How did Miss Monique turn YouTube streams into stadium crowds?

The interview below is a deep dive into Miss Monique’s DJ craft, which includes details of her favorite equipment and the technical and creative reasons behind her chosen setup. So it’s interesting that in a majority of her answers she still manages to find a way to mention her audience.

Monique is a DJ who seems to be uniquely indebted to—and influenced by—the people who come to see her DJ. “I’m grateful to them every single day! ” she says. Monique might be a naturally appreciative person, but the circumstances of her rise to stardom have undoubtedly shaped her attitude. 

Before the residency at Hï in Ibiza and the global tours as a leading progressive house artist, before the placement on DJ Mag’s Top 100 list or topping Beatport charts, Monique was an aspiring DJ back in Ukraine who couldn’t afford equipment. She learned the ropes by playing in an empty venue, and eventually graduated to playing in front of an audience. She loved the way she could connect with people through her club sets, but she also sensed that with internet streaming she could reach even more people and interact directly with them. 

This proved to be a consequential decision. From the tiny seeds of Monique’s first streams back in 2013, her Mind Games and MiMo shows went on to become total game-changers, with her viewers these days regularly in the millions. (Her mix celebrating the third anniversary of her label, Siona, has been viewed 25 million times.) “What I really value about streaming is that it makes music more accessible,” she told DJ Mag earlier this year. 

There’s plenty of insight below into Monique’s four-CDJ technique and her approach to shaping her melodically rich sets. But the biggest takeaway here for DJs brings us back to what seems to be Monique’s guiding principle: always stay as deeply connected with your audience as possible. 

You’ve said before that you learned to DJ by playing warmup gigs. What were some of the biggest lessons you learned playing those early sets?

That’s true. When I started DJing about 14 years ago I didn’t have my own equipment or the money to rent CDJs and a mixer for practice. So I’d spend time learning the technical side and getting comfortable with the equipment when the club was closed. But once I began playing at the parties, that’s when I really started to understand how to feel the crowd—to read their energy, respond to their mood, and create a genuine connection through music. Looking back, those early gigs were invaluable; they taught me how to truly sense the audience and build that special musical bond that still guides me today. 

What were the main challenges you faced in the first few years of your DJ career, and how did you overcome them?

It’s funny but in the beginning I honestly thought, ‘Once I learn how to mix, the world will be mine.’ I know, that sounds so naive and full of unicorn dreams.

But with time I realized that the hardest part—and something I’m still learning—is to truly feel the crowd at every event. People are so different, some come for the artist, some just want to be part of the party, and others might arrive in a bad mood. As many people as there are, that’s how many moods you’ll find. A DJ has to sense all of them to make the night special for everyone on the dance floor, and that’s not always easy. 

Another challenge I faced in the early years was being taken seriously. Back then, there weren’t many women behind the decks, and earning respect sometimes required twice the effort.

And of course, confidence was a big one too—learning to trust my own taste and not overthink what people might expect from me. Over the years, I’ve learned that the more authentic I am, the stronger the connection with the crowd becomes. Every set, every mistake, and every small success helped me grow and find my own direction. 

When you were coming up, how did you stay motivated during quieter periods when gigs or attention were harder to come by?

Even during the hardest times, I always felt deep down that this was the path I wanted. I wanted to be a DJ, and I couldn’t imagine doing anything else. For the first six years, I barely saw any results from my work. There were moments when I doubted myself and thought maybe DJing just wasn’t for me. But then I stopped those thoughts and reminded myself: this is my journey, and I’m not giving up.

Not long after, things slowly started to change. One of my episodes from the Mind Games Podcast was recommended to a wider audience on YouTube, and I took that as a sign to keep going. Seeing that people connected with my mixes gave me new energy. Step by step, my audience began to grow, and many of those listeners became my biggest motivation. They’re my superpower, always supporting, believing, and giving me so much love.

What’s your current setup on stage, and how has it evolved over time?

I honestly love that you’ve brought me back into my memories of this. Let’s go through my whole setup journey! 

I started with CDJ-1000MK2 and always played with different mixers, depending on what the club had. Back then, I didn’t even know what an artist’s technical rider was. Pretty soon, I decided to try using a laptop and Traktor X1 controller. For me, it felt more comfortable because I didn’t have to burn 12 tracks onto a single CD, it definitely made my life easier on that side. Plus, it was really interesting to work with the effects and loops on the X1.

The first time I saw the CDJ-850 in a club—finally with USB support—I was excited, but honestly, I didn’t fall in love with them right away. It was only later, when I started playing regularly at one club in Kyiv that had CDJ-2000NXS that I completely switched. I stopped using the laptop and fell absolutely in love with that gear. 

As for my current setup, it’s CDJ-3000’s and the V10 mixer. I love this setup so much that I can’t even imagine working with anything else… well, maybe with the new Alphatheta Euphonia, which I already tested last summer, my second love.

And you use four CDJ-3000’s. What advantages does this setup give you?

Using four CDJ-3000’s gives me an incredible level of creative freedom compared to the previous models. The new processor makes everything faster and more stable, from loading tracks and looping to using Hot Cues. The touchscreen is much more intuitive, which helps me organize ideas on the fly.

Having four CDJ-3000s lets me completely rethink how I build a set. I can play loops and vocals on another deck , and still have space to bring in new energy whenever I want. It allows me to create live edits, blend genres, and keep the crowd guessing without ever losing the flow. It’s not just about mixing tracks anymore, it’s about building a full musical story in real time. 

What advice would you give to a DJ looking to expand beyond basic two-deck mixing into more layered or dynamic sets?

Don’t rush the process. Learn to feel the music before you try to control more of it. Once you’re confident with two decks, start experimenting slowly: add loops, vocals, or textures that bring emotion to the mix. It’s not about showing how many tracks you can play at once, it’s about creating a story and keeping the energy alive. Be curious, take risks, and record everything. That’s how you’ll find your own sound and build real depth in your sets.

Do you approach layering and transitions differently now compared to when you first started playing out?

Absolutely! I want to be honest with you—I even feel the difference compared to just one or two years ago. Last year, my schedule was so busy that I barely had time to be in the studio for DJing. Now, I’m trying to change that. I love being next to the decks, just playing and experimenting with new things in my mixing. 

How important is improvisation in your sets, and how do you leave space for it when planning or preparing music?

You know, there was a time when I mixed more cautiously—I was scared to improvise, always worrying I might make a mistake. But now I’ve changed my view on that. I’d rather try something and make a mistake than stick to something boring and routine. For me, it’s much more interesting to play when I can improvise, play with people’s emotions, and capture their attention. Of course, there are some loops or ideas I might plan in advance, but I always leave space for improvisation.

How are you using the RMX-1000 in your sets?

The RMX-1000 gives me very good control of the energy in my set. I use it to make smoother transitions, build some tension, and add more atmosphere with effects like delay and echo. The isolator and release functions help me to break a track or rebuild it directly in real time, so the mix always feels alive and not the same. What I really like is how fast it reacts. It feels more like playing an instrument than just pressing buttons. Compared to normal mixer effects, the RMX-1000 gives me much more freedom and creativity when I play.

How do you keep a sense of progression and narrative when playing over multiple hours?

Sometimes I really like to play longer sets because in this case I’m telling a story with a beginning, a middle, and an end. The first hour is about building trust and atmosphere, not rushing anywhere. Then I slowly increase the energy, adding more layers, emotions, and surprises along the way. I try to read the crowd and let their reaction guide me, so the direction always feels natural. I like to keep some contrast—light and dark, deep and energetic moments —so the set never feels flat.

When you’re building energy in a set, what do you focus on? Groove, melody, atmosphere, something else?

For me, it always starts with the groove, that’s what truly connects people on the dance floor. Then I build emotion through atmosphere and melody, letting the energy grow naturally, not just through tempo. Even a small detail, like a vocal loop or deeper bassline, can completely change the mood. I love creating waves of energy, giving people moments to breathe, feel, and then explode again.

What’s your process for prepping music before a show?

I always want to know my tracks perfectly, so I listen to them many times. I also prepare some loops, acapellas, and tracks that I can blend live, depending on how the crowd feels. But I never plan a full set in advance, I prefer to leave space for spontaneity and let the moment guide me.

How do you manage your rekordbox library?

To be honest, my rekordbox library was a bit chaotic until this year. I tried to organize it by energy and mood, but new music kept coming in faster than I could sort it. Still, I somehow knew where everything was, it was like organized chaos that only made sense to me. But now I’m trying to keep it cleaner, so I started creating playlists by month and sometimes for special events.

When you’re playing a club versus a festival, what changes for you in terms of pacing and track choice? Do you think your background in online streams influenced your mixing style or track selection?

Playing in a club and at a festival feels very different. In clubs, I like to take more time, build the energy slowly, play deeper sounds, and connect with people in a more personal way. The vibe is more intimate, so small details really matter. At festivals, it’s all about strong energy and emotions. I play faster, choose more powerful tracks, mix more dynamically and try to create big moments that people will remember.

Online streams changed the way I see DJing. Without a crowd, you play more for the story and emotion, not just for energy. You start thinking about how the set feels as one whole journey. That experience helped me make my live sets more emotional and balanced, and I try to combine power with feeling.

Your Mind Games and MiMo series have become global calling cards. When you started Mind Games, did you have a vision for where you wanted it to go?

At the beginning, there was no big vision, I just followed my heart. Mind Games started as a space where I could share the music I truly love. Everything that happened after came naturally, and I’m still amazed by how far it’s gone.

What was the turning point when you realised your YouTube sets were building a serious following?

I started my YouTube streams back in 2013, just to share the music I love. One of the early Mind Games Podcast episodes around 2017 really took off and reached a much wider audience—that’s when I first noticed people listening from all over the world. But the real turning point came in 2020, during the pandemic, when everyone turned to online music. My sets started spreading globally, and I realised it had grown into something much bigger: a real international community connected through music.

Is there a specific mood or structure you’re aiming for with the streams?

Yes, for sure. When I record a stream I think more about the story of the mix—not only the energy, but also the emotion and atmosphere. People listen at home, in the car, or while they work, so I want to make something they can enjoy anytime. Playing in clubs or festivals is different because the crowd gives me energy, and I can react to them in the moment. In streams, I focus more on smooth flow and feelings, creating a journey from the first track to the last.

What challenges did you face early on in building your online presence, especially when you were just starting out with streaming?

A huge challenge in the beginning was simply how to let people know that I existed with my podcast. At that time, together with my friend, we created online events on different platforms like Facebook etc. for every stream. We invited every person ourselves, one by one. Even now, I’m always in the chat during the stream, talking with my listeners. That connection is very important to me. I can’t even count how many technical problems we had back then.

Sometimes even the weather could destroy all our streaming plans. But all those moments taught me to stay patient and creative. Every challenge made my wish stronger, and that’s why I value them so much today.

A lot of DJs are trying to build their own series or channels now. What advice would you give them, especially about standing out in a crowded space?

Right now, YouTube is full of very similar content. I feel that on some level it’s not as exciting as it was a year ago. But if someone still wants to start, even with so much competition, they should try to create something truly unique, something that hasn’t been done before. People always notice originality, and that’s what can really make you stand out.

You have an incredibly passionate fanbase. How has that relationship influenced your DJing or musical choices?

When it comes to DJing, my listeners are a huge source of inspiration and motivation for me. They’re the reason I never give up and keep moving forward. I’m grateful to them every single day! As for my musical choices, honestly, I don’t think they’ve directly influenced them because over the years, my listeners have always supported my changes and the small experiments I do from time to time.

When a set really clicks, when everything’s in flow, what does that feel like to you?

I feel alive and my inspiration level is at 100%! I can’t sleep for a long time afterward. I’m smiling nonstop. I feel proud, and since I’m usually very critical of myself, that’s a pretty rare moment! Most importantly, in moments like these, I believe in myself even more and feel absolutely happy. 

Miss Monique & Glowal’s new two-track release “Rollin’ / Lost On A Dancefloor” is out now via Siona Records. Stream/buy here.

Text: Ryan Keeling