Natasha Salehi: From Miami Radio to Prague’s Underground Techno Scene

Exclusive DJane Mag interview with journalist & DJ Natasha Salehi. From Miami radio to Prague’s underground techno scene, she shares her vision

Natasha Salehi is a techno journalist, DJ, and creator of On the Rail, a platform dedicated to underground electronic music through interviews, storytelling, and festival coverage. Based in Prague after ten years in Miami, Natasha built her career at the intersection of radio, media, and nightlife — combining her broadcast background with a deep passion for electronic music. With her DJ duo project NFKS, she has co-hosted the Berlin Rave series in Prague in collaboration with Teenage Mutants’ TRAGEDIE label, and NFKS is now set to close for Adam Beyer at Roxy.

We spoke exclusively with Natasha, who shared her vision on media, the underground, DJing, and the future of the electronic music scene. Check it out below:

You started your journey in radio in Miami and are now based in Prague, working across different fields within the electronic music scene. How have these experiences shaped the way you tell stories about techno?

I’ve always been curious. Even as a little girl I wanted to know every detail of things I couldn’t experience myself. That instinct carried into radio. My first on-air role in Miami paired me with a host who had 15 years of experience. He drilled into me the art of pacing: how to say something meaningful in 12 seconds, or at most two minutes. Later, producing and editing a podcast taught me to cut the noise... to find the essence of a story and trim the rest.

Traveling to Europe, and eventually moving to Prague, gave me something else: a real taste for the underground. Miami was about the big room EDM and tech house worlds, but Prague opened my eyes to raw, intimate spaces and the culture that surrounds them. That shift taught me to tell techno stories not just from the surface, but from the underground roots that give the scene its edge.

“My first on-air role in Miami paired me with a host who had 15 years of experience. He drilled into me the art of pacing: how to say something meaningful in 12 seconds, or at most two minutes.”

On the Rail started as an independent project and has grown into a recognized platform for interviews and festival coverage. What inspired you to create this space, and what has been your biggest lesson along the way?

When I researched artists I wanted to interview, producers releasing on huge labels, charting on Beatport, I was shocked by how little was out there. No real stories, no insight. As a fan first, I had questions. And I thought: if I want these answers, maybe other fans and aspiring DJs and producers do too. That’s how On the Rail was born.

The biggest lesson? Just start. Put your tunnel vision on whatever it is you want to do and stop wasting energy comparing yourself to others. It’s easy to look at someone who goes viral overnight or seems to have the same idea as you and feel behind. But that’s an illusion. You don’t know their circumstances, and it doesn’t change your path. The time you spend comparing could be time spent building.

And when you’re ready, invest in yourself. Don’t be afraid to take that next step. Upgrade your camera, promote a video that’s already taking off, or hire someone to capture a big moment. You don’t have to spend thousands, but don’t be so cheap that you hold yourself back either. I was cautious at first, worried about not making the money back, but I realized: if your career truly matters to you, you deserve to invest not just in it, but in yourself. And instead of feeling jealous of others, cheer them on. Let their wins motivate you to level up and refine your own work.

“The biggest lesson? Just start. Put your tunnel vision on whatever it is you want to do and stop wasting energy comparing yourself to others.”

You’ve interviewed major names like Martin Garrix, Joris Voorn, and UMEK, but you’re also known for spotlighting rising talents before their “breakout” moments. What inspires you most about looking to the underground and giving visibility to emerging artists?

In radio, I often heard stories about hosts who passed on certain guests only to see those artists explode a few years later. I learned early: never underestimate someone’s moment. Behind the scenes, a lot of artists are grinding harder than people realize, and I’d rather give them the space to tell their story.

For me, it’s also personal. There were many times I didn’t feel seen, and I know how much it means when someone does. Shining a light on rising artists is my way of giving that chance. And honestly, it’s the best feeling when someone I’ve believed in goes on to achieve big things.

During the pandemic, you also launched podcasts and explored different formats. How did that period influence your work as a communicator and DJ?

The pandemic forced me to build on my own. Starting a podcast kept the radio energy alive, but it also gave me total control — from booking guests to editing, to leading a small team of interns. Within a year, we even landed a paid sponsorship. That gave me confidence: I didn’t need the backing of a big station to make something successful.

It also taught me consistency. I’ve always been creative, but some projects would drag on for months or years. A podcast demanded output every week. That discipline carried into On the Rail and into DJing too. By curating playlists, then eventually learning to mix and livestream, I realized I could bring my community not just stories, but also music in real time.

“The pandemic forced me to build on my own. Starting a podcast kept the radio energy alive, but it also gave me total control.”

In 2023, your duo NFKS with Florian was born. How did that partnership come about, and in what ways does being a DJ and producer complement your work as a journalist?

We met outside the Drumcode pop-up at ADE 2023. I was supposed to interview Space 92 for a second time, but by the time I got there security wasn’t letting anyone else in. Flo came out drenched in sweat from dancing, and we started talking. A few days later he invited me to Prague, and once we realized we both wanted to play, and that we were drawn to the same sound, it just clicked. We decided to try DJing together, and NFKS was born.

For me, DJing is now nearing two years, while producing has been less than one. But even in that time, it’s changed everything. As a journalist, I already knew how to ask questions. As a DJ and producer, I know how to ask better ones. My perspective is deeper. I can connect with artists not just as a fan or interviewer, but as someone who lives the process alongside them.

You’ve also co-produced events, like the raves on a repurposed cargo ship in Prague. What was the biggest challenge of being behind the scenes as an organizer, and how did that experience expand your vision of the scene?

The biggest challenge is always filling the room. Competing against established promoters, managing ticket sales, balancing lineups. It’s high-risk. Add to that the unpredictable parts: people getting sick, not showing up, or even expecting to be paid after dropping the ball. You learn quickly who you can rely on, and who not to work with again.

I wouldn’t say it expanded my vision… it just confirmed what I already knew. The scene can look glamorous from the outside, but behind it there are constant moving parts… not just logistics, but people, emotions, and decisions being made in real time. Sometimes choices are taken out of your hands, whether you agree with them or not. What the experience gave me is resilience and sharper instincts: to protect my energy, stand by my team, and maintain the standard of events I put my name on. Most importantly, I learned not to dwell on what slips away. Usually something better is waiting ahead.

“Never underestimate someone’s moment. Behind the scenes, a lot of artists are grinding harder than people realize, and I’d rather give them the space to tell their story.”

As a woman navigating a space that is still very male-dominated, what challenges have you faced, and how do you work to open doors for other women who want to pursue careers in music journalism or as DJs?

One of the biggest challenges I’ve faced is simply being heard and respected. There have been times when I’ve had to funnel ideas through a male voice just to get things done, or watched as men were taken more seriously in the same room. And like many women, I’ve dealt with moments where professionalism is clouded by unwanted flirtation or where opportunities come with unspoken expectations that shouldn’t exist.

There’s also the assumption that if a woman is successful, she must have “slept her way” there. What matters is respecting people for the work they put in. Why not take the time to actually get to know an artist, rather than making judgments or spreading rumors? At the end of the day, you know your truth, and the people closest to you know it too. That’s what matters most.

For me, paving the way isn’t about making speeches. It’s about doing the work. I produce, I edit, I interview, I DJ, I organize. I built my own platform and proved you don’t need a big crew or outside validation to start. If that shows another woman she can do it too, then I’m already opening doors by example.

In the comments from your audience, many highlight how much your shows and interviews positively impact them, sometimes even changing their day. How do you see this close relationship with your listeners and followers?

I LOVE my community. It wasn’t just friends tuning into my livestreams… it was people from all over the world who discovered the show online. Over time, some of them became digital friends. I got to know them through their reactions to music, the festivals they attended, and the conversations in the chatroom. The fact that they kept showing up for me week after week is what motivated me to keep going.

Sometimes I’ll send someone a track that reminds me of them, or listen to the music they share with me, and I’ve never even met them in person. But that exchange online, rooted in a shared love for music, built those connections and ultimately shaped the community. That’s a big part of why I started On the Rail: to give all of us a place to connect over the music we’re so passionate about.

“For me, paving the way isn’t about making speeches. It’s about doing the work.”

You’ve mentioned wanting to turn On the Rail into a documentary to capture the underground scene. What do you hope this project will represent for the future of electronic music?

My vision is for it to be a time capsule. The pandemic, the rise of harder/faster techno, the local heroes shaping sounds you might not even realize, these are historic shifts. The mainstream stars will always have their spotlight, but there are countless others influencing the culture who rarely get documented.

If there’s no information on some of these figures now, there may never be. My hope is to play a small part in keeping them alive, preserving their stories so they’re not forgotten. Future generations should know not only the headliners, but also the hidden architects, the underground voices, and the moments that shaped everything that came after.

To wrap up: what advice would you give to young women who dream of building a career in the electronic music industry — whether as DJs, producers, or storytellers?

Always stand up for yourself, but also be strategic. Respect people, but don’t let anyone diminish you.

Focus on small, daily steps, because success isn’t overnight. And don’t try to force situations. If something doesn’t work out, trust that it wasn’t meant for you. Better opportunities will come.

I learned that the hard way. When I was 18, I encouraged my best friend to host on radio instead of believing in myself. If I had trusted my worth earlier, I could’ve started sooner. Once I started believing in my own worth, everything aligned faster.

So my advice is: know your value, protect it, and keep moving forward. With persistence, you will get there.

Follow Natasha Salehi:

Instagram | TikTok | YouTube | SoundCloud