Music before the booth
Long before I played music for other people, I used it to give a moment a different shape. Boston’s “Peace of Mind” was an early favorite I kept returning to. Later, “Break My Stride” became a personal anthem. I was drawn to music that could hold tension, find a little light and keep moving.
I grew up playing piano and later trumpet in a high-school wind symphony. Piano introduced me to structure and melody; the ensemble let me feel a single part becoming something larger with other people. The conductor could hold a direction while every musician contributed. That image stayed with me.
My listening kept widening. Mozart’s movement, the theatrical scale of Queen and ELO, the brass and forward motion of Streetlight Manifesto, and the atmosphere of synthwave all left their marks. Electronic music gave that range another kind of propulsion. Disco and nu-disco brought warmth, recognition and a shared invitation to move.
Those influences overlap. I can love an orchestral passage, a bright disco groove and a digital texture for different reasons. The connection is the feeling they make possible and the way one moment leads into the next.
A place for imagination
Games and fantastical worlds gave me another way to explore. Guild Wars, RuneScape and World of Warcraft offered different balances of discovery, story and connection. Sometimes I explored on my own; sometimes the world became a place to spend time with other people.
I was especially drawn to places where nature, technology and magic belonged together: gardens within futuristic structures, living environments around extraordinary machines, architecture that made an imagined world feel inhabited. The Asura environments in Guild Wars made that taste particularly clear to me.
That interest grew into a question I still follow: what makes an experience somewhere you want to be? Music can change the atmosphere. A visual can open a possibility. A world gives people room to move through it, discover their own viewpoint and share a moment.
Learning to read a room
My DJ practice took shape in 2017–2018. I began working with Algoriddim’s djay Pro 2 and its Automix tools, using assistance with the mechanics to give more attention to selection, timing and the people in front of me.
Weddings, corporate events and private celebrations taught me how different a room can be from the last one. A familiar song may bring generations together. A change in energy may call for a different direction. Preparation matters, and so does noticing when the plan needs to change.
Curation became a form of creation for me. The work is in the choices and the relationships between them: which song arrives, when it arrives, how it changes what came before and where it takes the room next.
The room became a world
A traditional DJ selects music, reads the room and shapes the flow of a shared experience. Digital Jockey is an evolving archetype I’m pioneering from that foundation. In my practice, it brings music, visuals and avatar presence together, with stories and interactive worlds opening further possibilities.
MetaDJ means Metaverse Digital Jockey. Meta also speaks to the perspective across music, technology, identity and imagined places. The name gives this exploration a home while I keep discovering what the practice can become.
Early community gatherings with Meta Clubbers and resident work with BVERSE in Decentraland showed me how music could bring people together across distance. Avatars, chat and the movement of a virtual crowd offered their own signs of attention. The places around the performance could become part of the experience too: somewhere to explore, meet people and keep discovering after a set.
I attended Decentraland’s music festival in 2022, then performed on its Techno Stage in 2023. In 2025, I returned as a headline performer at the Decentraland Music Festival, bringing music, avatar presence and real-time AI visuals into the shared stage. Across more than 100 Metaverse performances, I have kept learning what creates presence in these spaces.
From curation to an original catalog
In 2024, generative music tools opened a more accessible path into sounds I had wanted to make. I explored Udio and Suno through listening, extending, comparing and selecting. The useful result had to carry a feeling or idea I wanted to develop.
Techno, orchestral movement and 8-bit texture began meeting in the work that became Majestic Ascent. It was my first themed collection in a personal, narrative sense, made across roughly a year of experimentation. Its name reflects that process of exploration and ascent.
During the NFT.NYC 2025 season, I started weaving my own tracks into sets alongside familiar music, without announcing the change. I watched heads nod and faces respond. It was a quiet but important discovery: the music could connect before anyone knew it was mine.
The catalog now moves across five musical Journeys: Creative Rave, Hypno Disco, Augmented Hip Hop, Cinematic Rock and Future Symphony. Each opens a different part of the palette. A song can stand on its own and also become material for a performance, a visual atmosphere or a larger world.
When the imagined stage became physical
For more than a year, I had imagined a larger, cinematic performance: music moving through the room, a screen becoming the environment, and an avatar extending my presence within it. ZeroSpace’s scale and screens made that possibility feel concrete.
At the NYC Creative AI Forum in August 2026, I brought original music, avatar presence and the next generation of real-time AI visuals together for the closing performance. The large cinematic screen gave the visual experience the scale I had been imagining. A long-held idea became something people could experience together.
Afterward, several attendees told me they enjoyed the set. One described the combination as futuristic while recalling the feeling of the eighties. That is my recollection of the conversation, and it stayed with me because it connected two qualities I had been trying to bring together.
The night clarified the work I want to keep making: music and imagery with a shared direction, a sense of scale when the room supports it, and enough responsiveness to stay connected to the people who are there.
The person making the choices
AI is part of how I create music, visuals and experiences. My responsibility is the direction: what I ask for, what I recognize in a result, what I develop, what I release and how it fits the moment. An abundance of possibilities makes those decisions more important.
The avatar is a way of carrying that creative identity into a screen or a world. MetaDJ is the artist and performance name; there is a person shaping the work behind it. Technology gives me more ways to express and share an idea, and human presence remains part of the experience.
I want imagination to become something people can encounter. A conversation can open a question worth following. A story, a strange image or a playful world can be enjoyable in its own right. I’m interested in what happens when someone else brings their own curiosity to it.
An invitation to explore
MetaDJ.ai brings music, worlds, writing and performance into one public home. Begin with a song, follow a Journey, build a listening arc or surround the music with an Atmosphere. The Sphaira and the Disco Cube offer different places to enter. Backstage holds listening notes, stories and ideas; you can follow whatever interests you.
Eclipse brings that practice into an experience shaped for a venue, community or occasion. The music, visuals and flow take their direction from the brief and the people involved. A virtual gathering and an in-person room each have their own possibilities.
The universe is still growing. What connects it is a wish to make imagination felt: to give a song, an idea or a shared moment enough form that someone else can step into it and find something of their own.