FIORIOUS ENGLISH

Fiorious: Rhythms of Resistance and Freedom!

From the depths of New York’s vibrant house scene to the most iconic dance floors in Europe, Fiorious has carved out a unique path in electronic music. Blending powerful house beats with soulful disco, his music not only makes people dance but also resonates with a message of inclusivity and resistance. His last album, Revisionary, is proof of that: a statement of intent that challenges industry norms and expands the boundaries of the genre. Beyond his undeniable talent, Fiorious has used his platform to amplify the voices of the queer community in electronic music and create safe spaces for self-expression. In this exclusive interview for disidnt_mx, we explore his journey, influences, activism, and his new sound for 2025.

In 2019, you burst onto the scene with I’m Not Defeated, a political and personal anthem of resistance. How do you view that stage of your career now, and what impact do you think it had on the queer community and house music?

Difficult to say how it impacted house music, but I know a lot of people told me it was important to see a big mainstream dance label like Defected fully get behind it and not be scared of the political message of the video. And then of course, a lot of queer fans reached out to me to share stories of how it empowered them, so that’s really the biggest and most meaningful compliment I could ever receive.

You’ve collaborated with legendary names like Honey Dijon, Purple Disco Machine, and Dimitri From Paris. What does it mean to you to share your voice with these artists?

I’ve been super lucky to collaborate with some amazing artists in dance music, and with each it’s been unique finding a space in common. Honey is obviously a worldwide ambassador for real house music, so it was cool that she brought her flavor to it and we made a classic vocal house track that was still political af. With Dimitri, he comes from a very purist generation of disco DJs, and I initially wrote Music Saved My Life for him for another vocalist to sing, but he insisted on me singing it. It’s not my sound per se, but sometimes you need to put the song first, and I still love it. Purple Disco Machine is massive in the nu-disco world, and our sweet spot was a super-positive electrofunk song, and I’m just grateful for the opportunity to write songs that make people dance and bring some joy to their day.

As one of the most prominent queer voices in the house scene today, what changes do you think are necessary to make the industry more inclusive and representative of marginalized identities?

It’s happening slowly, obviously representation matters at all levels. Seeing diverse lineups is still crucial, more women, more POC, more queer voices are still needed to break up the white-male-hetero domination of dance music. Honestly, there are so many DJs putting more music out than ever, so I think we need more artists with a unique perspective and something to say to break the monotony.

The music industry has historically been dominated by heteronormative structures.

How do you navigate these spaces, and what strategies have you used to stay true to yourself?

I think it’s important to ask questions and set expectations early before you step into new situations. Find out who people have worked with, what their politics are, not just on IG but in real life. Are they real allies or just for Pride month? Due diligence. Yeah, that’s a real thing sadly.

On Revisionary, you worked with producers like Joe Goddard, Midland, and Henrik Schwarz. What was the creative process like working with them, and what did they bring to your sound?

Again, I feel so lucky to have made these personal connections with some amazing producers. You never know how things can go, with these three in particular it was just natural and easy. All actually started remotely, and then I had the pleasure to work with Joe and Midland in their studios in London, and with Henrik at his home studio in Berlin. Every collaboration is a puzzle to bridge the essential parts of each other into something new. And I’m thrilled to say that they were not one-off connections, I have more material with all three that I’m excited to share on my new project over the next year.

At disidnt_mx, we aim to amplify marginalized voices and create safe spaces for self-expression. How important is it for you that platforms like this exist within electronic music?

Again, representation matters, creating community and making space where there was once no space is a part of the struggle. I’m thankful that disidnt exists and that I get to share my perspective with the queer community here in Mexico which has shown me so much love and support over the years.

You were part of Absolut’s global Born to Mix campaign with the track 2 B Free. What was that experience like, and what impact do you think advertising has on queer visibility in music?

I’m usually a bit skeptical of ad campaigns, but this one was so well-done, when I first saw the full clip, I loved the energy and execution. They really married the message of the song with a cute concept of people representing different cocktails, but in a beautifully gender-fluid and inclusive way. All visual forms have the ability to change minds, so it’s important when brands actually put their politics on display, not just in June, but year-round. And happy to say, this ad has been renewed for 3 years now, so I’m grateful it’s still out in the world.

What have been the biggest challenges you’ve faced as a queer artist in the music industry, and how have you overcome them?

I think the biggest challenges are internal. There are definitely very real external limitations, and we can feel like we need to fit in a box, or we can just break open the fucking box and create a new space and reality. That’s the process, and it’s endless, as true in your personal life as in the music business, but I’ve found trusting my gut to be the most important weapon. And not giving a fuck about how things will be received is freeing and allows you to create better art.

Music has historically been a space of resistance for marginalized communities. How do you think house and disco continue to play that role today?

Well, I think as house and disco have become embraced by the mainstream, you always have to look to the underground for spaces that need to exist, whether it’s sex-positive or centering queer POC, and remembering the roots of disco and house and techno, and how it’s always been and will always be political.

In electronic music, image and performance are powerful tools. How do you craft your aesthetic, and how important is visual expression in your project?

I live for the visuals! Haha Honestly, I start thinking about visuals while I’m writing a song, and I don’t think it’s a negative at all. Any colors or references that enhance the power and inspiration of a song to reach more people and create a world is what we do this for. I’m lucky to have some amazingly talented friends to work with, for example mon bébé Tahi Guy Roland is an amazing stylist and we have so much fun together pulling looks and he knows just how much I want to push it visually to tell a story, I trust his taste implicitly. We just shot the visuals for my new project and it was too much fun kiki’ing for two days in Paris together.

What role do politics and identity play in your lyrics? Do you believe art can create tangible change in society?

Of course lyrics are important, but change is slow, and sometimes the impact is not where we imagined it. That’s why it’s how the lyrics and visuals come together, how they can change someone’s perspective, and make them rethink a personal decision, or give them the courage to present themselves in a more authentic way. All of these little changes eventually create much larger societal changes over time.

You’ve taken your music to different parts of the world. How has the reception been in various scenes, and what differences do you notice in how audiences connect with your work?

It’s funny because being from NYC I now see how hard and unimpressed those audiences at my first gigs were, but ultimately they made me tougher and a much better performer. For example, when I did Pride in CDMX last year, the crowd was so amazing and ready to go on a journey with me, and that’s not so common. It’s really important to be ready for anything. You need to walk into new spaces and present yourself without compromise, because once you try too hard to connect with a crowd by changing yourself, that’s when they can see through it and you lose them. You still might lose them by being yourself, but fuck it, that’s all you got.

In a world where social media is key in the industry, how do you manage your digital presence, and how much does it influence your connection with your audience?

Social media is a mindfuck, and I’m still trying to find the balance for my own sanity, but also realizing that letting people into my world creates real connection with my fans. I’m hoping to open up and share more vulnerabilities this year as I’m personally in a better space than I’ve been in years, and my new project is quite personal and goes through a rough period of my life. But that’s the beauty of art, transforming weakness into power, and social media is just another tool to convey that when managed correctly.

Can you talk about your new single “Look What You’ve Done”?

I wrote and recorded this song last August in CDMX actually, and it had been a rough period for me, and I finally allowed myself to be unblocked and feel myself again. Alex Virgo shared this beautiful track with me that was romantic and hopeful, and when a real-life experience happened it all clicked into place. It just felt like the right record to launch this new era as it feels very Spring, also I’m back in CDMX, and loving my life.

And what we can expect from the rest of this new era launching in 2025?

I’m back with some of my favorite collaborators, like Bawrut, Austin Ato, Joe Goddard, Midland, Henrik Schwarz, but also new producers like Jitwam who I met out in Lisbon and we had immediate chemistry and made some cool songs that I can’t wait to release. This body of work feels more personal. It’s also more eclectic, embracing all the sides of me. It’s been freeing to not care about trends in house music, I’m concerned with making great songs that tell a story, my story, and go through the seasons of my past two years, from sexy and flirty to quite dark and melancholic. I was unsure how to release these songs, but Permanent Vacation heard what I was working on and completely embraced my vision, so we’ll be releasing a lot of singles into next year, a lot of visuals, and I’ve never been more excited.

Closing: Fiorious, a Visionary in Constant Evolution

Fiorious’ music is a testament to the power of house as a vehicle for expression, politics, and freedom. From I’m Not Defeated to Revisionary to his next phase launching this April, he continues to resist categorization and reaffirms his place as one of the most innovative and electrifying figures in today’s scene. His activism and commitment to the queer community have made his art transcend the musical realm, establishing him as a necessary voice within the industry. As he prepares for a 2025 full of new projects and collaborations, it’s clear that his vision continues to challenge the status quo and pave the way for future generations of marginalized artists in electronic music.

DISIDNT #03 FIORIOUS_2025_1.pdf

MARI PARI

RITMOS HIPNÓTICOS Y ALMA SONORA

Abrimos la primera edición de 2025 de Disidnt= con una artista que está marcando un antes y un después en la escena musical: Mari Pari.

Desde sus inicios en la escena underground de Guadalajara hasta consolidarse como una fuerza creativa en la música electrónica, Mari Pari nos comparte un viaje sonoro donde el house, techno y géneros fusionados cobran vida. Con proyectos como MAHO y lanzamientos con sellos destacados, su visión trasciende fronteras y redefine la música electrónica en México.

CONTINUAR LEYENDO

Nota/Entrevista: Dante Salas

Photography: Andy Long

Styling: Tahi Guy Roland

Jacket: Quazar

Shirt/Pants: Issey Miyake

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