A driving force in Southeast Asia’s electronic music movement, Whisnu Santika has spent the past decade shaping the region’s dance landscape with his genre-defying sound and electrifying stage presence. Returning to Asia’s premier electronic festival Djakarta Warehouse Project for the sixth time this December alongside a stacked lineup that includes Calvin Harris, Charlotte de Witte, Skrillex, and more. Hailing from Jakarta, the Indonesian DJ-producer has built an international reputation through performances at landmark festivals including Ultra Bali, Dreamfields, It’s The Ship, Inspire Arena, and Soundrenaline, alongside club shows that have taken him from Singapore to Bangkok, Dubai, and beyond. Known for seamlessly blending Afro rhythms, tribal percussion, Moombahton energy, and Brazilian funk, Whisnu channels both his roots and global influences into a style that’s bold, soulful, and unmistakably his own. With millions of streams across his catalog and acclaimed releases such as ‘Yalla Habibi’ and ‘IYAIYA’, he continues to bridge underground grit with crossover appeal. In this interview, we explore Whisnu’s creative evolution, his upcoming projects, and the philosophy that fuels his mission to bring authenticity and freedom back to the dance floor.
Hello Whisnu Santika, thank you for chatting with us!
This is your sixth time playing at Djakarta Warehouse Project. What makes this festival so special to you and why do you keep returning?
DWP has always been one of my favorite festivals—not just because we share the same mission of putting Indonesia on the global music map, but also because it gives me a platform to debut new music and new productions.
You’re known for your iconic Whisnu Santika Edit Packs. What inspired you to create edit packs in the first place and how do you ensure you’re always bringing a fresh, authentic sound?
I always try to deliver something fresh, especially for my shows in Indonesia (you know how the Indo schedule gets!). I don’t want to repeat the same set, especially when people come expecting something unique. And on top of that, I want to experiment with different genres while still staying true to my sound.
How do you balance showcasing your Indonesian heritage in your craft, while still appealing to a diverse international audience?
I really want international audiences to hear and enjoy my music, but I know it has to be introduced properly. So before any show abroad, I always do my homework—talking to local experts and learning what resonates there. Then I mix those insights with my own sound to present my music in a way that feels natural to international listeners.
Can we expect to hear any new edits, remixes or collaborations in your DWP set this year?
Absolutely YES! I’ve got an official remix for HYO coming, plus several new collaborations with Indonesian musicians Rey Putra and Cosmo Kent. ‘I’ll Be Yours’ is dropping next month, along with a project with international artist Sikdope. I seriously can’t wait to premiere everything at DWP!
Can you tell us more about your unique genre of EDM Indo Bounce? What initially sparked this idea?
I’ve always been into house music and baile funk, and Indo Bounce is basically a blend of house, Latin, breaks, and funk. But for me, it’s not just a sound—it’s a community and a movement. I launched it during the pandemic because I wanted to put Indonesia on the global map and give Indonesian musicians a platform to grow.
You recently remixed ‘YES’ by HYO. What drew you to that track, and how did you approach putting your own spin on it?
HYO and I met at DWP24 in Jakarta. We talked about the idea of collaborating, and this remix is our starting point—hopefully the first of many!
You’ve had an incredible few years performing across major international festivals like Tomorrowland and Siam Songkran. How have these global stages influenced your creative process or performance style?
Traveling and performing on global stages is one of the most exciting parts of my creative process. It’s incredible how music connects people through festivals and crosses boundaries so effortlessly. Asia is one of the biggest markets, but often a bit behind in terms of music trends, so playing internationally adds so much to my creative growth. From a performance perspective, it inspired me to try new things in my sets and share those fresh elements with the audience at home.
Your latest track ‘Yalla Habibi’ fuses middle eastern melodic sensibilities with your Indo Bounce signature. What inspires you to blend different cultural influences in your music?
I explored Middle Eastern influences in my previous track ‘Sahara’, and after experimenting with other genres in earlier releases—like house with Sorn and amapiano in the ‘Mangu’ remix—I felt the Indonesian crowd was starting to miss my Indo Bounce sound. So here we are with ‘Yalla Habibi’.
Collaboration is a big part of your sound — you’ve worked with names like Dipha Barus, Ramengvrl, and Liquid Silva. What makes a collaboration truly click for you?
Honestly, most of my collabs come from casual chats or random studio hangs. I’d been trying to lock in studio time with Dipha since last year, and we finally made it happen earlier this year—then Ramengvrl jumped in. With Silva, we’ve toured so much these past years that most of our ideas were born while we were on the road.
You’ve become a role model for young DJs and producers in Indonesia. What’s the most important advice you’d give to artists trying to take their sound to an international level while staying authentic?
The key is to explore creatively without losing your brand’s DNA. Trends and references can expand your vision, but consistency keeps your audience grounded. At the same time, staying adaptable ensures your brand evolves with the moment. The real art is finding the balance between consistency and relevance.
Get your tickets to see Whisnu at Djakarta Warehouse Project 2025 HERE.
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