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Pierre Locher: “What excites me about the Middle Eastern scene is the sense of possibility”
We caught up with Pierre Locher to talk about the evolving electronic music landscape in the region, the role of artistic freedom and why community matters in today’s industry
Pierre Locher’s journey through electronic music has been shaped by a broad range of influences, from his early years experimenting with production to his performances in cities spanning Europe and the Middle East. As an artist, he merges textured, percussive soundscapes with a cinematic sensibility, crafting a style that is both rhythmic and immersive. This year marks a new chapter with the launch of Black Camel Records, a label dedicated to amplifying Middle Eastern electronic music on a global scale. Beyond just a record label, the project embodies a broader creative vision; one that intersects music, fashion and cultural storytelling. In this interview, he shares his thoughts on the region’s evolving music scene, the challenges and opportunities for independent labels, and his own approach to maintaining artistic integrity in an ever-shifting industry.
Launching Black Camel Records has been a significant milestone for you this year. The label focuses on championing Middle Eastern talent. How do you see the region’s electronic music scene evolving, and what role do you hope Black Camel Records will play in that growth?
I believe the electronic music scene in the region is thriving, really driven by a highly competitive landscape across DJs, producers, and club owners. This naturally pushes the quality higher, making the region an increasingly attractive place for global industry players. I’m already seeing more and more European festivals and major events recognising the depth of talent here, booking more artists from the Middle East which is really incredible to see.
With Black Camel Records, my goal is to further solidify the region’s presence on the international stage. The label isn’t just about showcasing talent; it’s about competing with Europe’s well-established electronic music ecosystem.
But more than anything, I love this region, the culture, the people, the art. I’m really proud to be even a small part of Dubai’s music scene and to contribute to something that’s constantly growing and evolving.
You emphasise the intersection of music, fashion and storytelling on the label. Why do you think electronic music needs a stronger visual and cultural identity, and how do you plan to implement this through Black Camel Records?
More than ever, people are drawn to communities they don’t just want to consume a brand; they want to belong to something bigger. Whether it’s a sports brand building a movement through run clubs or a financial firm creating networking events, the sense of belonging is key. I believe that in today’s world, any brand especially in music, needs to foster a strong cultural identity beyond just its core product.
Music and fashion have always been intertwined, from runway shows to after-parties. Some artists make their fashion an extension of their artistry, turning their style into a statement. While Black Camel Records doesn’t have plans to launch its own garments, we see immense value in bridging the gap between the worlds of fashion and electronic music. The bold, expressive nature of fashion aligns seamlessly with the raw, underground energy of electronic music. By collaborating with artists, tastemakers and creatives, we want to build a universe around Black Camel Records, one that doesn’t just sound distinctive, but feels like a movement.
Labels often walk the fine line between commercial viability and artistic freedom. What’s your approach to A&R, and how do you ensure your artists maintain creative control?
I'm always open to discovering new music and new artists, but I believe it’s crucial to approach music as art first, rather than just an asset with commercial value. At Black Camel Records, our goal is to build a community, so we don’t confine ourselves to a rigid sound or formula. If a track evokes emotion and has the right groove, why not release it regardless of whether it leans toward the underground or the commercial side? To me, music isn’t a perfect science; it’s about emotions and experimentation. That’s what makes A&R so exciting, there’s no guaranteed formula for success. It’s about trusting your gut, giving artists the space to explore, and embracing the unknown. For me, the joy of A&R lies in that discovery process finding fresh talent, uncovering tracks, and taking risks.
With Dubai increasingly becoming a hub for electronic music, what challenges and opportunities do you see for independent labels like yours in the region?
I believe the biggest challenge for any independent label whether in Dubai or anywhere else, is finding the right balance between taking advice and trusting your gut when shaping your approach. I constantly remind myself to focus on passion and artistry because that’s where the real joy lies. The moment you try to please everyone, you risk losing what makes your label unique. I'd rather have a mix of die-hard fans and haters, than be stuck in a middle ground where no one truly cares.
The biggest opportunity is how untapped the region still is compared to Europe. There’s an incredible pool of talent here, and as Dubai grows into a global hub for electronic music, there’s space for new voices and fresh perspectives. The short-term challenge, however, will be earning the artists' trust, showing them that releasing with a homegrown label can offer just as much, if not more, than signing with a European one. That’s a mindset shift I need to drive, and it’s exactly what I want Black Camel Records to prove.
Your catalog spans from ethereal ambient textures to raw, tribal-infused soundscapes. What drives your creative range, and how do you balance these contrasting elements in your music?
My catalog is definitely eclectic, it comes from years of experimenting. Back at university in England, I was just testing things out, trying different sounds, and figuring out what it felt like to have my music on Spotify and other platforms. I’ve kept all of those releases because they hold memories, but also as a reminder to always have fun with music.
Take my most popular track, “Possession”, I released it after a late night out with a friend, with zero expectations, no overthinking, no pressure. And now, it’s about to hit a million streams on Spotify in the next week or two, which is surreal to me. It just goes to show that sometimes, the best music comes when you’re not chasing numbers or trends, you’re just creating for yourself.
Many underground artists find themselves navigating between experimentation and accessibility. How do you strike a balance between artistic integrity and crafting music that resonates with a wider audience?
Honestly, this is one of the hardest things to figure out when you’re trying to grow. For me, it always comes down to feeling does this track give me goosebumps? Can I still see myself listening to it in a year? And most importantly, would I actually play it in my own sets? If the answer is yes, then I know it’s good. But honestly, I try not to overthink it. Artists, myself included, we tend to put a lot of pressure on releasing the perfect track at the perfect time, making sure it ticks all the right boxes. But at the end of the day, I personally think you just have to put your music out into the world. That’s the beauty of being independent, there are no rules, just expression.
When you hit that creative break where you're trying to balance staying true to yourself while also making something people connect with, you’ve got to step back and ask yourself: ‘Am I even enjoying this creative process?’ Because if making music starts to feel like a job, then something’s off. Music is art. It should feel like having a blank canvas and just going at it, like if someone handed you a bucket of paint and brushes and said, ‘Do whatever you want.’ You wouldn’t overthink every stroke you’d just create and express yourself. That’s the same mindset I try to keep in the studio. The best music comes from having fun, not pressure.
Many artists are expanding beyond music into broader creative ventures. Considering your passion for cinematography, could we see Pierre Locher exploring film scoring, fashion collaborations or other artistic mediums in the near future?
Yes, cinematography and film have always been really close to my heart. I actually almost went to film school instead of university because I was so drawn to the artistry of filmmaking. So, film scoring is definitely something I’d love to explore down the line. Even when I’m producing music, I’ll sometimes have cinematic images on the side of my screen, it helps me shape ideas and build themes. Sometimes, I’ll watch a movie and immediately rush to my laptop because it sparked something musically. Climax by Gaspar Noe and The Skin I Live In by Pedro Almodóvar are two examples of visually stunning films that I’ve watched recently that inspired me to create.
As for fashion, I’d love to collaborate with a local clothing brand at some point. I think there’s something really exciting about bridging music with other art forms, it makes the whole creative process feel bigger than just sound.
Looking ahead, what’s the next big milestone for you; whether it’s a major release, an expansion of Black Camel Records, or something entirely new?
I wish I could share more details about what’s coming next, trust me, I really want to, but for now, I’ll just say we’ve been working hard on the event side of things. Our first major event, in collaboration with +One, is happening on Saturday, April 19th, and we couldn’t be more excited.
Beyond that, I’ve been focused on building the right team around me, making sure I have the right people in place for what could be a huge milestone event in Europe later this year…
Another milestone I’m really proud to share is that I’ve been closely working with Wissam Hilal, an incredibly talented Syrian artist, on some upcoming new tracks. It’s been an amazing creative process, blending our styles and pushing new boundaries.
As someone who’s closely experienced both the European and Middle Eastern electronic music landscapes, what’s the biggest misconception about each scene that you’d like to challenge?
I think one of the biggest misconceptions about the Middle Eastern electronic music scene is that it’s still in its infancy or lacks depth. In reality, there’s an incredible amount of talent, diversity, and originality here. The scene is growing fast, and more artists from the region are breaking onto the global stage. The challenge isn’t the quality of the music, it’s changing the perception and making sure these artists get the same visibility and opportunities as their European counterparts.
On the other hand, people often assume the European scene is always ahead of the curve, but that doesn’t mean it’s without its own challenges. While it has incredible history, it can sometimes feel saturated and repetitive, with many labels and events sticking to familiar sounds and names… What excites me about the Middle Eastern scene is the sense of possibility, there’s still so much room to shape its identity and push boundaries. I’d love to see more cross-cultural exchange between both regions, creating a more dynamic, global movement where fresh talent and sounds flow in both directions.
