Kendall Boom plays like he's always heading somewhere. The Tokyo-based DJ and producer moves through tech house, bass house and UK garage, starting around 130 BPM and pushing the room toward one big closing moment. He has played larger Japanese venues such as Toyosu PIT and Zepp Yokohama, and clubs like ZERO TOKYO.
In 2026 he took that approach abroad. He travelled to Austin during SXSW week, Miami during Miami Music Week and Amsterdam during ADE, playing independent shows and radio sessions on PCR.fm, WAX Radio and Slim Radio. We spoke with him about what each city taught him, how Tokyo crowds differ from the rest, and where he wants to be in 2027.
The interview
Who is Kendall Boom, in one sentence?
I'm a Tokyo-based DJ and producer mixing tech house, bass house and UK garage into energetic sets that keep building toward a big finale. Playing a large hall and a small radio studio are very different experiences, but both teach you how to connect with people.
How do you move between tech house, bass house and UK garage?
I usually start around 130–132 BPM, build the groove and gradually raise the energy and tempo. Tech house gives me the foundation, UK garage brings swing and unexpected rhythms, and bass house is great when I want more impact. The room matters more than a strict genre plan.
There's a Japanese saying, "owari yokereba subete yoshi": all's well that ends well. I want people to enjoy every part of the set, but especially the final climax. A brilliant ending leaves a great feeling after the music stops.
What did SXSW, Miami Music Week and ADE each teach you?
Austin taught me how many musical connections can develop outside a nightclub. Conversations with people from different creative backgrounds were as valuable as the performances themselves.
Miami showed me the speed and scale of the international dance-music community. Meeting people is one thing; making a meaningful impression amid so much music is another.
At ADE, I discovered how central smaller venues, local crews and radio platforms are. Playing PCR.fm, WAX Radio and Slim Radio made me appreciate the communities behind the music. My appearances took place during those event weeks, not on the festivals' official main stages. What changed me was experiencing each city's scene first-hand.
How are Tokyo crowds different from US and European crowds?
At many mainstream clubs in Tokyo, familiar hits work extremely well, even songs that were huge years ago. In some overseas house-focused rooms, too many obvious hits feel predictable; an original or a deeper selection creates more excitement. So I watch each room and decide how far I can push into new sounds. These aren't rules for every crowd, and Tokyo is my hometown. I love Japanese audiences.
Which smaller club shaped you?
CLUB CAMELOT in Shibuya, the first nightclub where I performed. I still remember stepping into a proper club booth. It taught me to watch the crowd, make decisions in the moment and think beyond my own playlist.
A Japanese track you carry in your sets?
Kvi Baba's "I Like It (Remix)" featuring R-Shitei. It's not a conventional house record, which is exactly why it's fun to work into a set. I love the moment when a distinctly Japanese track connects with dancefloor energy in a new way.
What has been the hardest practical challenge internationally?
Learning how to judge people. Some are genuine givers who want to build something together; others mainly want something from you. When you're young and working across countries, it isn't always obvious which is which. Now I choose collaborators carefully, set clear expectations and confirm important arrangements in writing. A few trustworthy relationships are worth more than a huge contact list.
What's next in 2027?
My biggest dream is to perform at Tomorrowland, and every new stage feels like a step toward it. For 2027 I want to release more original music, strengthen the connections I made in Austin, Miami and Amsterdam, and return internationally with better sets. I don't want to collect venue names. I want to make music and performances people remember.
The FUTUREMAG Reflection
What stands out about Kendall Boom is not the list of cities but the honesty behind it. He is clear about where he played and where he didn't, and he measures a year abroad by what it taught him rather than by venue names. That focus on the room, the ending and the people he trusts is what makes his sets worth following into 2027.
Listen and follow
Latest release: "Sweat Drip" (Sonoros)
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