, then demand 50% off.
FAB: That’s some serious lowballing.
DJ Soulcat: Unfortunately, it happens. But I have a good agency that protects the artists, so I’m covered.
FAB: So, your most memorable experience is coming home, sleeping in your bed, and, of course, getting your paycheck?
DJ Soulcat: Exactly.
FAB: Awesome.
DJ Soulcat: Actually, let me add something. As a hip-hop artist, my most memorable experiences are going on tour with my favourite artists. I get to see their routines, talk to them, and experience the music culture firsthand. I’m still a fan, you know? Even though I’m a DJ, I believe you have to stay a fan to make good music and be a great DJ. If you lose that passion, then, like I said earlier, the only thing memorable will be coming home and getting the paycheck.
But, let’s be real—it’s a business. The travel and the stress are tough. Still, from a passion standpoint, being on tour with the artists I admire is what I love most.
FAB: Let’s talk about your daughter. How do you balance the demands of your career as a DJ, hip-hop artist, and being a mother?
DJ Soulcat: Honestly, it’s never easy. I have a support system—babysitters, nannies, and my child’s father has been a big help. But even with that, our relationship has struggled. You have to sacrifice things to maintain this lifestyle, but one thing I won’t sacrifice is my daughter’s well-being. She actually loves going to parties! Right? Say hello! No party today? Okay, no party.
When I can, I bring her with me. The best part is, I’m not working a 9-to-5 job, so I can spend more time with her than most people. Sure, when I’m on tour or DJing on weekends, she can’t always be with me, but overall, I get to be with her much more. It’s seasonal work, you know? So, after the busy period, we hop on a plane to the Dominican Republic and spend a couple of months there during the off-season.
It’s a matter of personal preference. Some people like the stability of a 9-to-5 with 35 days off a year, and they’re happy with their weekends free. But I’d rather spend weeks focused on my daughter’s development, handling minor office tasks or interviews during the week, and working just a few days on weekends. People say, “But you have a babysitter,” and I say, “Yeah, for one or two days a week.”
DJ Soulcat on Mentoring the Next Generation of DJs and Expanding Her Influence
FAB: That’s great! I had a couple more questions, but I think you’ve touched on them already, so I’ll skip those. What’s next for you? Are there any upcoming projects or collaborations you’re excited about?
DJ Soulcat: Yes! I’m building a DJ Academy. It’s the perfect transition from what we’ve been talking about. I know I won’t DJ forever—I’m not trying to be the Tina Turner of DJing! But right now, I have so many requests and bookings that I can’t handle them all on my own. I’m already working with two to three other DJs, but I’ve realised many DJs get stuck at a certain level. They don’t grow because they’re stuck catering to niche markets and can’t break out.
My goal with the Academy is to help DJs break through those barriers. I want to teach them how to get more gigs, how to communicate with clients, and how to tailor their sets to different types of events. I’m working closely with agencies to ensure that those who complete the masterclasses will have job opportunities and collaborate with my company.
I’ve already secured funding, about 60,000 euros from (Wirtschaftsagentur), and I’ve spent a lot on producing online classes with Netflix-quality production. When I first shared the idea, people asked, “Why would someone choose your course over free DJ tutorials on YouTube?” And my response was simple: quality and firsthand experience. I’m well-connected in the music industry, so I’ll have experts from the U.S., Germany, Switzerland, and Austria contributing to the lessons. These aren’t just theories—I’m sharing proven techniques that have been tested in the real world. If people follow the steps, they can be successful DJs. It’s not as hard as it seems.
DJ Soulcat: Exactly. Passion alone won’t get you far. It’s like having a stove—you need more than just the fire. You need to put a pot on, add the right ingredients, and cook the meal. Passion is essential, yes, but it won’t get you anywhere by itself. It’ll help you finish the job once everything is in place, but without strategy, passion won’t take you far. You need the right methods to succeed.
Fashion, Beauty, and Lifestyle with DJ Soulcat
FAB: Let’s shift gears. What’s your morning skincare routine like?
DJ Soulcat: Okay, first thing in the morning, I drink water. Hydration is key. Then I head to the bathroom and thoroughly wash my face. After a gig, I use special products, like this one here for my eyes. See? It’s made with coconut milk and other healthy ingredients. I trust it to prevent dark circles and puffiness from lack of sleep. I also use this cream from Chanel’s Sublimage line. My mom uses it too. I love it because at 38, I still don’t have any wrinkles!
FAB: You look like you’re 23!
DJ Soulcat: I know, right? I’m 38, but this stuff really works! I also avoid straightening my hair, so I use keratin and curl care products with argan oil, coconut oil, and vitamin E. All-natural ingredients. That’s the best.
FAB: You travel a lot. What are your top tips for packing efficiently?
DJ Soulcat: Oh, definitely start early. Make a plan and write down everything you need. A list helps. Get hygiene bags to organise your items by category. And don’t wait until the night before to pack—do it earlier. For me, I’m always ready to go. Look at this. [Shows bags]. See? I’ve got suitcases and bags packed and ready. If I get a spontaneous call, I just grab one and head out. Always be prepared!
FAB: What’s your go-to fashion essential for a polished work outfit?
DJ Soulcat: My style leans more masculine. I love my branded shirts and my Boss belt. Belts and shoes are essential, and jewellery too. And tattoos, of course. How you present yourself matters. If you look well-dressed and expensive, people are more willing to pay you what you’re worth. But if you don’t carry yourself well, they might hesitate to pay what they owe. My grandma always said, “You can be poor, but you don’t have to look poor.” She also told me, “If you can’t buy something three times, it’s too expensive for you.” I’ve lived by that.
Fun Zone: #FABFastFive
FAB: What’s your favourite food?
DJ soulcat: Seafood.
FAB: If you could tour the world, where exactly would you go first?
DJ Soulcat: Japan.
FAB: What’s the best colour of outfit you usually like to wear?
DJ soulcat: Black
FAB: If you could collaborate with anybody, who would it be?
DJ soulcat: Anyone who’s female and be BIPoC
FAB: What’s your favourite colour in the rainbow?
DjSoulcat: Yellow.
All Images: Courtesy of DJ Soulcat/Bemsen Amaichigh
