With over two decades dominating the tech house scene, Leonardo Gonnelli has risen from Florence’s underground to global stages, commanding iconic venues like Pacha in Buenos Aires, Space Miami, and festivals such as The BPM Festival, Dockyard Festival (ADE) in Amsterdam, and Sonar Off Week in Barcelona. His 2014 collaboration with Chus & Ceballos, the pulsating ‘Soledad’ on Stereo Productions and Defected Records, became an Ibiza anthem, backed by giants like Carl Cox, Solomun, and Seth Troxler, and earned a Vicious Music Awards nomination for ‘Best Track.’ Since joining forces with Seth Troxler’s Play It Say It label in 2015, Leonardo continues to innovate, with his latest release ‘Fever’ electrifying dance floors worldwide.
In this interview, we explore his roots, creative spark, and what fuels his unstoppable rise.
What initially drew you to the DJ scene in Florence back in 2001, and how did those early years influence your sound?
Back in 2001, the Florence scene was raw, vibrant, and full of energy. I spent hours in local record stores listening to vinyl with friends and fellow DJs—those were truly special moments, always searching for that one unique track to play in our sets. What really captured me was the connection between the DJ and the crowd. I was heavily influenced by acid house and minimal techno from the start—those stripped-back, groove-heavy sounds immediately pulled me in and became part of my musical DNA.
How has your background in the acid-house and Detroit techno scenes from the 90s continued to inspire your sets at events like Sonar Off Week?
That scene left a deep imprint on me—its authenticity, its raw energy, and its soul. I still draw on those elements today, especially in high-impact sets like Sonar Off Week. I incorporate acid lines, analog textures, and touches of Detroit futurism—not out of nostalgia, but to evolve from those roots that originally inspired me. It’s about carrying that spirit forward in a fresh, relevant way.
Can you walk us through your creative process when producing a track—especially how you layer sounds and build tension?
Everything starts with a vibe—maybe a drum loop or a riff that sparks something. From there, I develop the rhythm section and begin layering the elements. EQ is key—I sculpt the frequencies to give each sound its space. Tension is fundamental. I create it through automation, filtering, and knowing when to pull things back. Sometimes, silence or minimalism says more than any drop can. It’s all about dynamics and pacing.
What sparked the collaboration with Chus & Ceballos on ‘Soledad’, and how did tech house influence the final result?
We immediately clicked over our shared passion for percussive grooves and Latin rhythms. The concept was to fuse soulful tech house with deeper emotional layers. Chus & Ceballos brought their powerful tribal energy, and I added my hypnotic, minimalistic touch. The process was very natural, and tech house served as the perfect playground to merge both of our worlds.
Looking back at the release of ‘Soledad’ on Stereo Productions and Defected Records, what surprised you most about its reception in Ibiza and beyond?
What truly surprised me was how widely it was played in such different settings. Hearing it during peak moments in Ibiza was incredible. But what really struck me was how DJs from various genres embraced the track. It wasn’t just a tech house hit—it connected emotionally, and I think that’s what gave it real staying power. That response, both from the industry and the dancefloors, meant a lot.
How do you decide on the sounds and styles that go into tracks like ‘Bounze’ and ‘Sipping’?
I trust my instinct. I don’t chase trends. With tracks like ‘Bounze’ and ‘Sipping’, my goal was to bring energy to the floor—fat basslines, unexpected drops, and a bit of attitude. I always ask myself: Would I play this in my own set? Would this make people move? If the answer is yes, I go all in. That’s the filter I use.
With support from artists like Carl Cox and Solomun, how do you stay true to your roots while continuing to evolve in today’s industry?
Having support from legends like Carl and Solomun is a massive honor. But for me, staying true to my roots is non-negotiable. Evolving doesn’t mean changing your identity—it means learning and growing. I’m always experimenting with new techniques and new sounds, but the core of my style remains. When you’re authentic, the right people will recognize and support you.
What’s the biggest challenge in shifting from playing huge festivals like BPM to more intimate studio work with artists such as Seth Troxler?
It’s definitely a shift in energy. From the chaos of the stage to the focus of the studio—it’s a different mindset. I should clarify: I haven’t done direct collaborations with Seth Troxler himself, but I’ve released several EPs on his label Play It Say It and received strong support from him, especially after ‘Soledad’. The challenge is slowing the brain down, paying attention to the details—swing, groove, textures. But those two worlds feed each other. One is pure instinct, the other is surgical precision.
Could you let your fans know what you have coming up in the next few months?
Absolutely. I have a brand-new EP coming soon on Lee Foss’s label Repopulate Mars—a label I’ve respected for a long time. I’m also continuing my work as a co-producer (ghost producer) on several tracks that will be released on major imprints like Solid Grooves and Hot Creations, among others. My name might not always appear, but I’m deeply involved in many exciting projects behind the scenes.
What’s one quirky habit or ritual you have before hitting the decks at a big gig?
No real rituals, honestly. When the time comes, I step up and let the music take over. I’ve always believed that preparation and instinct go hand in hand—once you’re up there, it’s all about reading the room and delivering the energy the crowd deserves.
Stream ‘Bounze’:
