We caught up with Josefina Tapia to discuss the challenges women face in the male-dominated electronic scene, her take on the industry, and how she’s navigating it all. With successful stints in Chile and Australia, the Chilean artist has built her name through talent and charisma. From Berlin, her new home, Josefina is now emerging as one of the most promising new-generation artists.
Breaking barriers is the name of the game, and for women in electronic music, it’s been a relentless fight for decades. Few can claim success, and surely none can say it’s been easy. Misogyny, stereotypes, and prejudice are obstacles that male, white, heteronormative artists (like the one writing this) rarely face—but for women, they’re the harsh realities to even enter a world still dominated by men. Josefina’s journey is no different, but in under 10 years, she’s carved her own space in major events across Chile, Australia, and Germany.
Her first introduction to electronic music happened while studying at university, where she lived with her godfather, a musician and composer. It was through him that she got her first hands-on experience with synthesizers and production gear. With a restless mind, it took only a couple of weeks for Josefina to buy her first controller and start learning how to mix, with YouTube as her always available-teacher.
Through house parties and afterhours organized as an excuse to practice, Josefina gradually honed her signature sound: elegant and funky grooves with a diverse color palette, which made her stand out in the Santiago scene, which at the time was heavily geared towards Tech House.
After becoming a regular face on Santiago’s nightlife scene, Josefina felt the need to take her career international, and set her sights on Australia. That’s where things really took off for her, landing a residency at the prestigious S.A.S.H in just a few months, sharing the booth with big names like Enzo Siragusa, Quest, Casey Spilman, and Giammarco Orsini, to name a few.
Fueled by an unrelenting drive to evolve, Josefina took the leap and moved to the heart of electronic music—Berlin. Within just three days, she was already spinning at Club der Visionaere. In a matter of weeks, she became a staple at this iconic summer spot, as well as at Sisyphos, Golden Gate, and Hoer.
We took the time to chat with Josefina Tapia about her early steps, her experiences in the industry, and her take on what electronic music is and will become. Here’s what she had to say:
Frequencies: In Conversation with Josefina Tapia
C: Talk to me about your beginnings in electronic music. What was your first introduction to it, and when did you decide to become a DJ?
J: My first introduction to electronic music was when I was around 17 years old. I had a partner who was older and introduced me to the underground scene. I remember my first electronic party was at Naveluna, and I started meeting DJs and going out more around Santiago. When I first discovered electronic parties, I knew I’d found my sound—each track takes you on a journey, with its own unique blend of rhythms and frequencies.
I later had the opportunity to play at LGBTQ+ parties where I had to change my musical style, which pushed me to learn new genres. From Dua Lipa and Madonna to hip-hop, I learned to adapt. They were fun, and those were my first gigs where I got paid to play. It was a great school for learning how to read the crowd and pick up different mixing techniques. A year later, I started getting deeper into the electronic scene, playing at parties like Onaciu, Subterráneo, and eventually, Club La Feria".
C: What are the main differences for a woman compared to male colleagues in the scene?
J: From my perspective, one of the differences is that there’s less competition between women than there is among men. There are clearly fewer women in the scene, but on the flip side, they get booked much less than men. While we’re seeing more women included in lineups, there’s still a huge imbalance. In a lineup of 10 artists, usually 8 are men and 2 are women—or sometimes, just one woman. We also can’t ignore the fact that there are still places that prefer to book a woman based on her physical appearance rather than her talent.
C: What prejudices or stereotypes have you had to face? Do you think there’s a different expectation from the audience when they see a woman DJing?
J: Honestly, I’ve never felt I’ve had to face any prejudice for being a female DJ. I’ve always felt such a positive energy from the crowd when I step into the booth, and I feel like people are increasingly appreciating the presence of women in lineups—it makes the parties more balanced.
C: You mentioned that nowadays women DJs have an advantage over men when it comes to getting booked—can you elaborate on that?
J: Since there are fewer women in the scene, we do have that advantage. In almost every lineup or party, bookers are increasingly interested in booking women. I’ve seen many places realize the potential of having a woman as a DJ—not just because of our talent, but also for the way we connect with the crowd. There are a lot of male DJs, so they face the challenge of standing out from each other.
C: How do you deal with misogynistic comments or attitudes, whether within the scene or from the audience?
J: I’ve had very positive experiences in this scene. I’ve always had the support of friends and colleagues who believe in me, as well as the club owners and bookers. I think with confidence and discipline, it’s easy to show to guys that we’re at the same level as them. But yes, it’s true, the scene isn’t free from misogyny.
C: What differences do you see between the Berlin and Australian scenes?
J: In Australia, the electronic music scene is still very new, and there are fewer parties. It’s growing, especially within the underground scene, so I often had to adjust my musical style to each event. Berlin, on the other hand, is a demanding place. The people here have a deep culture of electronic music, and they know their stuff, so you have to be at a high level and always be looking for something innovative.
C: What do you think the future holds for women in electronic music?
J: The female scene is growing enormously, and it’s beautiful to see. I feel like women are so connected and always supporting each other, even if we like different styles. It’s inspiring to watch a woman put so much effort and passion into showing her art.
C: What more can be done to ensure women have the same visibility and opportunities as men in electronic music?
J: Promoting diversity in festival lineups and events by ensuring female representation would be a clear way to address visibility. Another step would be to establish clear policies and codes of conduct at events to prevent and address gender-based harassment or discrimination.
C: Do you have any advice for young women who want to get into DJing and electronic production?
J: First, practice a lot, be consistent, and listen to all kinds of music. That helps you build your style, but also develop different techniques for mixing. I recommend going out, hanging out with friends, asking for help, sharing music, and just playing for the love of the art—don’t expect anything in return. If you’re here, it’s because you love the music.
