For Christopher Coe, live electronic music is less about control and more about possibility. The Melbourne-born, Irish-raised artist has spent years refining an approach built around modular systems, improvisation, and the unpredictability that comes with creating music in real time. From performances at Kappa Futur, Awakenings and Glastonbury to a residency at DC10 Ibiza and appearances at venues including HÖR and Sisyphos Berlin, Christopher Coe has established himself as one of the leading proponents of live electronic performance.
Alongside co-founding Awesome Soundwave with Carl Cox, he continues to push the boundaries of live Techno through projects such as Modular Lounge, an intimate concept centred around improvised sound, audience interaction and site-specific performances. As new collaborations with artists including Josh Wink, Reggie Watts, Todd Terry and Tobi Neumann begin to emerge, we caught up with Coe to discuss modular systems, improvisation, live performance culture and the experiences that continue to shape his approach.
Your live sets are built entirely around improvisation. What first drew you to modular systems as a performance tool rather than a studio instrument?
Well naively I really thought that this was the true way to use these instruments! When I first started with modular stuff I saw it as a never ending evolving system, an instrument of endless possibilities. I still haven’t mastered it, and it drives me crazy but I love it too! Stuff comes out of that system of cables and knobs that I would never dream of just using a set of preprogrammed sequenced machines.. also, I’m lazy and can’t be bothered with all the programming .. so it’s a combination of laziness and fear and danger.. what comes out sounds amazing sometimes ..
Modular Lounge feels more like an immersive listening experience than a traditional club night. What inspired the concept?
The first time I did this was an impromptu live set in a hidden chill room at a small warehouse event in Melbourne. My friends organised it and I (rather cheekily) decided to just turn up, take over this little room (full of soft furnishing) and set up my modular on a coffee table with a bottle of wine nearby and just improvise. Playing deeper and in a more experimental way worked in this setting as people lounged around or grooved to the minimal beats. I felt like here was a really satisfying way to play, experiment and socialise all in one. Hence, Modular lounge.
How does the energy of the audience shape the direction of a live modular performance in real time?
Well, obviously if the crowd are responding positively it has a huge impact on how I proceed. It’s all about context though, a large event can be harder to read and often times it’s more important to deliver a bigger sounding, more consistent set, whereas in a smaller setting I often feel freer to experiment with the sounds more. But if people are “going off” then let’s go!!!
You have played everywhere from huge festivals to remote outdoor locations. Which environments challenge you creatively the most?
I think the smaller ones can be more nerve racking in a way, but also inspire me to push things creatively and experimentally. But, actually, every environment brings with it a creative challenge, sometimes there are production challenges that require a slightly different configuration of the gear, thus changing the way I approach the set. Other times the crowd are just amazing and give me inspiration.. every event is different, and every live set is different !
Your sound balances hypnotic Techno with experimental electronics. How do you stop improvisation from becoming chaotic and keep it emotionally engaging?
I try to keep it simple. One thing at a time, don’t overload or stack the ideas and sounds, and always have the kick running on its own channel so if things get wild, one can always drop back to pure basics, the kick and a hat. I often let things play for longer than feels natural, because I’m thinking fast about the next bar, but the people on the dance floor are (hopefully) grooving to the current vibe, it’s good to let things develop and evolve over time. When one is in the flow this works so so beautifully and the party becomes one.
You have worked closely with Carl Cox both in the studio and on live productions. What have you learned from collaborating with someone who has such a deep understanding of dancefloor energy?
Where do I even begin!. That fella has shown me more than I can even articulate! His innate sense of groove is infectious and his enthusiasm for the music across all genres is inspiring. I’m eternally grateful for the opportunity to work Carl and I’m still learning from him every day. His encouragement and trust has been instrumental in my own progression as an artist. And the opportunity to play on some of the worlds biggest stages has been unforgettable thanks to him.
Awesome Soundwave has become a key platform for live electronic artists. What do you think still needs to change for live performance to be valued equally alongside DJ culture?
Actually since we started this label in 2018 (Carl’s idea!) we have seen so many more live artists, labels and events appear! I think we just keep going, I think now there is a greater understanding from both promoters and audience around live electronic performances and, indeed, a greater appreciation for it. This is great ! Thing is, some of the biggest electronic artists were always live; Chemical Brothers, The Prodigy, Underworld to name a few. It’s always been a part of the culture, and, I daresay, in the early days, a main driver of the culture. DJing is an art in itself, and it’s certainly easier in terms of production to book DJs. But I think the crowd feels the difference when it’s a live act, there’s a sense of edginess or risk about a good live performance that can give the room a different buzz.. ultimately what matters is the music though.. it’s all about the music, the sound and the party 🙂
You have performed back-to-back live with artists like KiNK and Colin Benders. How different is the chemistry compared to a traditional DJ back-to-back set?
Well, it’s scarier! And wilder! And more fun if you ask me. One time KiNK and I were playing the same show at a club called Revolver (legendary Melbourne club). I was playing before him and I had suggested we play live in the middle of the dance floor. When KiNK rolled on he leaned over and said hey why don’t we play B2B tonight! And off we went! No sync cables, just jamming the beats in time! It was wild! The room went crazy, people were literally climbing the walls. On top of that it was a hot night and the air con was pushed to the limit, it must have 40 degrees in there! I was sweating so much the moisture affected my controller and it stopped working! I just unplugged it and carried on, we were on fire!! What a night!
Another time, Carl and I did it at Sala Sonora in Bilbao, again, Wild!! I genuinely think people feel it! And the response is always amazing! And if they can see what you’re doing it’s even more exciting. That’s why we love to do it in the middle of the floor. Speedy J does it with his Stoor project too and this is so amazing! I admire his work so much.
Your remote live recordings from Irish islands have a very organic atmosphere. What does taking electronic music outside of club spaces unlock creatively?
The Worlds End series is something I intend to do every year from a different island off the west coast of Ireland until the end of my days. As I mentioned before, it’s all about context. And the context here is obviously not a dance floor or any kind of audience (except the gannets and seagulls and the odd sheep). So it frees me up to experiment and find inspiration in the setting which is majestic! The Wild Atlantic coast, the place of my youth, never ceases to inspire me.
With new collaborations coming alongside artists such as Josh Wink, Reggie Watts, and Todd Terry, are there any new directions you are exploring sonically in 2026?
Yes, I’m working on a new album at the moment and have been in the Apollo studio with Tobi Neumann and Johannes Wagner in Berlin. I’m making “the Berlin album” 🙂 And this definitely is breaking new sonic ground for me.
I’ve just done a cool session with Nightmares on Wax last week, me on modular and a bunch of free jazz musicians! That was awesome!
And yes these collaborations with Josh (a dear friend) and with Reggie (such an inspiring fellow) and Todd (straight up legend) are so exciting, don’t forget Osunlade, the track with Todd was produced by Osunlade and myself, he’s an amazing artist and highly prolific. I really love collaboration, did I say I was lazy? Yes, collaborating means I don’t have to do all the work 🙂
Seriously though, being able to make music with all these truly brilliant artists is a true joy and the reason I keep doing this!
Whether performing on festival stages, collaborating with some of electronic music’s most respected artists, or developing new ideas through Modular Lounge and his ongoing Worlds End series, Christopher Coe remains committed to the possibilities of live performance. With a new album in development and a series of forthcoming collaborations on the horizon, his focus continues to centre on spontaneous creation, experimentation and the unique connection that can only happen when electronic music is performed live.
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