Right after his set at Nameless Festival Winter, we caught up with Conrad Taylor—an artist who’s quickly become part of the Nameless Family thanks to his explosive, high-energy performances and his deep connection with the Italian dance community. Fresh off sharing the stage with Marnik for their collaboration A Better Place, Conrad opens up about gratitude, identity, and the dual roots that shape his sound: German techno intensity meets American songwriting confidence. From German-language vocals and “techno kings” to touring across Europe and the US (including a Times Square moment), he also speaks about a rare side of his journey—his background in politics—and why he believes rave culture and social change belong together.
Matteo Villa: How was playing at this festival, especially in the mountains? And what emotions are you leaving this stage with? Also, you shared the decks with the Italian artists Marnik for the collaboration A Better Place.
Conrad Taylor: And I was working with them. Right now I’m feeling gratitude. I feel truly grateful and humbled to be part of the Nameless Family. You can tell people are here for the music, for the vibes, for the energy, for the community.
And that’s very, very special. It’s very special that you’ve built this Nameless Fam. The first time I played Nameless Summer last year, I immediately felt welcome. And it’s such a privilege to have been asked to come back and really become a member of the Nameless Family.
So I’m just feeling so grateful. This was so much fun. And then this collaboration with Marnik is such an honor—working with them is amazing. We just got off stage: Alex from Marnik and I just played the track live together and I think it went crazy, that huge final drop.
And it felt so good. And working with Lele and Alex on this song has been so good. We really see eye to eye—every decision we made, we worked perfectly in sync. So I’m just very happy. And I think it’s also another positive connection between me and the Italian community.
Matteo Villa: Also, Nameless—the first experience at Nameless, I think, was one of the best moments because you also went pretty viral with your performance at the Nameless Summer Edition. Definitely. And the energy was amazing.
Conrad Taylor: I was there too. So it’s nice to connect more and more with the Italian community. And Nameless has one of the biggest communities and some of the biggest moments. I feel so connected to the Italian dance community because of this experience of being part of the Nameless Family.
You know, my manager is Italian. I actually have family that lives near Olbia in Sardinia. So I’ve always kind of felt this kindred spirit with Italian people, and now working with Marnik—and I also have a few tracks with Alessia Labate.
And she’s the best person in the world. So yeah, thank you. Thank you to my Italian community here. It’s beautiful.
Matteo Villa: And now I want to connect with your roots, because you are German and American: what are the most important things you bring from your path—from both parts of the world—into your high-energy sets and into your music? How are your double roots represented in your music? And for example, on specific elements: you started with piano, if I’m correct. So maybe you focus more on melody, or more on drop energy, or sound design. What’s your path, you know—also thinking about your roots?
Conrad Taylor: That’s a great question. Growing up, it was actually something I struggled with because culturally, from a family sense, I felt very German, but I was born and raised in New York.
So my environment was quite American, as you can imagine. Growing up, it felt like I almost didn’t belong wherever I went. But today, as an artist, I feel like this dichotomy completes me, because it gives me the influence to take these hard German techno sounds.
The German techno scene influences me so much in my music. But it also gives me the confidence to write like an American songwriter. So I bring these two cultural influences and create music that is purely me—in a way I almost wasn’t able to do until I became an artist and a songwriter, because this has been my way of exploring who I truly am.
Matteo Villa: That’s super interesting because you can go in both directions, different kinds of music, and you’re a really interesting artist. And for example, speaking about music: your latest single released yesterday is with a friend of mine, Charles B. The title is… I don’t know German, but In der Halle der Techno Konings. Yes, almost—very good, very good. So I see you’re keeping German titles also in international collaborations, international music. So first question, fun question: who are the kings of techno for you? Besides you, of course, and Charles right now. And the other one is: can you tell us more about your choice to keep German vocals too—connecting with your roots?
Conrad Taylor: Yes, amazing questions. The kings and queens of techno—this is so hard. Historically there are certain names, but present day I’d say Reinier Zonneveld from Amsterdam.
I really admire Sara Landry and what she’s done for hard techno in the United States. She’s really revolutionized the sound and paved the path for other American hard techno DJs. So she’s definitely the queen of techno for me. Kiki, Nico Moreno, Restricted, I Hate Models… these are people I look up to so deeply. The list goes on.
And sorry—what was the other question?
Matteo Villa: The other question is about the German title and the German vocals.
Conrad Taylor: It’s a choice, actually—absolutely. The first German-language track I ever released was called Die Tiefe. That was about a year ago, and I was so nervous to do it because I had no idea if anyone would care to listen to my German-language song. Most of my audience was in the United States at the time.
And it went really, really well. It was my first song to really go viral—I remember it on socials.
And that gave me the confidence to share this part of my identity with the world. So I want to keep doing that.
Look: this month I released two songs. One is A Better Place, which is a peak-time melodic techno track. And then In der Halle des Techno Königs, which is like a German-inspired classical music + hard techno/trance mix.
My next song will be… I can’t say it, but it’ll be a bit different. But it’s important to me to be diverse in the music I put out and tell a story about who I am to my audience. So I will always be making German techno because it’s such an important part of who I am.
Matteo Villa: Yeah, that’s a really great answer. And more generally: techno, also thanks to socials, is becoming more and more mainstream—it’s reaching new generations. It’s not a niche anymore; it’s been a huge movement for years now. From what you’ve seen touring around, how is it perceived in Italy, in Europe, and in America? We know you also performed in Times Square, for example. What does it feel like to bring your music around the world? Do you prefer performing in certain parts of the world? And what do you think about the movement right now?
Conrad Taylor: Well, hard techno is really growing everywhere around the world, which is very exciting for me because it’s the primary genre I play and make. And every country is a little bit different.
I’d say the United States is like two years behind Europe on this. On other things maybe 50 years behind…
But because of that, I’m in this moment where I can newly introduce this sound in the United States to a lot more people.
And I notice that, for example in Times Square, when I did my first hard techno drop, the reaction was like, “holy shit, what the fuck is this?”
And then I just keep drilling it, and of course I use my energy to channel the music into the audience.
That’s something I love—to get people to explode and express themselves. And hard techno really gives me the ability to do that; it gives me the intensity to do that.
So I feel like I’m taking some of these sounds that are big in Europe right now and trying to make them bigger in the United States.
But because they’re big in Europe, of course it’s so much fun to come here to Italy—I just had shows in France, Spain, England, Germany—and play these bigger hard techno drops because they’re very, very loved in Europe right now.
So yeah, I really enjoy doing that.
Matteo Villa: Speaking about America, I’d like to talk about another side of your path, because I know you also worked in politics. That’s super interesting because I think you’re one of the rare artists who is actively involved while building an electronic music career. For example: deputy campaign manager for Young for New York and also Humanity Forward. So: how has this shaped your identity? And do you plan to keep this political path active? And how do you communicate your intentions and energy—maybe also through music? Because maybe you’ll connect the two worlds. I’d love to know more about this political side.
Conrad Taylor: I hope to connect them in the present and in the future. My journey into music is definitely unorthodox.
I used to be the youngest elected official in the United States. I used to introduce Senator Bernie Sanders when he was running for president at rallies.
And then music was the thing I would come home to and do for myself—it was the way I expressed my feelings and emotions. I would write songs as a personal thing. And it just came out and exploded in a way I couldn’t ignore anymore, which is why I decided to become a DJ, start releasing music, and I haven’t looked back since.
But I want to be an artist who will always be politically active. My true hope is to build a platform large enough where I can create social change through community and music. That’s one of my goals as an artist.
And along the way I want to do that, especially with the current climate in the United States.
I’ve been very vocal with my disgust for the Trump administration and its policies, especially when it comes to ICE.
And that’s something I hope to lead on in the dance music community.
The history of rave music, dance music, techno—these are histories of revolution. These are histories of diversity.
And in my opinion, artists must lead the fight for social change now, in 2026, more than ever.
Because not doing so would be dishonoring the history of our scene, of our music, and of our community.
Matteo Villa: Yeah, I definitely agree with you, also because you’re connected with a new generation, with an audience that keeps growing. And I’m already imagining your strong speech, maybe with a hard techno production in the background. It’s a brave mission—I feel you. And it’s rare. And of course, when you become a public artist, a public personality, it’s important to make your choices and use your channels, your power. Super interesting—and congrats for this mission.
Conrad Taylor: Thank you. Thank you for supporting it.
Matteo Villa: And now the last question, about the future: are there any collaborations on new music or maybe new directions you want to integrate or try in your path? Also exploring beyond what people currently recognize you for and maybe expect from you.
Conrad Taylor: That’s a great question. I have so much exciting stuff on the horizon—releases, shows.
Unfortunately, I don’t think I can share any of it right now, which is a bit of a shame, because I’d like to.
But they will absolutely be pushing the boundaries of what I’ve done, what I’ve released, what I’ve played in the past.
I always want to be growing as an artist. If you get to know me in one way, get ready to get to know me in another way.
Because I never want to be stale—I always want to push the boundaries. So big things coming.
Matteo Villa: Okay… congrats and thanks again for your amazing performance here at Nameless Festival, and I hope to see you soon around Italy. Thanks again.
Conrad Taylor: Thank you so much for talking with me and for your awesome questions.
LISTEN CONRAD TAYLOR
— Thanks to Coco District and Conrad Taylor for the interview!
30y passionate guy about music, social media, digital marketing and infographics!
I founded youBEAT in 2012 as manifesto of my passion for electronic music, with the aim of promoting artists and events.
Graduated in Media Languages at UCSC in Milan (Università Cattolica del Sacro Cuore) with a thesis on the revolution of daily life with the streaming in entertainment and information.
Everyday more passionate and keen about data, tools and music insights and their connection in this everyday faster social connected world.
From 2017-2023 A&R, Marketing and International Manager at EGO Music (www.egomusic.net).
In 2024 I founded MAVIL, my artists&labels mgmt and promotion solo company!