Parov Stelar: “Everything I’ve achieved so far is just a milestone on my journey”

TEXT: SILKE HENKELE | PHOTOS: TANJA SCHALLING

Few artists manage to shape an entire genre, but Marcus Füreder aka Parov Stelar has done just that. Known as the founder of Electro Swing, the Austrian producer and DJ blends vintage jazz and swing with crisp electronic beats, creating a sound that feels both timeless and modern. His tracks have become global dance floor favourites, and his live shows are celebrated for their extraordinary energy. In this interview, Parov Stelar opens up about his creative journey, why he loves live shows, and his big dream as an artist.

Discover Germany: Parov, thanks for taking the time to speak with us. You’ve got quite a lot happening at the moment: Your new book Trip is about to be released, your new album Artifact comes out on 14 November, and you’re also on tour.

Parov Stelar: Thanks, it’s a pleasure. I’m looking forward to our chat.

DG: You’re one of Austria’s internationally most successful musicians. For readers who may not yet know you, could you share a little about your roots and how it all began?

PS: I grew up in a small Austrian village and nothing really pointed towards a career in music. My mother is an artist, so I was surrounded by creativity all my life, but I never felt drawn to follow in her footsteps. My father worked in IT, and at first, I wanted to become a professional tennis player. Things changed when I started studying. I always liked drawing and was asked to design posters for techno concerts. I thought that this type of music all sounded the same, so I made a bet with a friend that I could produce a techno track myself. He took me up on it. That’s how it all began. I soon discovered how challenging it was to create a techno track and how much creative energy it required. This creative process fascinated me then, and it still keeps me inspired today.

Parov Stelar: “Everything I’ve achieved so far is just a milestone on my journey”

DG: Let’s talk about Electro Swing, the genre you’re credited with creating. Was it a conscious decision to shape a new genre?

PS: Not really. Electro Swing was more the result of coincidence and creative curiosity. After a few years, I felt the need to change perspective and open myself up to new influences. That’s when I discovered the irresistible energy of 1920s Swing. Its wildness captivated me instantly. At first, people around me were sceptical that this would work. Well, it does, doesn’t it?

DG: How would you describe the genre?

PS: That’s tricky, because for me, Electro Swing is more of a feeling. At first glance, Techno or House has nothing to do with Swing. But when I think of the 1920s, I see the first ravers in history: their wild dances, their energy, their zest for life. Just like today’s rave culture, Swing was about breaking free of conventions. So, Electro Swing, to me, is exactly that: a wild, joyful celebration of life.

DG: You started your career nearly 30 years ago and are now firmly established in the music scene. Many contemporary artists often struggle to find a foothold and build a loyal fan base. How do you balance your artistic ambitions with today’s music industry challenges?

PS: The industry today is completely different from when I began in the late ’90s. We live in a time where consumption is fast and often superficial, and everything is constantly under scrutiny, including musicians. To build a real fan base, you need to earn people’s trust, and that’s harder than ever in such a profit-driven environment. Successful formulas get repeated endlessly until they stop working, and then the artist is dropped. There’s little space for experiments.

I was fortunate to start at a time when I was allowed to experiment. My audience could grow with me, discover different sides of my music, and connect with my artistic evolution. Today, the conversation about what an artist actually stands for is often missing, which makes music feel more interchangeable and arbitrary. I’m grateful that my career has given me the freedom to experiment and follow my own ideas, without chasing the next hit or being afraid of making mistakes.

Parov Stelar: “Everything I’ve achieved so far is just a milestone on my journey”

Photo: Meinrad Hofer

DG: Was there ever a moment when you thought: ‘This is it. I’ve made it’?

PS: No. I agree with Picasso, who said that he was afraid to ever finish a painting. For me, finishing means stopping. I don’t feel my creative journey has come to an end yet. Everything I’ve achieved so far is just a milestone. I’d be sad if one day I thought, ‘I’ve made it’. That would mean that my journey is over.

DG: Beyond being a musician, you’re also a painter. How do painting and music compare for you?

PS: I don’t see them as separate or comparable. I painted long before I started making music, and they inspire each other constantly. They are both my children. They’re like symbiotic twins that enrich one another. Often, while painting, a musical idea will come, and I’ll run upstairs to record it. And vice versa. Painting and music are equally important parts of my creativity.

DG: You have worked with huge names like Bryan Ferry, Lady Gaga and Lana del Rey. What was that like?

PS: Well, I was really honoured. And at first nervous of course. But once I’m in the creative process, nerves fade, and it’s about making the right artistic decisions. I’m an artist through and through. For me, it’s never about a particular person or celebrity, it’s always about the art. That might be part of my success: I’m authentic. If I can’t contribute anything meaningful, or if a track’s direction doesn’t feel right, I stop. Even if that costs me money. Art always comes first.

Photo: Etage Noir

DG: You are currently on tour through Europe. How has it been so far?

PS: Fantastic! Thanks to my audience and fans, the energy at the shows has been incredible. I’m usually a very private person, so going on the stage is always a challenge. Also because I get an immediate reaction to my music, which can be overwhelming and deeply moving. There is a saying that love is happiness in action. I find that a live concert comes close to that.

Touring and live concerts for me are always a mix of love for the art, joy for the moments and pride in overcoming my natural shyness. An overall amazing experience. Even if travelling between gigs can be tiresome sometimes. I’m looking forward to the upcoming shows in Austria and Germany, which will keep me busy until the end of the year.

DG: Your new album Artifact is out on 14 November. What can you tell us about it?

PS: The singles Artifact, Rebel Love, Six Feet Underground and Shiver are already out and the response has been fantastic. Describing the new album is difficult. I’m definitely chartering new waters and showing a side that listeners haven’t seen yet. Artifact is driven by curiosity and a sense of wonder. I’m an organised person. I hate the unplanned. But for this project, I kept asking myself: ‘What happens if I try things in a different way?’ I welcomed the unplanned, the organic, the human side of creativity. I simply let things unfold and new ideas, images and sounds emerged. The album was recorded with a 35-piece orchestra, which added an incredible energy to the process. Honestly, I’m still so immersed in it that I find it hard to put into words. I’d rather let the listeners decide what it means to them.

Photo: Etage Noir

DG: One last question: You’ve performed on stages worldwide. Is there a location you still dream of playing?

PS: Yes. Sweden and Ireland are still missing from the list, so I’d love to play there. And then, of course, there is the ultimate dream, the holy grail of music – Wembley Stadium in London! Playing there would be a once-in-a-lifetime experience.

Photo: Etage Noir

3 November: Wiener Konzerthaus (Vienna, Austria)

4 November: Wiener Konzerthaus (Vienna, Austria)

13 November: Georg Elser Halle (Hamburg, Germany)

14 November: Uber Eats Music Hall (Berlin, Germany)

15 November: E-Werk (Cologne, Germany)

Web: www.parovstelar.com