Vintage shops are being raided, White Claw sales are through the roof, and you’ve had to call in sick once – or twice. It can only mean one thing: the UK festival season has come up stronger and faster than the pill you took last week. With the August bank holiday approaching, London’s Field Day festival looms on the horizon for its 17th year of showcasing some of electronic music’s most revered artists.
Afrodeutsche, born Henrietta Smith-Rolla, is a British-born Ghanaian-Russian-German composer, producer, and DJ based in Manchester. Performing at this year’s Field Day on August 24 at Victoria Park, Afrodeutsche has made a significant impact across various musical landscapes, blending classical solo piano with techno, house, and electro. Her journey began in 2007, and she has since contributed to film and theatre scores, including the BAFTA-nominated short film Kamali. Her live sets and DJ performances, featuring notable slots with Dopplereffekt and Carl Craig, showcase her unique style, combining Drexciyan delights with UK techno.
We caught up with Afrodeutsche to discuss her upcoming set, breaking down barriers between DJs and audiences, and her thoughts on cranes.
Which film score do you find yourself returning to again and again, and what makes it so captivating for you?
Afrodeutsche: I love 80s and 90s movies, but it’s frustrating that many aren’t available on streaming platforms, so I’ve had to buy them on DVD. Some of my staples include works by Alan Silvestri, known for his weighty, iconic sci-fi scores in ‘Back to the Future’ and ‘Flight of the Navigator’, but he’s also capable of making a complete U-turn and composing something ridiculous and hilarious such as ‘Overboard’. Danny Elfman’s score for ‘Batman Returns’ is another standout, as is the beautifully crafted ‘Amadeus’ that used Mozart’s entire catalogue of work. I’ve also been a long-time fan of Hans Zimmer, especially his early work, like ‘The Prince of Egypt’. There’s also an indie gem, ‘The Lives of Others’, that inspired me to become a composer.
Your music is richly influenced by classical and Baroque traditions. How do you approach making these genres more accessible to listeners who might find them challenging or unfamiliar?
Afrodeutsche: I try to bridge the gap and show that classical music isn’t too distant. In my sets, like in my radio show, I include songs inspired by classical music, such as a synth version of ‘Clair de Lune’ or contemporary pieces that reimagine classical arrangements which I approach with the same attitude as I have many classical influences, but I don’t release that kind of music myself.
As you gear up for Field Day, are there any tracks you’re especially excited to share with the crowd during your set?
Afrodeutsche: I’ll be playing some old-school tracks I loved as a teenager, mixing them with a variety of genres by exploring what artists I like are listening to. I’m excited to play Itoa, a Japanese artist I just discovered with a female vocalist who is just ridiculous – I have no idea what she’s saying, but it is good. I love to find tracks that make you bounce and keep my sets international, without focusing on any specific country. I’ll include some Underground Resistance and Prodigy, bringing the same vibes I had at the Icon stage at Glastonbury. Unlike the Icon stage, which rarely features vocals, I want to bring danceable, sing-along energy to Field Day.
“Some of the best music comes from people who aren’t classically trained because it’s all about discovery. So, be patient, and just give it a go: no fear” — Afrodeutsche
You’ve mentioned that understanding music as a language became clearer to you after your autism diagnosis. What advice would you offer to others in the neurodiverse community who might be struggling to connect with music?
Afrodeutsche: I’ve always felt that music transcends barriers and makes it easier for neurodiverse people to process, even white noise.
What about in terms of accessibility, whether it’s attending live music events or learning to play an instrument?
Afrodeutsche: I try to connect with my audience, especially those in the front row. I’ll chat with them because it’s fascinating to observe them — it’s like a sitcom happening right in front of me. Some are seeing each other, some have crushes on others, and I’ll join in, saying things like, ‘Hey, it’s time for you to grab some water,’ or ‘Take your friend for a cigarette,’ or ‘Stay for this one, I think you’ll love it.’ For me, creating an accessible space means not being an untouchable DJ who needs to be worshipped. That’s not who I am — I want everyone to dance and have a great time. If I make eye contact with you, that’s me bridging the gap, breaking the glass ceiling between the DJ and the dance floor. It’s about being a person, not just a name on a poster.
I learned to play an instrument by ear because I didn’t have one until I moved to Manchester, and it felt natural for me to learn music that way. I’d listen to jingles from adverts, and play themes like The Simpsons or Rugrats — anything I could hear. Patience is key for anyone wanting to learn an instrument. Start by playing pieces you love, even if they’re complex, because you know them so well. Even if it’s just one note, one finger on the keyboard — that’s how a lot of my favourite rave tracks are composed, with someone playing a bass line over and over again with one finger. Not being able to read music doesn’t mean you can’t play. Some of the best music comes from people who aren’t classically trained because it’s all about discovery. So, be patient, and just give it a go — no fear.
As the host of BBC Radio 6’s People’s Party Show, what’s your signature move or special trick that you bring to the party?
Afrodeutsche: Slow motion figure-skating.
How has the Afrodeutsche project evolved as a personal exploration?
Afrodeutsche: This project began as a search for my father, but the search became too emotionally challenging and ended abruptly. I’ve spent a lot of time trying to find my identity as an artist. When I entered the industry, I didn’t like how people were working as a brand. However, while playing in Germany, something beautiful happened — German POC told me that they had started using ‘Afrodeutsche’ as a term to define themselves, a word that had been historically unused and without connotations. It was a really special moment for me.
I’ve also recently left social media, which has helped me manage my mental health and build more meaningful relationships with friends. After my [autism] diagnosis, I realised that one-on-one interactions are better for me. I’m also taking rest more seriously and setting boundaries, having an OOO email, especially since the industry can be brutal, particularly this time of the year with late sets and constant travel. I’m thrilled this project is still going, but I’m ensuring I take care of myself in the process.
For Afrodeutsche Presents Psalms, you taught yourself to play piano. Are there any new instruments you’re exploring for upcoming projects to sample into your tracks?
Afrodeutsche: That was a really special gig for me, it was a love letter of sorts. Though I’ve played piano since I was little, I was never classically trained. Performing with the Manchester Camerata was terrifying, especially since I hadn’t performed with an orchestra in so long. The stage was set, and as I walked out in front of 3,000 people, I started the set with the highest note I could sing, which had to be prompted by the oboist, then transitioning straight into piano — all by candlelight, to evoke the 17th century and replicate how King David would have listened to psalms. It was a really warm, safe, intimate atmosphere.
I wanted to add bass to a new track but realised I had lost my bass guitar, so I got a mini one. One morning, while still in bed and tired, I was playing the mini bass lying down before I had even gotten up.
“I’ve spent a lot of time trying to find my identity as an artist” — Afrodeutsche
What’s your favourite corner shop snack?
Afrodeutsche: Digestive chocolate biscuits, but kept in the fridge. Try it.
What would your ghost outfit be?
Afrodeutsche: Something designed by Matthieu Blazy.
Which conspiracy theory are you into actually?
Afrodeutsche: The Matrix kind of vibe.
Any recurring dreams?
Afrodeutsche: I used to have a lot of recurring dreams when I was young, not anymore.
What is your love language?
Afrodeutsche: Tea. Offer me a cup of tea. I also love offering cups of tea. It’s a two way street.
What tea bags do you use?
Afrodeutsche: Rooibos. I recently found Rooibos chai.
What’s on your FYP?
Afrodeutsche: I don’t have Instagram at the moment. My brain is like its own FYP. My imaginary one would be cranes, I love cranes, they are such beautiful things, I even have a model crane. Also the tops of buildings, at dusk and plants.
What do you put on your rider?
Afrodeutsche: Well you can’t put tobacco on riders anymore, so I quit at the right time. My rider is ‘No CD3000s’, and tequila.
You encounter a hostile alien race and sound is their only mechanism for communication. What song would you play to them to inspire them to spare you and the rest of the human race?
Afrodeutsche: I would sing something choral, like The Sunday Service Choir’s version of SWV’s ‘Rain’.
