Internationally renowned DJ and producer Sonny Fodera is entering one of the biggest chapters of his career. With his brand new album, can we do it all again?, set for release on June 12, the multi-platinum artist is bringing together five years of ideas, growth and creative evolution into one expansive 18-track body of work.
Featuring fan favourites and standout singles including “Somedays,” “Asking,” “Mind Still,” “All This Time” and “Think About Us,” the album captures the signature groove, depth and uplifting energy that has come to define Fodera’s sound. More than a collection of club records, it feels like a full journey through house music, moving across Afro house, tech house, progressive sounds and moments of breakbeat experimentation.
The release arrives during a major year for Sonny. Following a landmark sold-out arena run, including becoming the first DJ to sell out Manchester’s 23,000-capacity Co-op Live, he is set for a packed global schedule in 2026. From BBC Radio 1’s Big Weekend and Creamfields to TRNSMT, Belsonic, his own four-day Somedays Festival in Malta and a second consecutive summer residency at Pacha Ibiza, Fodera’s presence on the international circuit continues to grow.
Fuelled by the success of “Think About Us,” which secured him three consecutive years of UK Top 20 singles, and the continued global impact of “Asking,” released through his own Solotoko imprint, Sonny Fodera has become one of dance music’s most in-demand figures. Here, he speaks to House of Solo about the making of the album, the magic of Ibiza, the power of collaboration, fashion, recognition and the moments that continue to make it all feel surreal.
You’re about to head into another huge summer with your residency at Pacha Ibiza, the album dropping in June and constant touring. Where is your mindset right now going into this next chapter?
It’s been a crazy year so far. My Ibiza residency is 22 shows this year, starting in May. We’re already in week four, and it has been absolutely amazing. It has been great to test out a lot of the album tracks and see the reaction on the dance floor in Ibiza. I’m just really excited to get the album out and see how people react to it now.
You described this album as a five-year process of your ideas, creativity and self. When you look back at the version of yourself who started this project, how different do you feel now?
It’s my sixth album now, and I like to release every track as if it is a single, so it has taken five years to get them all together to this point, plus a lot of extra ones. It’s really exciting to get it out. It has been a lot of hard work. I think I have definitely been critical of wanting to make it perfect.
Did the album evolve naturally over those five years, or were there moments where you almost changed direction completely?
The album definitely evolved naturally. There were moments where it changed a little bit, but it is all house, really. It’s house music, but there are different subgenres within it. We’ve got a bit of Afro house on there, a bit of tech house and a bit of progressive, but at the end of the day, it is all kind of house music. There is a bit of a breakbeat track at the end, which is a little bit different for me. It was nice to get something fresh on there and something very different to what I normally do.
With 18 tracks, it feels much bigger than just a collection of singles. Did you always know you wanted it to feel like a full body of work rather than just club records?
Eighteen tracks definitely feels bigger than a collection of singles. It was something I wanted people to be able to put on and listen to the whole way through. Obviously, I’ve got big records on there like “Asking” and “Somedays,” which are some of my biggest tracks ever, and I wanted to have some newer tracks in between them, so it feels like a journey. It’s something you can listen to when you’ve got friends over or when you’re having a little after party, whatever it is.
Was there one track on the album that really unlocked the direction of the whole project for you?
I would say the track that really unlocked the direction was “Asking,” because it is the oldest track on there and it set a precedent for what the album was going to be. The style and bass of it felt like a good place to start on the album. It was also my first Top 10 single in the UK and probably my biggest international record too, besides “Somedays” and “Think About Us.” It is a very special one and it is the track that started the journey.
Collaborations are obviously such a huge part of dance music. What actually makes somebody the right collaborator for you creatively?
I collaborate with so many people, and I think it is such a good thing to do in music. It brings more sounds, different people’s stories and different creativity into the music. It is such a big thing for me to work with other artists, especially up-and-coming artists. It is definitely what I have always done, and it is great to have a lot of collaborations on the album.
In terms of what makes someone the right collaborator, I think it is really about feeling. Some people I have worked with, I haven’t even met before, but it is about what they are feeling and what I’m feeling when I listen to them and hear what they sound like.
Do your best collaborations happen instantly in the studio, or are they usually built over time?
A lot of collaborations I’ve done, as I said before, have happened over the internet. I haven’t even met some people. I’ve just been sent their vocals or different ideas. Some people I have got in the studio with, and we have written great songs together. “Somedays,” for example, was originally me, Clementine and Jazzy in the studio, and we already had a really good relationship. I guess it just varies.
Was there anybody on this album who surprised you creatively?
One person who definitely surprised me creatively on the album would have to be Takura, with the track “Look.” He sent the vocal to me, and I have known Takura for ages. He is the MC for Chase & Status and he wrote “Baddadan,” which was a massive drum and bass hit in the UK. Then he sent me this Afro house idea, and I was like, “Whoa, this is sick.” That was definitely one to use. It really did take me by surprise hearing him on this vibe.
You’ve spent so much time performing around the world now, from festivals to intimate clubs. Is there one crowd or city that always stands out to you?
The one crowd that always stands out to me, I wouldn’t say it’s a crowd, I would just say as a whole, would be the UK.
I’m from Australia originally, but I live in the UK now, and I think that is where it really happened for me. I was playing in Australia and the USA, then I ended up coming over. I first went to Glasgow and spent a couple of months there, then went to Nottingham for a few months, then found myself in Ibiza for a bit, and then ended up back in London.
The reception to my music, the vocals and the singbacks have definitely been a huge part of my journey. The UK has amazing people, and dance music is such a big part of the culture here. Whether it is a festival or a small club, it is always a vibe over here.
The rest of the world is incredible as well. Ireland, Australia and the USA are amazing. But the UK, for me, feels like where I started, and it feels like home now.
What makes a crowd unforgettable for you personally?
I think it is how they react to the songs. I’ve got quite emotional before hearing singbacks on some of my tracks. Earlier on, I was just like, “Wow, this is insane.” Especially when I did the Co-op Live Arena in Manchester. It was over 20,000 people singing back words to songs that I wrote. It was an unbelievable feeling, and that is what makes it unforgettable.
How does performing back home in Australia compare to playing anywhere else in the world? Does it feel more emotional or personal?
Australia is definitely really starting to happen for me now. I’m doing a massive tour there in October, my biggest one ever. It has been a slower process for me over there, which is funny because I was actually born there, but I think because I have spent most of my time in London and in the UK making music, that is where it happened.
I signed to Defected Records, and they really gave me a shot. I think that really helped with my journey. Australia is really popping off right now, and it is nice to go back and see my old friends and my family.
Ibiza has become such a huge part of your story now. What is it about Ibiza that still inspires you after all these years?
Ibiza truly is the hub of dance music, and that is what keeps drawing me back after all these years. The island has some of the best clubs in the world and some of the most stunning beaches you can imagine. I’ve been fortunate enough to hold a residency there for over a decade, playing at legendary spots like Sankeys, Eden, Amnesia and now my home, Pacha. It has been an incredible journey, and honestly, I still get that same buzz every time I land on the island. Ibiza isn’t just a place. It is a vital part of my story and my passion for music.
Do you feel pressure going into a residency season now that expectations are so high every summer?
Absolutely, I definitely felt the pressure this year. Every summer, I’m always pushing myself to bring something fresh and different to my production and sets. As both a producer and DJ, I love switching things up with new edits and remixes to keep the energy alive. Luckily, my team at Pacha has been incredible and has really supported me every step of the way. Now that I’m four weeks in, I can honestly say this has been my best season yet.
What has been one of those surreal “I can’t believe this is my life” moments while touring?
It has to be selling out the Co-op Live Arena in Manchester. It is Europe’s biggest arena, and I was the first electronic music artist to sell it out. That feeling of standing on that massive stage, knowing the entire crowd is there for you, is absolutely unforgettable.
Electronic music and fashion feel more connected than ever now. Do you think your personal style has evolved alongside your music?
For sure. I’ve always been really into fashion and clothes, and I think it definitely goes hand in hand with my music. I’m a huge fan of what Riccardo Tisci has done and his unique style. It is super inspiring. I also worked quite closely with About Blank when they were just starting out, and we did a summer tour T-shirt collaboration that sold out instantly. It was amazing to see how fashion and music can create such a powerful connection.
How would you describe your aesthetic away from the stage?
Away from the stage, my aesthetic is very chill and relaxed. I’m all about comfort and natural materials. There is something so grounding and authentic about wearing pieces that feel good on the skin and connect you to nature. It is all about creating a vibe that feels effortless but intentional, where I can truly unwind and be myself.
Does fashion or personal style affect your confidence when you perform?
Absolutely. Sometimes fashion or personal style does affect my confidence when I perform. There have been times when I have planned to wear something that maybe felt a bit too synthetic or tight, and I ended up changing my mind at the last minute. For me, it is all about being comfortable and feeling confident, especially when I’m jumping around on stage. If the outfit doesn’t feel right, it can definitely throw me off, so finding that balance between style and comfort is key.
You were nominated for a BRIT Award this year. Did that moment feel validating after years of building your career in dance music?
It was unreal and such a dream come true. Going to the BRITs was absolutely amazing. “Somedays” is such a big song for me, and it has definitely been my biggest worldwide hit. I had a custom suit designed by Rav Matharu at Clothsurgeon on Savile Row to wear to the event.
Do awards and industry recognition still matter to you personally, or is it more about the connection with fans now?
Honestly, I think winning a BRIT would be absolutely amazing. That said, I don’t believe it would make me feel any more or less validated as an artist and music producer. Maybe that feeling will change when I actually win one. But right now, it is really about the connection with the fans and the music itself.
House music has changed massively over the last decade. What excites you most about where the scene is heading?
What excites me most about where the house music scene is heading has got to be the people getting into it. When I first started going to club events or raves, it was super intimate house club nights with around 400 or 500 people. Some raves I attended in the UK were around 500 or 600 people, held in fields in Nottinghamshire. The first big music festival I went to was Stereosonic in Australia, which had about 4,000 to 5,000 people on the main stage. Now, if you look at Creamfields, you are getting over 30,000 people on a main stage. It is insane how much it has grown, and it is incredibly exciting to see such a massive crowd coming together for the love of house music.
After everything happening right now, the residency, touring and the album, what do you hope people take away from this era of Sonny Fodera?
I just hope people truly enjoy the music and the album. It has been such a process, a lot of hard work and a long journey for me. I’ve never had that overnight success. This is my sixth album, and I’ve been at it for a long time. But I still love it just as much. Playing in Ibiza every week and travelling the world to share my music with people is honestly a dream come true.
And finally, when fans listen to this album years from now, what do you hope they feel it says about you?
I want the album to take fans right back to those unforgettable moments, whether they were at Ibiza, the Co-op Live Arena in Manchester or Silverworks in London. It is about capturing that energy, those vibes and letting people relive those incredible experiences every time they listen.
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