Few DJ/producers have shaped global dance-pop of the past decade as significantly as Felix Jaehn. Born in Hamburg in 1994, Jaehn scored a global hit in 2015 with a remix of Omi’s “Cheerleader.” It was the start of an extraordinary career that took Jaehn from the small clubs of northern Germany to the main stages of the world’s biggest festivals. This meteoric rise came with many more hits as well as two albums, 2018’s I and 2021’s BREATHE. Both combined a radio-friendly attitude with club-compatible production and underscored Jaehn’s standing as an exceptional act: With millions of records sold worldwide, more than a quarter of them in Germany alone, the artist has long been one of the country’s most successful music exports. And yet, things quieted down from 2024 onwards. Jaehn withdrew from the public eye for an extended period and sought therapeutic treatment. It was a time of profound self-examination, and a newly gained clarity emerged. The album NAGTTB+ marks this new beginning—and a new non-binary identity, Fee Jaehn—and yet, that familiar mix of huge hooks and rousing beats immediately reveals those original hallmarks. Below, they tell Apple Music about their return to music and the creation of their third album. How did it feel to start working again this year, producing and writing songs? “It felt good. I get goosebumps when I look back at it all. For me, it felt like there were many firsts. I had completely withdrawn, was also in a clinic and no longer able to live in the outside world or be in contact with people. Then, little by little, I started to become more active—first in my private life, meeting people, doing small things. Gradually, work came back too. I had my first Zoom call with my management and said, ‘I think I can start slowly.’ From then on, it went step by step: At some point I was on stage again, in the studio, releasing new music. Today I feel like I’m back in the middle of life.” Did you ever doubt that this would happen? “Sure. Sometimes I almost assumed that I would have to end my career and said goodbye, melancholically and plaintively. But luckily I turned things around and found new strength and security.” Were there specific moments when you realised, “Hey, music is what I like to do”? “One moment comes to mind. I had checked into a clinic twice. After my first stay, I arrived at my home on the Baltic Sea. There, I had the impression that I first had to get everything back in order and clean it up properly. In the process, I also dusted off the piano, which had been standing around unused for a while. So I ran a cloth over the keys, a few notes sounded, and I paused and thought, ‘Hm, that sounds nice.’ Then I sat down, played a little, sang a little—and half an hour later I had suddenly written a song. At that moment, I felt how connected I am to music. I can express myself through music, music moves me. Of course, I didn’t know at the time whether I would continue my DJ career, but one thing was clear to me: I would always do something with music.” Where is it more difficult for you to DJ: in a small club or on the big stage, where tens of thousands are facing you? “I find the big stage more difficult, not because of the set itself, but emotionally. You are far away from the audience, often alone on a huge space with cameras and lighting effects. The euphoria washes over, but the individual faces, the immediate reactions are missing. That just feels less intimate. It’s completely different in the club. There I am much closer to the people, preferably without a high stage or cameras, simply together in the room. You see each other, dance together, share glances and small gestures. This really creates a shared evening, a party that you develop together.” What was the creation process of this album? And what sound did you have in mind? “When I started with the new music, I didn't have a concrete concept in mind. The idea of turning the individual songs into a complete work only came later out of the desire to bundle my work of the last few years and record it in my discography as a closed chapter. Something like a collection of my highlights, framed by ‘NOW’S A GOOD TIME TO BE’ at the beginning and ‘PRIDE’ at the end. Sonically, the project reflects my journey as a DJ: I often start with around 128 beats per minute and end up at 150 or even 160. This tension curve was important to me. In the end, everything on the album with ‘PRIDE’ returns to a quieter, more emotional conclusion.” Many songs had already been released in advance, but the whole thing still seems very coherent, almost like a biography. In “Wishlist,” for example, the lyrics say, “I used to feel empty back in 2020.” That still sounds like the old Felix, while “PRIDE” and the title track stand for the new Fee. Is that an interpretation you’re comfortable with? “Yes, that’s definitely part of it. I always make sure that the songs I release have something to do with me in some way. Not all of them are autobiographical, but they have to feel true to me, have a connection to me. This connection often arises quite naturally—sometimes with a plan, sometimes by chance. With the previous album, BREATHE, the concept was clear: I wanted to tell my story, chapter by chapter. This time, everything developed more from the respective moment.” The first two songs, like the album title, radiate a lot of positivity. Is it easy to maintain this optimism when you see what’s happening in society at the same time? “Of course, what is happening around me plays a role in the album: society, political developments, and all the issues that we encounter every day. I am a very emotional, empathetic and sensitive person. When I deal with all the horror reports and news, it quickly brings me down, especially with topics that concern queerness. That has a very direct connection to me. These are very concrete worries: Where can I even live safely if things continue to develop like this?” How do you make sure that such things don’t get too close to you? “I work a lot to make sure I’m happy. Therapy, meditation, sports, healthy eating, sleep, a stable mindset: All of that is part of my everyday life. I believe it is possible to remain internally satisfied even when the world around you is sinking into chaos. The key is to deal with problems without falling into fear or panic.” One of the most exciting team-ups on the album is “Ready For Your Love”. Sophie Ellis-Bextor, a very experienced and versatile artist, sings here. How did the collaboration come about? “That was actually quite unspectacular: The connection was made through our record company, Sophie is also signed to Republic Records in the USA. ‘Murder On The Dancefloor’ was a hit again, so she was in the spotlight. When the song was created, she was suggested to me, and I was immediately open to it. She is simply an icon and has also been strongly committed to the LGBTQ+ community for years. That felt like a perfect match, where I also felt personally safe.” How do you generally choose your vocal partners—more spontaneously or according to a fixed principle? “That varies. At the moment, I’m looking for the sound for my next chapter. It is important to me to write and work directly with the artists again. Basically, I choose voices that touch me and suit me. Increasingly, however, I also pay attention to attitude and perspective: Where do the people come from, what do they stand for, what story do they tell? I am particularly happy when someone is openly queer or shares a feminist perspective—something like that is often more important to me than reach.” Are there any songs on the new album that were created in such an equal collaboration? “Yes, for example 'NOW’S A GOOD TIME TO BE.’ I wrote that in 2020 with Lawrence Principato and Sarah Barrios, who also sings it. That was a very good time. I was just coming out of a crisis, was on a mindfulness retreat and totally in the here and now. We sat under an orange tree with a guitar, talked about how important it is to enjoy the little things, and the song was created in no time. After that, it lay dormant for a long time because the team could never agree. I had already lost faith in the song. Five years later, in my recovery phase, I rediscovered it and realised: I just have to remember my own words. The feeling from back then came back immediately, and I realised that the song still has meaning for me today.” Which tracks on the new album are you particularly proud of? “Of course, ‘PRIDE.’ That was also the first single I came back with in the spring, shortly after my outing and everything that went with it. Also in view of the election results and the political developments in Germany, the song seems very important to me. I have personally experienced physical violence in public because of my queerness. It was therefore a great challenge for me to position myself so consciously and clearly, to use my reach, to show myself, to be proud, not to be afraid. I feel very connected to this song.”