Würzburg’s Denny Voltage is steadily making a name for herself—be it as the driving force behind her own PRISM parties, the booking curator of Dornheim, or through her dynamic and eclectic mixes.
She returns to Blitz on Friday, 28 March 2025, for a jig in our Blitz Ballroom alongside Innervisions head Dixon and longtime friend Julietta. Blitzcast 027 offers a glimpse into her vibrant and effervescent musical style—a sassy and spirited mix brimming with percussive and tribal rhythms, spanning a broad spectrum of genres. We seized the opportunity to ask Denny a few questions about her work, hometown, musical approach, and the tracks currently on heavy rotation.
Get glimpse of Denny Voltage right here, catch her set on Friday and make sure to follow her on the web, too:
More Infos: Friday 28/03 Blitz w/ Denny Voltage, Dixon, Julietta.
Würzburg is your hometown—how would you describe the local scene? What’s the current status quo? Did you grow up there yourself?
I actually grew up in Stuttgart and moved to Würzburg for university, drawn by its charming castles and its endless summer vibes in the vineyards. With almost a third of the population under 30, the scene is constantly evolving, fueled by a strong student presence. Unlike bigger cities, it’s less niche and more community-driven, creating an open atmosphere—perfect for me as a DJ to test new sounds and experiment freely.
You’re the booker at Dornheim, where you also run your own queer event series, Prism. What’s happening at the club right now, and what drives your work?
Yes, that’s right. Together with my colleague Manuel (aka Radiothérapie), I curate the club’s bookings. Our approach is very grassroots—we balance supporting local crews, which are essential for smaller cities, with highlight bookings to bring fresh, relevant sounds to town. It’s not always easy, especially as the scene is constantly shifting, and what works today might not work tomorrow. Sometimes big festival acts don’t resonate as strongly as expected, while other bookings unexpectedly draw huge crowds. But that’s exactly what drives us—being in the flow, adapting, and shaping a space that evolves in real time.
But, not gonna lie: in times like these, when many clubs are closing, this can be a real challenge at times. Recently, we won an award from the Kultusstaatsministerium as one of Germany’s best live venues—not just a proud moment, but the prize money will also help us push our program further.
A local newspaper headlined its first piece on Prism with: “Bans like in Berlin?” in regard to its “No Photo” policy. What are the challenges of organizing queer parties with smart bookings in a city like Würzburg, as one of Germany’s smaller major cities? How have the challenges and opportunities evolved over the years?
When I started PRISM, there were no queer rave parties in Würzburg, but the demand was huge. I hadn’t planned on promoting again, but when a friend was kicked out of a club for being topless, I thought, > That’s not happening in my city < and decided to create a space for true freedom on the dance floor and unapologetic queer expression.
I was blown away by the support—not just from the queer community but also from local authorities. Supporting drag culture is deeply important to me, so PRISM provides a stage for drag performances alongside up-and-coming queer DJs and dancers. A big challenge when creating a queer safe space in a small city is balancing exclusivity while also educating people on why queer lifestyles need extra care and love. Awareness was a huge focus for us early on, and the No-Photo policy played a big role in establishing an environment where people feel comfortable.
The bookings mean a lot to me, as I hold high standards, but for our partygoers, it’s more about the PRISM experience than specific names. Still, I’ve had the privilege of hosting legends like nd_Baumecker, Cormac, Prosumer, Bashkka, and Massimiliano Pagliara, as well as dear friends like Jorkes, Posture, Nikola Marinkovic, Melatronix, Wannadosomething, and many more.
Before Prism, you launched “Avoid The Subject” as your first platform. What became of those parties?
Avoid the Subject was my first real love affair, I’d say. My friend Andy and I started booking artists we were obsessed with at the time—raw, driving techno like Delta Funktionen, Matrixxman, Somewhen, Hector Oaks, DJ Spit, DJ Gigola, Vincent Neumann, etc. We had wild visuals and aesthetics all over the place and soon built a nice community. Andy and I actually met at Robert Johnson while geeking out over Blawan, and checking his tracks.
Avoid the Subject was raw, pure techno—underground in the truest sense. Before we started booking at MS Zufriedenheit, there wasn’t much proper techno in Würzburg, so it felt subversive and revolutionary, like carving out a new space.
Funny enough, when I was a kid, my mom owned a techno club—around 1999. Back then, techno kind of scared me, but I was also fascinated by it. Avoid the Subject became the first real outlet where I truly engaged with it, and what once felt intimidating turned into something deeply personal. Techno was everything to me back then, and I’m still deeply drawn to it. Unfortunately, MS Zufriedenheit closed in 2021, and things naturally moved in different directions.
Tell us a bit more about your mix. What thoughts or inspirations shaped it? Were you following a specific concept?
The mix was a real tough nut to crack! I had so many ideas about what to include, but in the end, I just thought: Alright, let’s throw in everything that defines my sound. So, it’s a blend of pumping House, Groove, Bass Club, and UKG elements, all woven together with lots of percussion and tribal influences—because, well, I’m Spanish, and that’s just in my DNA. And of course, a touch of Ghetto House and Ghetto Tech had to sneak in, because that energy always gets me.
I also tend to play tracks that surprise people, like Ramadanman’s “Glut,” which always hits differently and keeps the crowd engaged. Tracks from DJ Plead, Pangaea, and April–ESS are often in my sets, too, and especially Errorsmith & Fiedel aka MMM, whose sound I love. These specific tracks just feel right every time.
And now about your style in general. Your selection is quite eclectic, spanning multiple genres. What influences your curation? Where do your musical roots lie?
I don’t like genres—just like I don’t like categories in general, whether in music or in life. The need to define everything, to put things into boxes, has never felt right to me. It’s the same with gender—I think it’s totally fine to exist somewhere in between, to dress, act, and be however you feel in the moment, just flowing in your own way.
For a long time, I struggled with self-doubt about my musical identity as a DJ. I was interested in so many different things, constantly switching styles, and I worried that meant I didn’t have a clear direction. But at some point, I realized: Maybe that diversity is actually my superpower. So I stopped caring about judgments and just did my thing—and suddenly, everything felt lighter, more natural, and way more fun.
Music has always been my life. I started out playing guitar, obsessed with Indie and Post-Punk, then got hooked on synthesizers, went through a pretty intense Hip-Hop phase, and somehow ended up… here.
Do you remember your first gig at Blitz? Any particularly memorable or curious moments?
My first gig at Blitz was magical. I remember feeling at home from the very first track. Everything was great—from the artist care to the sound system and the crowd. The freedom of artistic expression in the whole Blitz environment is immense. I played the closing set and felt completely at ease, really vibing with the crowd. The energy was amazing, and I felt free to experiment and guide everyone through the night. It was one of those unforgettable nights where everything just flowed.
And then the night manager came up and asked if I wanted to play a little longer, and I was like: SUREEEE, let’s gooooo, I can do this forever!
What are your next musical steps? You also produce music and have played live sets—any updates on that front?
At the moment, I’m spending quite a bit of time in the studio, producing. I have a lot of open projects that I probably should finish at some point. I’m also eager to collaborate more—there are a few things in the works for later this year.
I played an analogue live set only once during the corona period, but it was far from clubby. It was more about capturing that pent-up lockdown melancholia and creating endless synth soundscapes, almost like a movie score. I think I’d like to explore that direction more as I get older, especially since I’m really into films. Or maybe I’ll start an Indie-rock or Pop Music project again. You never know!
You’re sharing the booth with longtime Blitz affiliate Julietta and Dixon at this Klubnacht. What are your thoughts on your fellow artists, and how are you planning to shape your set for the night?
I’m super excited to share the stage with Julietta and Dixon at this Klubnacht. Dixon is a big name, and what he and his mates from Innervisions have built is truly impressive. His sound has crossed my path a few times in my journey, and I really dig his aesthetics and overall vibe.
I’ve only recently checked out Julietta, but she seems really cool and down-to-earth. Her sound is diverse, and I love the way she brings her own unique energy into her sets. She gives me proper OG vibes, which I always appreciate. Can’t wait!
Beyond networking and self-promotion, what record is on repeat for you at the moment?
Okay, so this answer could be quite long, but I’ll try to keep it short.
I recently rediscovered Jonathan Bree—his track “You’re So Cool” has always been a favourite of mine. It randomly played in my girlfriend’s car the other day, and since then, I’ve had it on repeat. The strings in that song—oh my god.
Then there’s the new Doechii album, which is just massively good. She’s an absolute powerhouse.
And of course, GAGA— I still can’t believe that Gesaffelstein co-produced it. He was one of my heroes in my twenties. The album, wow.
Also, my friend ND completely hooked me on the new FKA Twigs “Eusexua” album.
And if I’m being totally honest, I listen to A LOT of Nintendo music. They just launched a new music app with all my favorite soundtracks… perfect.