Berlin-based DJ and producer Sam Shure has carved out a distinctive place within melodic electronic music through a sound that balances emotion, depth, and dancefloor energy.
Photo credit: Ben Wegert
Drawing from his Egyptian-German roots and a classical upbringing, his productions merge warm instrumentation with cinematic storytelling, earning support from artists including Dixon, Âme, Adriatique, Mind Against, CamelPhat, Blond:ish, Damian Lazarus, and Keinemusik.
Following releases on labels such as TAU, Magnifik, Cercle Records, and Habitat, Shure now makes his debut on Rekids with the ‘Belinda’ EP. Inspired by a transformative Floorplan set at Panorama Bar, the three-track release reflects a growing fascination with classic house and Detroit influences while maintaining the emotional character that has defined his work.
In this conversation, Sam Shure discusses the creative spark behind ‘Belinda’, evolving his sound, the influence of Berlin’s club culture, and why separating his club productions from his more narrative-driven music has become an important part of his artistic journey.
EG: Hi Sam, welcome back to Electronic Groove. It’s great to have you with us, as always. How have you been lately, and what has been inspiring you most as you arrive at the release of your ‘Belinda’ EP?
Sam Shure: Honestly, it’s been a busy but amazing summer, not much studio time at the moment. The main inspiration was a Floorplan set last year at Panorama Bar that was just incredible. This set and many others by Âme, Laurent Garnier and so on at Pano contributed big time to the inspiration.
EG: ‘Belinda’ marks your debut on Rekids, a label with a long history of championing distinctive voices in house music. What made this release feel like the right fit for the label, and what does joining its catalogue mean to you?
Sam Shure: Rekids has genuinely been with me since my early Berlin days. Radio Slave’s music, and everything the label’s put out, I’ve listened to it throughout my whole career and have nothing but respect for it. And I think if people have been paying attention the last couple of years, they’ve probably noticed I’m gravitating more and more toward classic house, so Rekids honestly is one of my favorite house labels out there, period. It felt like the right fit in a really natural way. And then hearing those tracks at the Rekids label night at Panorama Bar a few weeks ago, that was such a full circle moment for me, honestly one of the highlights of my whole year.
EG: You’ve described writing ‘Belinda’ almost entirely in a single flow-state session after seeing Floorplan at Panorama Bar. Those moments are rare for any artist. Looking back now, what do you think allowed you to completely trust your instincts that night?
Sam Shure: I wish I had some deep answer for you, but the truth is I didn’t really think much at all. Those moments just happen sometimes, almost out of nowhere, and they’re over as quickly as they arrive. I think that’s actually part of the magic; the second you start overanalyzing it or trying to force it, it’s gone. That night I just let it happen and got out of my own way.
EG: Interestingly, you initially felt the track was “too fast” and “too heavy” to represent your sound, only to rediscover it a year later. What changed in your artistic perspective that suddenly made ‘Belinda’ feel like an authentic reflection of where you are today?
Sam Shure: It’s a mix of things I’d say. But the biggest one was just asking myself a simple question: why is the music I’m producing so different from the music I actually love dancing to when I go out? My taste has shifted a lot over the years, and these days I’m drawn to house that’s a bit faster-paced than what I used to make. So naturally, the sound I create started catching up to the sound I actually want to dance to, at least when I’m making club tracks. I’d say ‘Belinda’ reflects one facet of my taste, one page of the book, not the whole thing. I love all kinds of good music and I never want to box myself into one lane.
“It’s less about a formula and more about following whatever the track is asking for”
EG: Throughout your career, you’ve balanced melodic storytelling with club-focused energy, but this EP seems to lean more openly into classic house and Detroit influences. Has your relationship with those traditions evolved over time, and what continues to draw you back to them?
Sam Shure: It kind of ties into what I said before, honestly. I realized what actually makes for a good night out for me: warm, organic instruments, high energy, flow, and an overall classic approach but with surprises and unexpected turns along the way. I still love making storytelling music; that’s not going anywhere, but I never really felt the urge to DJ that kind of music myself. So going forward, I want to keep those lanes a bit more separate: club music that I want to play out and that others can play too, and then eventually my next album with songs meant to be listened to outside the club. Making that distinction actually helped me understand how to produce and DJ in a way that feels way more cohesive.
EG: ‘String Theory’ sees you collaborating with Deer Jade, whose productions often inhabit similarly emotional territory while maintaining their own distinct identity. How did that collaboration come together, and what did each of you bring to the creative process?
Sam Shure: Jade and I are good friends; honestly, we used to be roommates and we still hang out a lot and spend a ton of time in the studio together. ‘String Theory’ was really just a child of one of those sessions, nothing overly planned, just us making music together like we always do. I love how it turned out. She’s an amazing human being and just a great friend on top of being an incredible artist.
EG: Across all three tracks, there’s a strong sense of movement—organic percussion, textured synth work, and evolving grooves that never feel static. When you’re producing, how much attention do you give to creating a physical response on the dancefloor versus building an emotional narrative?
Sam Shure: It really depends on the mood of the track; there’s no fixed blueprint I follow. ‘Belinda’ is almost purely built for that physical response; I wanted people’s bodies to just react. ‘String Theory’ leans much more into the emotional narrative side. And ‘No Time to Play’ kind of sits right in the middle of the two. So it’s less about a formula and more about following whatever the track is asking for.
EG: Berlin has always been an important part of your story, but it’s also a city that constantly reinvents itself musically. In what ways does living there continue to influence your creativity today?
Sam Shure: I’ve been around a lot of different scenes in Berlin over the years, but the last three to four years I’ve really found the places that resonate with me and where I draw most of my inspiration from. Berghain and Panorama Bar, obviously, sorry if that sounds generic, but the place genuinely lives up to the hype. Heideglühen for that warmer, more minimal house sound. From time to time, Club der Visionäre, and every once in a while Sisyphos when I just want a fun night out dancing.
“I love all kinds of good music, and I never want to box myself into one lane”
EG: Finally, as ‘Belinda’ opens this new chapter with Rekids, what excites you most about where your artistic journey is heading over the next few years?
Sam Shure: I’m just really happy to be arriving back in a genre that feels like home again. I want to keep exploring, keep experimenting, and hopefully make some good house music along the way. I’m actually working on a special project right now that I’m excited about, and I’ve got a lot of goals and labels I’d love to work with down the line. So yeah, exciting times ahead; I’m just gonna keep my head down and let the music speak.
EG: Thank you so much for your time, Sam. We wish you all the best with the ‘Belinda’ EP and everything ahead. Take care!
Sam Shure’s ‘Belinda’ EP is out now via Rekids. Stream and download your copy here.
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