Franc Fala: Breakthrough to Momentum

When “Yamore” came out, Franc Fala didn’t expect much. It was one of those late-night studio moments where everything just clicked, no overthinking, no endless layering, just instinct. A few weeks later, the track had fallen into the hands of DJs across the globe. Before he even realized it, the song was echoing through clubs in Ibiza, Beirut, and Berlin.

“It was surreal,” he says, still sounding slightly stunned.

“I usually make things way too complicated, but this was probably the only track I’ve ever made where I thought, This is exactly how it should be. The power was in its simplicity. That simplicity turned out to be what made it travel so far.”

That track didn’t just travel; it transformed Fala’s life. 2025 became a whirlwind of flights, festivals, and dance floors. From Pacha Ibiza to Tomorrowland, he was suddenly everywhere, living a loop of soundchecks, sunsets, and afterparties. The success was exhilarating, but also grounding.

“Before this year, I used to get lost in the technical side of production,” he admits.

“Now, seeing so many artists up close and being on the road all the time made me realize what actually matters in a track. I trust my instincts more and focus on what feels right.”

It’s a quiet confidence that you can hear in his sets, tracks that breathe, build, and move with emotion rather than precision.

“That confidence makes the musical output stronger,” he says.

“And I get to test new ideas on the road right away.”

Touring, of course, leaves little time to create. For a while, he tried producing on the move, sketching out loops in airport lounges and hotel rooms. But it never felt the same.

“I used to make music while touring, but I’d often end up with half-finished drafts that didn’t feel right,” he says.

“Lately, I’ve switched back to making tracks properly in the studio. If a track doesn’t come together in one session, the idea probably wasn’t strong enough. Touring inspires me, that’s the fuel, but the studio is where it turns into something real.”

Now, Fala’s entering a new phase. His latest project with Benja, “Colombian Shipment EP,” just dropped on Adriatique’s Siamese label, and it feels like a deliberate shift.

“After Yamore, I got boxed into the Afro House corner,” he says.

“I totally get why, but I never saw myself as Afro House. I’ve always been about blending genres. For me, the magic is in between.”

The new EP taps into something more profound, that groovy, house-driven energy that first drew him to music. It’s lean, confident, and unmistakably Fala.

His collaboration with Benja isn’t just about music. It’s about history.

“Years ago, I used to throw parties in an anti-squat building where I lived,” he remembers.

“I invited Benja to play one night. We met there, and the first thing he asked me was, ‘Do you like Paul Kalkbrenner?’ And that was it.”

That shared curiosity turned into friendship, and eventually, a creative partnership. You can hear it in how they build tension and release together, the way one leans into rhythm while the other lifts the melody. It’s instinctive.

When asked about his tour rider, he laughs.

“My manager insists on having Bacardi and Coke, it’s his thing, not mine,” he says.

“I’m more of a tequila guy. But half the time, the promoter can only give us one bottle, so by the end of the night, I’m stuck drinking rum and Coke. Tragic.”

Fala’s story can’t be told without Amsterdam. From Lofi to De Marktkantine and Shelter, the city gave him a foundation and a tribe.

“It’s amazing to see how strong the Amsterdam scene has become internationally,” he says.

“You see names like ANOTR, Mau P, Stussy, Jopse, and Kiki, and then this new wave with guys like Benja and Rooleh. That collective drive is contagious and really keeps the bar high.”

During this year’s Amsterdam Dance Event, Fala played The Loft alongside Mau P, a moment that feels poetic.

“We’ve known each other for years,” he says.

“Before Yamore took off, I was actually his tour manager for a bit, which is funny because I’m in no way qualified for that job. I’m not the most responsible person, but somehow I managed.”

His ADE schedule was a blur of venues and back-to-backs.

“On Thursday, I played Magnifik at the Tropenmuseum, such an iconic venue,” he said.

“Saturday’s packed, first I went to The Loft with Mau P, Ben Sterling, and Adam Ten, then straight to STRAF_WERK after. Let’s just say Sunday was a write-off.”

What’s next for Franc Fala feels open-ended, and that’s precisely how he likes it.

“The speed of it all still throws me off sometimes,” he admits.

“Not long ago, I was doing all-nighters at Chicago Social Club for a hundred euros. If I can stay creative and consistent, I think I can build something with real weight behind it.”

For an artist who found success by keeping things simple, Franc Fala is now in motion. If “Yamore” taught him anything, it’s that sometimes, simplicity can carry you further than ambition ever could.