Jennifer Loveless has been finding her footing in Berlin. Not in the reinvent-yourself way people like to frame the city, but in the real sense – long weekends on the road, airport fatigue, and trying to make space for a life in between. Somewhere in that rhythm, her sound has shifted a little. It’s getting deeper, clearer and more deliberate without losing the flexibility that’s always been part of her.
Her new “Fever” EP on AUS Music taps into that headspace. It’s direct, unfussy, and feels like a snapshot of where she is right now.
When we spoke, Jennifer was reflective about her touring routine and the parts of life that happen around the music. Here’s the conversation:
Since relocating to Berlin, you’ve spoken about being in an incubation stage. How is the city shaping your sound right now?
I’m very much of the thought that art is a product of our environment and how we consume, digest, and then regurgitate that information back. Moving over from Australia to Berlin was a whole moment for me to, instead of charging forward, take a step back and figure out where I fit in this new context. I resonate with so much in my musical and everyday life, and what brings me the most joy is being able to boil that down into something cohesive.
Some of the mixes you’ve shared this year seem to reflected your past in Melbourne/Naarm and your present in Berlin, balancing warmth and moments of quiet tension. When you build a set now, how do you approach it?
I feel like I’ve tried every iteration of DJ build and feel like I’m still figuring it out. But, what I find in most cases works best for me is a balance of knowing where you want to go and being open to what the crowd informs you. I take mixes and podcasts as opportunities to play a type of set that works for the medium. I find it super hard to play a set that I would play out when I am recording at home and know that the mix will be listened back to in a non-club setting.
You’ve released on labels such as Sex Tags UFO, Planet Euphorique, Butter Sessions, !K7, Future Classic and Miami Daddy. In Berlin, how do you see your label affiliations influencing how you’re pushed, or how you push yourself, and how does that differ from your experience in Australia?
Most definitely, art doesn’t exist in a vacuum so the process is input > artist digests > output. When I lived in Naarm, the music I was producing was a response to that place and time, now that I am in Berlin, I think sonically, my sound has deepened.
Your new EP, “Fever”, comes across as really cohesive and clear. What were you chasing sonically when you made it?
AUS Music was one of the first labels that I paid attention to in my early record collection. 2013’s Deetron – Count on me, was one of my go-to records, and since then the label has never left my mind, with it being home to artists like Cassy, Move D, Joy Orbison, Paul Woolford, Midland, Floorplan and more. It was super exciting to send demos over to Will Saul and have him select 3 of those tracks to make what I think soundtracks the full arc of a night (opening, middle, close).
How do you balance the emotional and physical toll of touring with nurturing a fuller inner life when you’re back in Berlin?
If I’m being totally honest, I mostly see the inside of my home and Berlin Flugenhafen. Touring has a way of making you absolutely exhausted after the weekend, both physically, socially and sometimes emotionally. In that way, I mostly love not leaving the house when I am back. When I do venture out, it is to catch up with friends, go to see other artists play and or for errands. In that way I do feel my life has become a bit one-dimensional, which I am in the process of figuring out how to overcome as it’s not something I’m proud of. I started reading poetry again after taking a break for a long while, I started reading fiction again, both of which were my original loves.
You said you’re working on new music and in a nice place with that. What pressures or impulses influence when you decide a release is ready?
Hm, I’m not sure…there is the meter of working on a song where you can overwork it and it goes past its peak of good and becomes bad. I mostly make songs and keep them in their raw demo form and pass that to a label or two I envision for it, and from there if it passes their litmus test, then I will go back in and then think about things like making sure the kick and bass are hitting how it should, the arrangement makes sense, and etc.
What are you most excited about for the remainder of 2025?
My first winter in a long time.
Check out the exclusive playlist of Top 5 current tracks curated from Jennifer Loveless:
