The Success of Australian DJ Dom Dolla

Electronic dance music has started mimicking fashion’s cyclical patterns: What’s old now feels new and fresh.

You might be quick to accuse producers of lacking imagination, but rather, the approach comes across as discovering something classic and taking it directly to the modern listener.

You can hear this on Dom Dolla’s latest track, “Miracle Maker,” featuring Clementine Douglas. Out in July, the track captures the groovy vibes of ‘80s and ‘90s deep house while splicing it with the pace and variety of Eurodance, the pop-infused style that dominated European charts throughout the ‘90s. 

Wrapping up a lengthy 120-plus date tour that took him through North America, Europe, and Australia, Dom discovered dance music after receiving a copy of Basement Jaxx’s 2001 album Rooty.

Born in Manila and growing up in the Australian Outback, he started DJing while in high school and plunged into dance music full time in 2015. 

Four years later, he began getting attention and endorsements from key industry tastemakers – most notably, Pete Tong – for his breakout hit “Take It.”

Reaching over 100 million streams, it topped the Beatport charts, earned Platinum certification, and netted him an ARIA nomination. He followed this over the past couple of years with “San Frandisco,” “Moving Blind,” “Strangers,” and “Pump the Brakes.”

Beyond his original releases, Dom’s made a name for himself as remixer, reinterpreting and reworking tracks from Dua Lipa, The Weekend, Calvin Harris, Rufus Du Sol, Purple Disco Machine, MK & Sonny Fodera, and The Martinez Brothers. 

The positive vibes of “Miracle Maker” have only enhanced his sets with a mix of retro warehouse euphoria and modern-day anthemic qualities. Along with selling out his Australia dates, his tour took him to Red Rocks Amphitheatre, Coachella, Electric Daisy Carnival, and Brooklyn Mirage in the U.S.

We spoke with Dom about his tour, rapidly rising career, and his latest release. 

You’re doing a 120-plus date tour at the moment. How’s it going, and what have been the highlight moments so far?

It’s been a massive year so far. I think we all knew there would be some amazing energy post pandemic, but it’s blown my mind. I played a show at Red Rocks in Denver and had 50 of my best friends and family fly over to see it.

It was my biggest headline show—we sold out 9,000 tickets, and it snowed. Brooklyn Mirage, I played for three hours to 6,000 people, until the sun began to rise. The new venue is incredible. I’m so grateful for these moments.

How do you vary your sets from festival to club environments?

Clubs are much more intimate, and dance music naturally translates quite differently than at a major festival. I try to capture the energy of each environment and play appropriately.

Tell us about your new single “Miracle Maker”: It feels modern yet gives off old-school rave/house vibes. Was that your intention?

The pandemic was a reflective time for me. It gave me a chance to look back and reconnect with my various influences.

I decided I wanted to try my hand and write a timeless rave record that not only made listeners nostalgic for the past, but excited [them] about the celebrations we all have to come.

“Miracle Maker” has been a hot track for months leading up to its release since you debuted it in Australia in February. How has it been received at festivals and in clubs across the globe?

“Miracle Maker” definitely has built a bit of a life of its own. I’ve been opening my sets with it, and the reactions have been wild! I’ve never felt a response like this for one of my records internationally.

“Miracle Maker” also features Clementine Douglas on vocals. How did you end up collaborating together?

Clementine performed and co-wrote the lead vocals with Caitlin Stubbs. I met them through an introduction via our managers.

We hung out for the first time at Reading & Leeds festival in the UK—such amazing people and incredibly talented. I had the instrumental idea for the record and sent it over, shared my vision, and they nailed it in one take.

Overall, your sound reflects the deep house revival that started picking up steam around 2015. How do you define your source, and what inspires you as a producer?

I’m mostly inspired by experiences, constantly touring. I’m fortunate to experience such a broad range of culture and people. I try not to pigeonhole myself as a producer into one style or sound, but follow what is inspiring me most at any given point in time.

You’ve done remixes for artists like Dua Lipa, Calvin Harris, Rufus Du Sol, and Purple Disco Machine, among others. How do you add your signature or stamp to a remix?

It’s quite surreal being asked to remix artists I’m such a fan of. I find remixes quite enjoyable as the core song idea is delivered to me, and it’s my job to consider an alternative take.

Before committing to a remix, I tend to have a vision in mind for how I can create something that will work in my DJ sets, and hopefully work for other DJs too.

Who else would you like to remix? Are you currently working with any other artists you can reveal to us?

I have a remix for Rufus Du Sol, which is just around the corner. I’ve been playing it in my sets for a while, and it’s been going down really well. Really proud of the guys and what they have achieved; I was thrilled when asked to work on a remix for them.

Now that “Miracle Maker” is out, what else can we expect from you over the next six months? 

Playing it on dancefloors. I’m on the road for the next six months before heading back home to Australia in December. I’m just feeling grateful to be back playing to people and sharing new music.