Yuuki Yoshiyama: “I Always Inject a Groove that Makes People Dance”

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Yuuki Yoshiyama swung by to chat about his milestone Tomorrowland Winter set, breaking boundaries, and advice for the next generation.

Yuuki Yoshiyama has spent three decades doing something that few artists ever set out to achieve: putting his home country, Japan, on the global electronic music map. Since launching his DJ career in 1996, the Tokyo-based artist has worked across every layer of the ecosystem, guided by a singular vision of spotlighting Japan’s music scene on the world stage.

From his roles as Executive Producer of GMO Sonic and Toolroom Japan, head promoter of EDC Japan, and Music & Entertainment Director at W Osaka, Yuuki Yoshiyama has been quietly shaping much of Japan’s electronic music infrastructure. He also founded his own event brands, UDVD and JIWAJIWA Tokyo, successfully navigating his role as an entrepreneur while never losing sight of the bigger picture.

As an artist, Yuuki’s career has taken him across Asia, North America, and Europe, with each performance marking a deliberate step toward bridging the culture between East and West. In 2018 and 2019, he was the only Japanese DJ to perform at EDC Las Vegas. Last year alone, he made his debuts at Boothaus and Amsterdam Dance Event, and earlier this March, he reached another symbolic milestone: becoming the first Japanese artist to perform at Tomorrowland Winter. His 90-minute set, spanning house, techno, and trance, ignited the crowd and left little doubt as to why he earned the name “Tech Maestro.”

Beyond the decks, Yuuki’s Tomorrowland Winter run also carried a surprise highlight. He appeared at a one-off bakery pop-up in France alongside Steve Aoki, celebrating Dim Mak’s 30th anniversary with a b2b set alongside Blake Light.

That same relentless energy follows him in the studio. His latest single, “Identity,” marks a shift in that sonic direction as he shows off a groovier and more rhythmic, adrenaline-charged energy. It sounds like an artist returning to his roots with sharper vision and a clearer sense of purpose.

As his presence in the global electronic music scene continues to grow, we sat down with Yuuki Yoshiyama to chat about his experience at Tomorrowland Winter, the state of the Japanese electronic music scene, and his hopes for the next generation of emerging artists. Read on to get a glimpse into the mind of a true visionary.

Stream Yuuki Yoshiyama – “Identity” on Spotify:

Congratulations on officially becoming the first Japanese artist to perform at Tomorrowland Winter. Standing on that stage, did it feel more like a personal achievement, or more like a moment representing Japanese talent on a global level?

Marking the 30th anniversary of my DJ career, it was definitely very emotional for me personally. At the same time, beyond my DJ activities, I’m also involved as a festival promoter, event producer, and on the investment side, building venues themselves. From that perspective, I felt the significance was much bigger, creating a scene and opening doors for the next generation. I strongly believe we need to see more artists, not only from Japan but from across Asia, stepping onto these global stages.

How did that concept of a one-off bakery pop-up in France with Steve Aoki come together, and what was it like performing in such an unconventional setting?

I had already met Steve at my own festival, GMO SONIC, and again at Snow Machine in Hakuba this past March. He mentioned that he wanted to do something special for the 30th anniversary of his brand Dim Mak. With support from the Tomorrowland team, that idea turned into a pop-up event in a very unique location. I had actually seen a similar pop-up last year, so I never imagined that I would be the one performing there. What really stood out was the incredibly high energy. The atmosphere was absolutely explosive.

You’ve been active since 1996, giving you nearly three decades in the electronic music scene. What first drew you to electronic music, and what inspired you to pursue it as a career? What was the electronic music scene like when you started?

I was heavily influenced by the ’90s rave scene. Genres like Belgian techno and what was often called “dest techno” spread in Japan through music distributors and became hugely popular in discos such as Juliana’s Tokyo. Tracks like LA Style’s “James Brown Is Dead,” Praga Khan’s “Injected With a Poison,” and T99’s “Anastasia” were iconic. I started as just a listener in elementary school, but in junior high, I became interested in DJing. I worked part-time jobs, saved money, bought Vestax mixers and turntables, and made my DJ debut at 16. At the time in Japan, most people around me were playing guitar if they were into music. I was the only one DJing. Even as a high school student, I kept stepping deeper into the adult club industry, and it was pretty wild. [Laughs]

What were some of the biggest challenges in building a presence in the scene, and did coming from Japan make it harder, especially when thinking about the transition to international audiences?

Coming from Japan and more broadly from Asia, I definitely feel there is a disadvantage when you’re only communicating as a DJ. The population and scale of the scene compared to Europe and the US are completely different. Some Japanese DJs have succeeded globally, like Ken Ishii — and more recently, newcomers such as ¥ØU$UK€ ¥UK1MAT$U — but in most cases, their recognition started overseas first. It’s still very rare for artists to break out internationally starting from domestic momentum. For me, I frequently meet overseas DJs, agents, and industry professionals, almost every month. I think using DJing as a communication tool and creating synergy with other businesses has played a big role in expanding my opportunities.

Your European debut at Bootshaus alongside MEDUZA, Wade, and Siak marked another major milestone. Did performing for European crowds change the way you approach your sets compared to your audiences in Japan?

My first show at Bootshaus was extremely exciting. The venue was completely packed from the start of my set. I do consider regional differences between Europe and Asia to some extent, but the core groove of my sound remains the same. Rather than over-planning my sets, I focus on adjusting to what each crowd wants in the moment. I started with minimal, percussive house grooves, then moved into thicker basslines and melodic-flavored tracks, and played many of my own originals. The crowd reaction was great, and it gave me a lot of confidence.

Your recent single, “Identity,” leans into driving rhythms and a darker, more focused groove. What inspired this direction, and how does it reflect both your roots and where you see your music heading?

As mentioned earlier, my roots are in ’90s rave culture, and I blend that with modern tech house elements. At the core, I always inject a groove that makes people really dance on the floor. I’m less focused on individually catchy tracks or obvious melodies. I prefer storytelling and groove across the entire DJ set. That’s why I aimed for a balance that can be perceived as both techno and house. I actually produced the track imagining Carl Cox playing it, and after Ultra Miami this year, he ended up playing it at a RESISTANCE party. That was a truly emotional moment for me.

Do you have plans for a bigger project, like an EP or full album, in the near future?

I already have enough unreleased tracks to compile into an album, but discussions with labels are still limited, so that’s one of my plans going forward. In May, I’m also scheduled to release a new single on Tronic, the label run by Christian Smith, who continues to lead the techno scene.

Finally, we’d love to hear your perspective on the next generation of talent. Are there any emerging artists from Japan who should be on our radar?

In countries like the Netherlands and Germany, it’s common to meet people who have been immersed in DJ culture for three or even four generations — the grandfather is a DJ, and the children are DJs too. In Japan, the DJ population is increasing every year, and along with that, more producers are emerging. Now that the world is so connected, it’s important to carry your own music and actively knock on doors overseas. There are many opportunities each year. From conferences like ADE and WMC to major festivals, where industry professionals gather, there are still very few Japanese artists present. That actually means it’s a blue ocean.

Despite that, I find it hard to understand why more people don’t go out and take those opportunities. [Laughs] “Boys, be ambitious.” I also want to put more effort into supporting the next generation. I’d love to see more people come forward without hesitation, reaching out, asking for advice, and saying, “Let’s create something together.” Nothing new is born from staying small and playing it safe.