Nostalgix has always blossomed in the spaces between contrasts – past and future, grit and gloss, underground energy and mainstage allure. Born in Iran, raised in Canada, and residing in L.A., she’s now operating globally – and not just that: the 29-year-old DJ/producer/artist built a sound and identity shaped by movement, culture, and a persistent DIY drive.
It’s that very journey that has carried her from experimenting in a dorm room to commanding some of the world’s most recognizable festival stages, all while maintaining a fierce personal connection to her art. Over the past few years alone, Nostalgix has carved out a lane defined by bass-heavy swag, sharp lyricism, and a distinctly ’90s-tinged aesthetic that feels both nostalgic and future-forward.
Releases across influential labels and collaborations spanning club music and hip-hop hybrids have positioned her as a triple threat – producer, writer, and vocalist – equally comfortable crafting records as she is igniting dancefloors.
Now, with the release of her debut full-length album Inferno, she steps into her most fully realized and self-aware chapter to date. The project represents more than a collection of tracks: it’s a statement of evolution, creative ownership, and emotional clarity. Built around themes of transformation, resilience, and self-definition, the LP reflects an artist refining her voice while expanding her sonic identity.
And this spring, she’ll be touring the USA in support of the album – it’s a schedule that’ll include spots at Miami’s Ultra Music Festival and Las Vegas’ Electric Daisy Carnival. With so much on the immediate horizon, DJ LIFE recently caught up with the rising star (aka Negar Hamidzadeh) to discuss her approach to Inferno, and more.
DJ LIFE: So, where did the name Nostalgix come from?
Nostalgix: The name Nostalgix actually came to me when I was in university. I was sitting in my dorm room – before DJing, before my first mixer, before making music – and it just clicked. I immediately wrote it down and started playing with logos and different variations. It always felt like me. I never questioned it.
DJ LIFE: As an Iranian-born, Canadian-raised artist, how have your cultural roots helped shape you as an artist?
Nostalgix: Being born in Iran, raised in Canada, and now living in the U.S., I feel like I’ve lived many different lives. Iranian culture deeply shaped my taste and early influences – artists like Googoosh and Ebi were a huge part of my world growing up. Canada then expanded my palette, exposing me to so many styles and perspectives. That blend naturally shows up in my music and sets. I love bringing different influences together in a way that feels authentic.
DJ LIFE: Inferno feels like a moment of full self-definition. When did you realize this album wasn’t just another project, but a true turning point for you as an artist?
Nostalgix: Very early on, I knew Inferno was different. It represents stepping into my highest self – taking every lesson, hardship, and moment of growth and turning it into something intentional. The themes reflect real turning points in my life. It’s about shedding limitations, rebuilding strength, and evolving. This album feels like a true reflection of who I’ve become.
DJ LIFE: With a title suggesting destruction and rebirth, what parts of yourself did you feel you had to “burn away” in order to usher in your latest musical era?
Nostalgix: I’ve definitely had to burn away a lot of different versions of myself. I feel like I’ve lived so many lives in the last few years. Moving at such a fast pace forces you to confront your doubts, fears, and conditioning. Inferno is rooted in that process – questioning old patterns and pushing toward growth. That evolution naturally led me to be more vulnerable in my art.
DJ LIFE: Your recent aesthetic has shifted into something darker and more cinematic. What inspired this transformation?
Nostalgix: With Inferno centered around leaving the darkness to find the light again, finding your strength, and standing tall in that light, I wanted the project to truly tell a story. I also wanted the show itself to feel like a story unfolding, and I really wanted to lean into my roots in cinema.
DJ LIFE: This album marks your debut LP after years of singles and EPs. What did you learn about yourself during the creative process? How long did the LP take to create from start to finish?
Nostalgix: Inferno had been brewing for a long time, but I worked on it from early 2025 through February 2026. It’s the most effort I’ve ever put into a project – not just musically, but conceptually. Making an album taught me how much intention, patience, and discipline it truly requires. I can wholeheartedly say that I gave everything I had to this album.
DJ LIFE: How did your journey from dorm-room beginnings to global-festival stages help shape the core of Inferno?
Nostalgix: I’ve always had a DIY mindset – figuring things out as I go while holding onto a big vision. Going from learning through tutorials to creating an album and touring it feels surreal. That mentality of “just keep building” has shaped everything for me.
DJ LIFE: Did you set any sonic boundaries while creating Inferno? What was the writing and studio process like?
Nostalgix: I really wanted to enjoy the process, focus on being creative, and see what I would make without putting limitations on it. I allowed my life and emotions to shape the music in real time. I explored more territory with tracks like “Fall Apart,” which is a very vulnerable song for me. I sang on it, and the drop leans more toward a UKG influence rather than the bass-house sound I’m usually known for. I did end up making a lot of records that leaned toward bass house, but I think that’s just because it’s naturally who I am.
DJ LIFE: Are there any plug-ins, synths, or pieces of gear you leaned on heavily during this album that became essential to your sound?
Nostalgix: [Xfer Records] Serum and [Spectrasonics] Omnisphere are definitely two of my favorite synths that I used on this album. I would say Serum is one of my favorite plug-ins when it comes to sound design – I’m definitely a ride-or-die Serum girl. I also used a lot of plug-ins from Waves and Valhalla. A lot of the album was made in the box, unless I was working out of different studios and using the gear there, or bouncing stems back and forth with collaborators on the album.
DJ LIFE: What’s your studio set-up look like and preferred DAW?
Nostalgix: I’m definitely an Ableton girl, so Ableton Live is my preferred DAW. As for my setup, I worked on Inferno everywhere – my L.A. studio, Monstercat’s studio, planes, coffee shops. I love the freedom of creating with just my laptop and headphones. Many of my best ideas happen that way.
DJ LIFE: How does the Inferno album tour expand on what your fans might already know or come to expect from a Nostalgix show?
Nostalgix: With the album tour, fans will get to step into the universe of Inferno and experience the world I’ve created. This tour is something I’ve always wanted to do as an artist, and now, being able to release such a meaningful body of work – my first album – I’m incredibly excited to share my vision in such a big and powerful way.
DJ LIFE: Are there specific tracks from the album that transform or hit you – or the crowd – hardest when played live so far?
Nostalgix: “Holy” and “Fall Apart” have been incredible to play live for different reasons. With “Holy,” I find that it’s one of those records that just has such great energy. It brings so much nostalgia, happiness, and joy. Every time I’ve played it in my sets, it’s gone crazy. With “Fall Apart,” it’s more of a vulnerable record for me, and every time I play it, it brings me back to the nights I spent in my studio in L.A. It feels really magical because it touches on a different side of me as an artist and shows a more vulnerable part of who I am, which I think a lot of people can really relate to.
DJ LIFE: You’re bringing Inferno to both clubs and massive festivals like Ultra. Do you adapt sets for such different environments?
Nostalgix: Absolutely. I have such a deep love for finding new ways to share the things I love with my fans in a way that feels authentic to who I am as an artist. I also truly love DJing as an art form – there’s so much fun and creativity in that. When it comes to the Inferno album tour, I do have a very specific vision and world that I want to welcome fans into. This will be something that is very unique to this tour.
DJ LIFE: What gear does your show set-up include?
Nostalgix: My show set-up is four Pioneer DJ decks – I use four CDJ-3000s and a DJM mixer. I have the same setup for my club shows and festival performances. I’m constantly transitioning, so I love being able to bounce between the decks, have everything ready to go, and move quickly from track to track.
DJ LIFE: Looking at the tour dates, are there any cities or venues that you feel especially excited to perform?
Nostalgix: I’m honestly excited about every single stop on this tour, because I can’t wait to see my fans and share this whole new experience – and this whole new side of me. I feel like Jix Nation has been on this journey with me from the very beginning, so it’s going to be special to show everyone this project and get to soak it all in. I’m especially excited about Los Angeles and Vancouver, because those are my two hometowns. Bringing the show to both of those cities means a lot to me.
DJ LIFE: The industry as a whole has changed rapidly since you first started out. What would you say is one shift that’s helped artists and one that’s made things harder?
Nostalgix: My answer for this would actually be the same for both parts of the question: social media. It has opened an entirely new door for artists to share their art, communicate their message, and truly connect with people. The possibilities feel endless – you have so many tools right at your fingertips. At the same time, it has also made things more difficult, because artists now have to pour a significant amount of time and energy into social media. Everything becomes a balancing act. It’s both a blessing and a curse. Social media offers endless creative possibilities and reach, but it also competes with the time and energy needed for other parts of the artistic process. Ultimately, it all comes down to finding that balance.
