As Stone Techno 2026 returns for another unforgettable weekend at the iconic UNESCO World Heritage site, we caught up with five artists shaping this year’s edition – Amotik, D-Leria, Benjamin Damage, Henning Baer, and Tauceti. Ahead of the festival, they share their thoughts on the unique atmosphere that has made Stone Techno one of Europe’s most respected gatherings. About their creative process, and what they’re most looking forward to when the industrial landscape comes alive once again.
From hypnotic live performances and vinyl journeys to powerful storytelling through sound, these conversations offer a glimpse into the minds behind the music before the weekend begins.
Stone Techno Festival
3 days and nights of great music, dance & a lot of fun.
Ahead of her debut at Stone Techno, D-Leria reflects on stepping into one of electronic music’s most celebrated festivals for the first time. Known for hypnotic live performances that blur the line between precision and spontaneity, he discusses the unique connection between artists and audiences, the art of storytelling through sound, and why each performance becomes a living, evolving experience. From extended live improvisation to carefully curated vinyl selections, D-Leria offers a glimpse into the mindset he’ll bring to the industrial heart of Stone Techno.
What moment are you most looking forward to this year’s edition?
One of the things I’m looking forward to the most is finally seeing the venue with my own eyes and experiencing its atmosphere in person. You can immediately tell it’s not just another festival, but a very special gathering for both artists and the audience.
Then there’s a very personal moment that I always look forward to during every live set: the last track. Not because it’s over, but because that’s usually when all the pressure I’ve been carrying for months finally disappears. Before important performances like this, I’m always incredibly focused and nervous, so it’s only in those last few minutes that I can truly relax and fully enjoy everything that’s happening around me.
Stone Techno has developed a very distinct atmosphere. What do you expect from there ?
What stands out about Stone Techno is that people seem to come there to really listen. There’s a strong connection between the audience and the artists, and that creates space to take risks. I’m expecting a curious crowd, ready to be surprised and to experience the live set without expectations.
How do you balance classics with discovering new sounds during a festival set?
I don’t really think in terms of classics versus new music. If a record still gives me the same feeling after many years, it’s just as exciting to me as one I discovered yesterday. I simply choose what feels right in the moment. The goal is to build a story where every element has a reason to be there.
I think this approach will be especially evident during the vinyl back-to-back with The Lady Machine at the Stone Techno afterparty on Sunday, where the dialogue between timeless records and newer sounds will come naturally.
In Saturday’s live set, the balance will take a different form. Towards the end, some more classic influences will blend with my own sonic language, shaped by FM synthesis and more futuristic textures. I enjoy creating a dialogue between these two worlds, because I believe they can coexist naturally.
What can people expect from your performance this year?
This will be the first time I’ll have ninety minutes for one of my live sets instead of the usual hour. It gives me the opportunity to take more time to build the journey, explore the more hypnotic side of the set, and develop the tension in a slower and more natural way.
My live performance isn’t about reproducing tracks exactly as they were written in the studio. It’s about constantly reshaping them in real time, allowing the performance to evolve with the energy of the audience. Every live set ends up taking its own direction.
Stone Techno Festival 5th edition…
Check the full line up and more at their official website.
For Tauceti, Stone Techno marks a long-awaited first encounter with one of electronic music’s most distinctive festivals. Bringing an expanded three-hour hybrid live performance to the Listening Floor, she invites audiences into an immersive world where ambient textures, cinematic storytelling, and subtle rhythmic passages take precedence over dancefloor expectations. Inspired by the festival’s reputation for deeply engaged listeners, Tauceti reflects on creating space for imagination, allowing music, architecture, and audience to shape a unique experience that lingers long after the final note.
Although this is your first time at Stone Techno, what have you heard about the festival’s atmosphere, and what are you most looking forward to experiencing?
I haven’t had the chance to experience Stone Techno as a visitor yet, so I can only speak from what I’ve observed and heard from people I trust. What always comes up is that it’s an audience that’s genuinely there for the music. Watching previous editions through the ARTE Concert recordings, you can really feel how engaged people are. There’s a real sense of focus and openness on the dancefloor, where people seem willing to follow the journey rather than wait for big moments. As a DJ, that’s incredibly inspiring because it gives you the freedom to build a story and take your time. I’m really looking forward to experiencing that energy in person this year.
Stone Techno takes place in one of the most unique industrial settings in Europe. How does a venue and its surroundings influence the way you approach a performance?
For me, a venue doesn’t dictate the music—it shapes the way it’s experienced. The industrial setting will certainly add something to the atmosphere, but my approach stays the same. Then I let the space and the audience influence how the story unfolds.
You’ll be presenting an extended three-hour hybrid live set. What can the audience expect, and how does this performance differ from your more club-focused work?
This will be my three-hour hybrid live, an extended version of a one-hour performance that I premiered earlier this year at No Name Festival. I wanted to give this project more space to evolve and unfold over time, and Stone Techno felt like the perfect place to do that.
People shouldn’t expect a techno performance. The live is primarily rooted in ambient music, with occasional rhythmic passages where beats emerge before fading back into more spacious and contemplative moments. It’s designed as an immersive listening experience rather than a dancefloor-driven set. This more introspective side of my work is just as important to me as my club-oriented projects.
The sonic world is very close to my ambient album: ethereal, rich in texture, and infused with subtle influences from Middle Eastern musical traditions.
Beyond your own performance, what are you most excited to discover during your first Stone Techno experience?
Since it’s my first time at Stone Techno, everything will be a discovery. I’m particularly excited about the Listening Floor because it resonates with a side of my work that’s very important to me. I love the idea of creating a space where people can slow down and listen differently. Apart from my own performance, I’m also looking forward to experiencing the festival from the audience’s perspective and discovering the unique atmosphere everyone talks about.
When people leave your performance, what do you hope stays with them long after the music has ended?
I hope people leave with images of their own. My music is deeply textured and cinematic, leaving plenty of space for the imagination to wander. If each person experiences something unique, yet walks away feeling genuinely moved, I couldn’t ask for anything more. That would be the greatest reward for me..
As Amotik returns to Stone Techno, the festival feels less like a stop on the calendar and more like a reunion. Drawn by the extraordinary setting of the UNESCO World Heritage site, a carefully curated lineup, and the chance to reconnect with artists and friends from across the globe, he reflects on what makes the event so special. Ahead of his highly anticipated back-to-back with Lea Occhi, Amotik also shares why spontaneity, trust, and an uncompromising approach to techno are at the heart of their collaboration.
You’re returning to Stone Techno this year. What keeps drawing you back to the festival?
The site itself is pretty spectacular. Much has been said about the venue and there are a lot of videos around to watch, but it’s quite incredible to be attending a festival at a UNESCO heritage site. The industrial setting of a disused coal mine gives it a very distinctive feeling. Aside from that, the lineup is always solid, and there are a lot of friends playing. It’s just a great place to hang out, catch up, and bump into familiar faces from all over. I’m looking forward to it!
With more than 100 artists on the lineup, are there any acts you’re hoping to catch yourself?
There are a load of favourites there for sure. I’d like to see Dasha Rush and Function, plus it will be great to see Amoral and Alarico on the stage I’m playing. I’m staying back an extra day, so it’ll also be nice to spend some time at the festival and have a chance to check out some artists that I’m not so familiar with.
Your recent performances have explored everything from deep techno to more house-oriented sounds. Should the audience expect something different from your Stone Techno set?
I will be playing b2b with Lea Occhi this year, who coincidentally has also been exploring more house-oriented sounds lately, but we’ll be playing techno. Playing b2b always brings something fresh and different, as we don’t really discuss anything before playing. We’ll have to feed off each other’s music. We’re on the same wavelength both musically and personally, so it’s always a pleasure to play with Lea.
As one of Berlin’s most respected DJs, producers and curators, Henning Baer has spent more than a decade helping shape contemporary techno. From founding the influential Grounded Theory event series to curating forward-thinking lineups and continually pushing his own sound, his work has always been driven by a deep passion for the culture rather than fleeting trends. Ahead of his long-awaited debut at Stone Techno Festival, we met Henning to discuss what makes the festival’s industrial setting so special, the excitement of sharing his first-ever back-to-back with Akua, the evolution of Berlin’s techno scene, and why authenticity remains the key to building a lasting career in electronic music.
Henning Baer: “Stone Techno belongs on every techno lover’s bucket list.”
A festival unlike any other
You’re making your debut at Stone Techno this year. What excites you most about finally playing the festival?
Henning Baer: I think everyone in the European techno scene knows Stone Techno by now. Besides having an extraordinary lineup, what really makes it unique is the location. It’s a UNESCO World Heritage Site, and performing inside such an industrial environment feels incredibly special.
It’s one of those festivals that’s on every artist’s and techno enthusiast’s bucket list.
You’re playing back-to-back with Akua. What are you looking forward to most?
Henning Baer: It’s our very first back-to-back together, and that’s what makes it exciting. Playing with another DJ always reveals a different side of yourself.
I’ve followed Akua’s music for a long time, but we’ve never shared the booth before. I’m really curious to discover how our musical languages interact in real time.
Have you planned the set together?
Henning Baer: Not really and I think that’s the beauty of it.
We’ve exchanged ideas, shared some tracks and talked about musical directions, but I don’t like preparing every detail. The best back-to-backs happen naturally. You react to each other, adapt to the crowd and simply go with the flow.
That’s where the most authentic moments happen.
How do you balance classics with discovering new music when preparing for a festival?
Henning Baer: A DJ should always be searching for new sounds but “new” doesn’t necessarily mean recently released.
I remember Honey Dijon once saying it’s like shopping in your own record collection. Sometimes you rediscover a track you loved years ago but completely forgot about. Those moments can be just as exciting as finding a brand-new record.
For Stone Techno, I think the set will naturally become a mix of old and new.
After so many years in the scene, what still excites you about festivals like Stone Techno?
Henning Baer: I started promoting Grounded Theory back in 2009, when techno was going through a completely different phase.
Fifteen years later, it’s still exciting because there’s always a new generation of artists bringing fresh ideas while respecting the music’s history. Techno constantly reinvents itself without losing its roots.
That’s what keeps it alive.
With more than 100 artists performing, will you have time to explore the festival yourself?
Henning Baer: Unfortunately we’re playing Awakenings the following day, so I can’t stay for the whole weekend.
But I’ll definitely arrive early, spend as much time there as possible, catch up with friends and experience the atmosphere. I really want to see the festival from the audience’s perspective too.
Ahead of this year’s Stone Techno Festival, we visited Benjamin Damage at his Berlin studio to talk about returning to one of techno’s most distinctive gatherings, the atmosphere that makes the festival so unique, and how he’s preparing his live performance. From exclusive unreleased material to a brand-new EP with The Third Room, Benjamin shares why some music is meant to exist only in the moment—and why Stone Techno remains one of the most rewarding places to experience it.
Originally from Wales and now firmly based in Berlin, Benjamin Damage has spent years shaping his distinctive approach to techno since relocating with the Fifty Weapons crew. As he prepares for his return to Stone Techno, he reflects on the festival with genuine enthusiasm.
“It feels great to be back,” he says, remembering his debut at Stone two years ago as a magical experience. What stayed with him wasn’t only the industrial setting, but the audience itself a warm, open-minded crowd that created a rare sense of connection between artist and listener. That shared energy made the performance unforgettable and makes returning this year especially meaningful.
Who is Benjamin Damage?
I’m a techno producer and live artist from the UK, based in Berlin. I’ve been making records and touring for a long time, but I’m always looking to learn more. So much of what I do is built around live performance and hardware, so there’s always an element of risk, and that’s what keeps it exciting for me.
How did it feel to be back at Stone Techno?
Really great. Stone Techno has become one of those festivals people look forward to every year. The setting is unlike anywhere else, but it’s just as much about the atmosphere and the line-ups. The crowd comes with an open mind, and they’re there because they really love the music. It’s a great place to play.
What makes Stone Techno different from other festivals for you?
A lot of festivals have an identity, but Stone feels perfectly built for quality techno. The curation, the crowd and the location all work together to create this unique atmosphere where everyone is there for the right reasons.
For this edition, Benjamin is preparing a live set that embraces spontaneity. Alongside new material, he plans to showcase a significant amount of unreleased music, believing that not every track needs a formal release. Some ideas, he explains, are strongest when they exist only in the live environment, experienced by those present in that particular moment.
At the same time, the set will also introduce music from his forthcoming EP on The Third Room, the collective behind Stone Techno, giving festival-goers an exclusive preview of the next chapter in his catalogue. Balancing fresh productions with one-off live moments, Benjamin’s performance promises to capture the adventurous spirit that has become synonymous with Stone Techno – a place where curiosity, trust, and immersive listening continue to define the experience.
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