COLE KNIGHT: I started playing piano and guitar when I was really little. I think a lot of kids play piano when they are little, but I became obsessed with the guitar. I was always excited to come home from school and sit in my basement just playing by myself. My mom wanted me to join a band, but I told her I only wanted to play alone. Looking back, I feel like I should have just joined a band, as playing by myself wasn’t always fun. My dad is a computer science engineer; he worked for Intel for 21 years and now works for Nvidia, where he recently started. He influenced me to go into that field because he knew I would have a good career outcome. However, when I went to school, I realized I didn’t really love computer science. I was the only girl in most of my classes and, being a shy young woman from the Midwest, I didn’t connect with it that much. But I think it gave me a really good foundation for working with software like Ableton. They are quite similar, and I do love sitting at a computer and tinkering, perfecting the sound. With my background in playing instruments and coming from a small town, I slowly moved to bigger cities as I got older. I truly discovered music when I was in college and beyond. It was such a new phenomenon for me to discover something so vast; you can really connect with music, I think.

CK: I started getting interested when I was in college, around the age of 20. One of my friends from my computer classes was a DJ, so we would skip class and just go play music in his room. However, I didn’t really start taking it seriously until I lived in LA much later on, when I was about 25.

CK: I think I have done a pretty good job of focusing on my health and prioritizing sleep when I need to. Obviously, when you first start out, that isn’t the priority. It is all very fun, and you think about how crazy the lifestyle is. But eventually, you realize it takes a toll when you don’t take care of yourself, especially as a woman. I think it is important to be cognizant of hormones and the fact that we sometimes simply need a lot of sleep. Since I was a runner in college and ran track, that athletic discipline is ingrained in me. I feel the need to go to the gym regularly. It makes me feel good. Having that balance is really important, but being able to travel and experience so many places that I wouldn’t otherwise see is such a cool part of the job.

CK: I met David when I was moving to LA at a very young age. He invited me to one of his sound sessions, which are essentially extended sound baths. It blew my mind, and I became obsessed with the idea of the ‘sound of the abstract.’ There is a book called The Mysticism of Sound and Music, which is based on Sufi teachings. It discusses how the path to enlightenment is most quickly attained through the sound of the abstract, by listening to it constantly and letting your mind dissolve into it. Sound is energy and vibration. You can measure it in Hertz, and since everything is measurable, we are ultimately made of sound particles. Our bodies consist mostly of water, and when sound hits water, it ripples. We are constantly in this play of vibration, which I found fascinating. As I studied deeper with David, he taught me about the esoterics of its origins and the different cultures that have used it. This has shaped a very conscious, rather than religious, approach to thinking. He also teaches you about different instruments used to put us into a state of deep meditation. My gongs are actually right behind me.

CK: Yeah, so I play fifteen to twenty different instruments, all designed to guide you into a deep state of meditation. I haven’t recorded anything yet, as that is one of my projects for this year, but I perform everything live. People lie down with eye masks on and enter a state of near-nothingness. This allows them to reset their nervous system and experience a profound sense of peace.

CK: I teach a few private students, but I haven’t offered any public courses yet. My fiancé and I facilitate sessions together, and we host several events in our community every month. I also travel for work; retreats occasionally hire me to facilitate sound sessions for them. Additionally, I have many private clients I work with on a regular basis to perform nervous system reset work.

CK: I eventually decided that I needed to name my sound meditation project, and ‘Duality is Reality’ is what I came up with. Technically, yoga means ‘unity,’ which is the highest state one aims to achieve in life, signifying that you have ascended. However, I feel that duality is a more realistic step toward reaching that unity.

This concept also ties into my personal life, as my fiancé works in nightlife as well. It is about being able to work in that environment while remaining on a path toward finding peace.

CK: I think that meeting David before I took DJing seriously allowed me to explore sound, consciousness, and meditation first. Having that background has always kept me grounded; it has been essential for me.

CK: I have many little notes everywhere, in my journals or on my phone, which are my version of poetry. I have been doing this since I was in school, writing notes in class. All the lyrics in my music come from those small notes. They are just notes I have saved somewhere. Sometimes I think a certain line would be cool in a track, or while I am writing, a melody comes to mind that naturally goes along with it.

CK: I should actually look in the closet at my mother’s house, because I have a bag full of notes there that I haven’t looked at in a long time. I am also constantly writing things in the Notes app on my phone, and I have a box of journals filled with various scribbles.

CK: I think so. I feel it has happened within the last year or year and a half. It is interesting because I have been working in this industry for a while now, but it truly takes time to understand what you love most about such a vast field.

I also believe this is because music is so closely tied to the expression of self. An artist creates music based on where they are in their life. As I am constantly learning more about myself and evolving, my music is doing the same thing. I am now at a point where I really love creating music for DJing. When I go out, I want to rave, dance, and have a high energy experience, so I feel that is the direction my music has taken as well. It is a high energy, almost old school 90s sound. It is very experimental because I always want to be surprised and interested.

CK: I walk so much while I am DJing. I sometimes track my steps and realize I have covered five or six miles during a ninety minute or two hour set. I am moving constantly because I am so excited.

CK: Especially at a show where I feel truly connected with the crowd and the energy of the room, I sometimes black out. I do not remember anything I played because I entered such a deep flow state. It is a ‘Jesus take the wheel’ moment.

CK: I was not even thinking about launching my own brand yet, as I did not feel it was the right time to take that step. Factory Town is a venue in Miami that opens every night during Art Basel and Miami Music Week. It is a massive space with six different stages that holds fifteen to twenty thousand people. Each night, a different DJ takes over a stage to host a party. When they approached my team and asked if I wanted a stage at Art Basel, my answer was an immediate yes. I did not have much time to put the brand together, but I am the type of person who gives one hundred and twenty percent to every project. I created a brand manifesto to ensure a fully immersive experience. I had done a photo shoot a year prior where I was dressed as a high fashion knight, and I wanted to tie the brand back into that aesthetic. When I came across the name Knightclub, it felt perfect. We designed the logo and the stage, hanging chains everywhere. The logo itself is a giant sword with a KC in the handle, which we built and hung above the DJ booth to create the feeling of a medieval, sexy dungeon. I launched the party with a great lineup and followed it with another event at Miami Music Week. It was significantly larger than the first and a huge success. The support and feedback were incredible, especially regarding the stage design. That moment felt like I had truly stepped into the next level as an artist. It is a project that extends beyond myself. For me, what is even more important is creating a community and reminding people why we do this in the first place. It is about connecting with your body, feeling good while you are dancing, and feeling safe. It is about being part of something bigger than yourself, something more than just a night out.

CK: We had about a month and a half, which I felt was not much time at all.

CK: We had to create all the branding for the entire project. I even produced a track that I now play before each Knightclub show. It features my voice introducing the audience to the brand and welcoming everyone into this world. The first line asks, ‘Are you ready to touch the edges of your soul?’ I needed to be all in, you know?

CK: There is a woman in Miami named Evie who works in production. I reached out to her since we were already friends. When I shared my idea, she was ready to help bring it to life. We collaborated on the project, and I am very happy with the result. It was a perfect coincidence that she already had a warehouse full of chains available. And I was like ‘That’s perfect, that’s exactly what I wanted.’

CK: I think Dekmantel is one of those festivals that has always caught my attention. It is not about the fluff; it is truly about the music and an audience that deeply appreciates it. As an artist, you can experiment knowing it will be well received. Houghton Festival is another one that has my attention. I have not been yet, but I always watch the videos and look at the lineups. That festival is full of legends and icons, and everyone who attends speaks highly of the quality. Every set is pure class.

CK: This year, I want to focus on music and production. I feel that 2025 was centered on my brand and developing Knightclub. Beyond that, it was about establishing the Coco Knight identity as an artist, taking the time to sit with myself and learn more about who I am. Now, I feel inspired and ready to pour everything into my music. I am releasing an EP on Life and Death later this year, which will be my first mature body of work. It will feature three or four tracks rather than a single or a two track release, creating a more cohesive journey through the music.

CK: Thank you for having me!