Berlin-based producer and DJ Dompe has built a reputation for his infectious grooves and unwavering energy on the decks. With releases on labels like Jackfruit, Too Many Rules, and 303Lovers, he continues to be a consistent presence on Beatport charts and in club sets across Europe. His sound is a potent cocktail of driving basslines, tight percussion, and that signature bounce that keeps floors moving from sunset to sunrise.
We caught up with Dompe ahead of his upcoming releases to talk about the Berlin scene, creative evolution, and his approach to keeping things fresh in a genre that’s always in motion.
Vol. I was lauded for reviving French-touch energy; Vol. II feels bigger and punchier. What personal or technical evolutions drove that leap?
Hello, nice to be here. Thank you very much, I think that I am always developing and getting better in my production skills. French Collection 1 was created during Corona and somehow I didn’t have the club in focus. Now it’s a completely different situation. With French Collection 2, the focus was completely on the dancefloor. The last 1.2 years I’ve also preferred to make dirty, punchy underground house. I think that also played a big part in the process of French Collection 2, resulting in this nice mix of French house but with a lot of punch.
Your basslines walk a line between groove-heavy and crowd-friendly. Any secret sauce in the low-end workflow you can share with underground producers?
The bassline or groove is the most important element in my sound. The basslines always come from the gut. At some point it clicks and it grooves. But I can’t reveal the secret because I don’t know either.
Carl Cox, Laurent Garnier and Claptone have all dropped your tracks. What’s the most surprising DJ support moment you’ve experienced?
There have been some really nice situations. But the best was when Carl Cox had a radio show on New Year’s Eve 3 or 4 years ago. He counted down the last seconds of the old year and wished everyone a happy new year. Then he pressed play and played a track of mine. That was a nice omen for the coming year. I’m such a big Carl Cox fan. That really touched me and made me proud. Thank you Carl 🙂
Jackfruit Recordings is now eight years deep. How has your A&R ethos shifted since the label’s DIY beginnings in 2017?
I didn’t actually have to do any A&R until last year because everything on Jackfruit is mine. Last year we founded the sub-label Jackfruit Traxx, which we founded specifically to sign other artists. We don’t care if it’s a newcomer or an established artist. All that matters to us is the music.
You co-run the label with your wife. How does that partnership influence decision-making—creative freedom versus strategic planning?
We have a very clear division. A&R and everything that has to do with music is my area. The strategic direction is of course something that concerns both of us. It’s important that we’re both involved. Everything else like back office, office structure, contracts etc. is Martha’s area, which is good because if I had anything to do with it we’d be in chaos land 😀
“Gummy Bears” appears only on promo copies. Why hold that one back, and will the public ever get a taste?
That’s not quite right. It was actually planned that the track should only go out as a promo. But then we decided to release it on Bandcamp and only there.
Which up-and-coming artists are on your radar for possible Jackfruit releases in 2025?
Next up is an EP by Nesi with a remix by me. Then comes an EP by DJ Mes. I am a big fan of both of them and very happy that they are on board with Jackfruit. There are a lot of things planned and you can look forward to it.
Tour news: give Change Underground the scoop on festival slots, club residencies or special showcases you have locked in for the year.
I’ve just been in Toronto, now it’s time for a few festivals and club gigs. We’ll also be at the Hexenwerk Festival with a Jackfruit floor. In the future we want to do more Jackfruit showcases. We are planning but nothing is fixed yet.
