InterviewsScene
The first time I heard Anna Runtić and Antonio Ožić-Bašić live was in 2021, still in lockdown, at a beach bar in Baška Voda (Makarska Riviera). Being from that area, my first thought was, “Well, that’s refreshing,” and I was immediately drawn to the sound of an electric violin that worked so well with electronic music. I approached the young duo and asked them for their names. ANNA x AOB, they said, and we started chatting about the possibility of collaboration on my previous radio show. Even though that was one of their first gigs, they were open to conversation and very professional, and I strongly believed in their success from then on.
Four years later, they have become one of the most prominent electronic music performers on the coast, with gigs in other European countries, beach bars, and clubs, having over 10k Instagram followers and running the first DJ Academy in Makarska. Their debut class of students just finished the course with the help of five other mentors (Madezh, DJ Inzo, Joe 2 Shine, Weekingz, and Luka Jakir). While preparing for the summer season, I managed to catch them for a conversation about themselves – their story, the blend of classical instruments and electronic music, and how they help the young generation of DJs break through on the scene.
How and when did you start, and how did you combine the violin with the DJ decks? What was your inspiration?
Anna: Honestly, we were bored during the COVID-19 lockdowns. Before that, we had already talked about doing some kind of collaboration. He was already a DJ, and I was more involved in festivals like Dora and the Zagreb Festival—somewhat outside classical music, but nothing electronic. Eventually, the boredom during COVID led us to start sketching out a potential repertoire (with all that free time). Honestly, we didn’t expect a big response. We just wanted to bring our love into the work and see what happened.
Our first gig was in 2021 at Špina Bar, a vibrant cocktail bar in Kala, Makarska. We borrowed equipment and were still figuring things out, so it was a bit stressful at first, but in the end, it turned out really well. From there, things just started to take off, and before we knew it, we didn’t have a single free evening.
Anna, you play the electric violin at gigs, but you studied classical violin at the Music academy in Zagreb and Budapest. What is the difference in playing classical music for you, and how did you switch from classical music and education to this mix of modern electronics? What is the difference between an electric violin and a classical one?
Anna: Classical music was my first love. I started playing after seeing it on TV—it looked and sounded beautiful. Now it’s been almost 20 years since I started playing the violin haha. I took part in many national and international competitions, but I would never have gone in this direction on my own; maybe I wouldn’t have even thought of it. But since we were together and started working as a duo, we managed to merge both worlds.
Of course, there’s a difference in sound. If you buy a good electric violin, it’s fine. In terms of how it’s played, there’s no difference—it’s the same technique. The electric violin is just wired so the sound goes through speakers. The real difference is in the performance environment. Classical concerts are formal, refined, elegant. Most people, especially young ones, view classical music as distant or outdated. Many think it’s boring or only for pensioners, and they don’t even give it a chance.
I dragged Antonio to so many classical concerts in Budapest—there were incredible projects that proved classical doesn’t have to be boring. For me, this was about bringing classical instruments closer to today’s world. When someone sees a violin, trumpet, or saxophone, I want them to think, “Wow, that could be interesting,” instead of, “Oh, that’s boring.” That positive shock—realizing a violin can sound like this—that’s what excited me.
When you’re on stage at a club, and the crowd reacts, shouting with you and waiting for the drop, it’s a completely different vibe. It feels like you’re able to control the crowd. I would say that the same emotion is present in both genres, just channeled differently.
If you had to choose—classical or electric violin?
Anna: Both – I wouldn’t choose just one.
I find that approach interesting, what you said about bringing classical instruments closer to a modern sound, like electronic music. Antonio, can you tell me from your perspective? When did you start in the electronic scene, and did you have an interest in production? How was the process of combining classical instruments with electronic music for you?
Antonio: I started listening to electronic music while still in my mother’s stomach—my parents ran the iconic Twister beach bar in Makarska from 1996 to 2003. I was born in 1999, right in the golden age of techno in Dalmatia. Back then, Toni Juranović worked for my dad as a kid. My father gave him a shot, and that was the start of his musical journey.
I guess I was destined to follow a similar path—after all, techno was literally pounding through my mom’s belly haha. I went to music school and played piano for five years, but by the time I reached the sixth grade, I was done. I got bored with classical pieces, they didn’t excite me—I just loved listening to music for hours on the couch, whether actively digging for tracks or just letting them play in the background. When I was 14 or 15, my dad got me a small mixer. My parents thought it was just another phase, but it became the only thing I stuck with. Learning to beatmatch wasn’t fun for them—or the neighbors. I’d come home, drop everything, and spend the night mixing. Sometimes my parents would even shut off the power just to get some peace. But I was hooked. Time disappeared when I was behind the decks—it was never about money or status, just pure love.
I played my first gig around 2016 at Smile (a local bar). It wasn’t packed—there was a generational shift happening—but I was lucky. My neighbor worked there, and I just walked up to the owner and asked if I could play. He said, “Come on Friday.” I was nervous for days, hands shaking—but the night went great. The place filled up, and he asked me back. That summer, I played in various places and got a residency at Buba Beach Bar, where I stayed for four years, and at Makarana club too.
To be honest, before Anna and I teamed up, I was thinking of quitting. I never liked promoting myself—I just wanted to play. I had a seasonal job, helped my parents at their bar, and felt stuck. But once Anna and I started performing together, everything changed. Rehearsals, live instruments, energy—it made it exciting again. Every show felt fresh. And now, here we are.
Just to go back to your general musical style—Antonio, I assume you played different types of electronic music at the venues you mentioned. How do you define your style, and how do you adapt to more commercial environments where you have to set boundaries and play what the space and audience demand? What does your ideal evening look like? What kind of electronic music does Anna accompany on the violin, and what’s your favorite style?
Antonio: It’s usually techno or tech house—somewhere in between—blended with a few commercial hits. That’s where Anna comes in, improvising over the tracks and making them unique. I try to create or choose remixes that don’t sound like 2016 Otvoreni Radio, and our music is definitely not mainstream. We aim to maintain our own identity, telling a story through each set.
For daytime events, we lean more toward slow house, afro house, or indie dance. If the crowd isn’t full of die-hard fans, we’ll throw in a few recognizable covers. But we always want our sets to sound like us—something you won’t hear from any other DJ.
Do you produce original tracks as well as remixes?
Antonio: Yes. I released a techno track called La Cuedon, and I’m working on a new song too; we’re finishing mastering now. I do all the remixes in FL Studio. It’s not easy, especially when you have a clear vision of how it should sound and you’re still trying to reach that.
Do all your tracks include the violin? And is your production a joint effort?
Antonio: We do everything together but Anna’s parts are not included in the tracks, she does it always live.
Anna: We work out the concept together. I help with the technical aspects—I know tonalities, motifs, and musical terms Antonio might not be familiar with. I might suggest a change in melody, and sometimes we disagree haha…
Antonio: Not that I don’t like her ideas—I just don’t always understand what she’s saying! Haha
Anna: I give feedback on melodies, but rhythm and structure aren’t my thing. Honestly, if you asked me to name the genres we play, I couldn’t! He’s the brain behind it all. We build the remixes in the software, and I perform live on top. The violin isn’t added to the track itself—you won’t hear it unless you see us live.
Antonio: We recently recorded a 40-minute set on Biokovo mountain with three cameras. It was 100% live—we didn’t pre-plan the set. There’s a small beatmatch mistake around the fifth minute haha, but I didn’t want to fix it—I wanted it to be live. That’s normal. It happens.
Looking back on the past five years, what are some of your most significant moments? And how do you feel the DJ-classical instrument model has evolved? Has it become more popular?
Anna: We’ve had many different types of performances. In Budapest, we played at several high-end luxury events, such as the Botanic Castle and the Gresham Palace Four Seasons hotel. Those performances are for a different kind of audience, so of course we completely change our music in those cases. On the coast, Boiler Club in Split is one of our favorites. We work with Mateo Jeličić (Madezh) there. You can really feel the owner’s vision—from the music to the interior. The audience is great. It’s a bit more commercial, but you can still go all in. Beach parties are also great for us—the energy and audience reactions are amazing, even though it gets really hot haha.
We didn’t have any connections when we started—we came from our bedroom setup. It’s very hard to reach key venues without someone recommending you. A lot of club owners or bookers don’t even reply to emails. But then the next year, they hear us live somewhere else, and suddenly they’re thrilled and want to book us.
Antonio: I think young, emerging artists aren’t given enough opportunities. There’s a lot of fresh talent out there, and they deserve a chance—even just an hour or two to show what they can do. New voices should be heard. It’s important to let people step outside the typical DJ comfort zone. I don’t have anything against anyone, but I truly believe the scene needs an injection of fresh energy.
Anna: There are still some dream venues we haven’t played yet, but we’re getting there, little by little. Nothing happens overnight—you really do have to climb every step. The violin-DJ combo started maybe 15 years ago as a fun experiment. Then a lot of people jumped on it, and honestly, some didn’t take it seriously. You can kind of fake it on the piano, but with the violin, even the tiniest mistake is super noticeable.
We’ve had moments where someone wanted to book us and then said, “Oh, we’re just looking for a DJ,” like the violin wasn’t even an option. It can be tough to build trust with venues—some have had bad experiences in the past and are now hesitant. And to be honest, we don’t always help each other enough in this scene. That’s part of why we started the Sea DJ Academy—to create a space where people can connect, support one another, and actually share what they’ve learned. We wanted to give back and help the scene grow together.
I find it interesting that you say it’s a matter of trust because of past amateur performances. Do you think that made it harder for you to reach certain clubs? And what are your dream venues you’d love to play at?
Anna: In Croatia, there are so many—from Zrće to various festivals and seasonal clubs, that are really good. I think we’d do a great job at those places.
Antonio: Every year, things are getting better. We’re constantly investing in equipment, new music, and production. With time and effort, we believe it’ll all pay off. Boiler was a highlight for me—especially playing with Mate (Madezh), who’s the resident there. I appreciate that he never interfered with the music—we have total freedom. Our goal is to keep the audience engaged with whatever sound we want to play. Even though I’m not a fan of some commercial music, if I find a remix that sounds the way I imagined it, then I’ll play it. That gives us the freedom to drift into less mainstream genres too. The owners are great, the setup is world-class, and the sound system is top-notch.
Anna: Just to give some perspective—when we played at Mango Club in Poland for New Year’s Eve, which is considered one of the top clubs there, it honestly didn’t match the vibe we’ve experienced elsewhere. The people, the energy, the overall atmosphere…it just didn’t compare. Even in Budapest, where the nightlife is huge, it can sometimes feel a bit too commercial for our taste.
That’s why I really believe the Croatian scene has incredible potential. There are so many talented musicians here, and I think the scene could benefit from giving more of them a chance to be heard. Right now, it often feels like there’s a rotation of familiar names playing familiar sets—but that’s just how the industry works sometimes. With a bit more openness to fresh sounds and ideas, I think the local scene could become even more vibrant and exciting.
What created the need for the Sea DJ Academy? What was your motivation, and what are your goals? Why is it important for young artists and for the scene—especially in Dalmatia?
Anna: Our goal is to improve the music scene and give people who want to start their musical journey a professional, yet relaxed space to learn the basics. More and more young people are surrounded by electronic music these days. Before, it was something you mostly just listened to—now it’s everywhere. Platforms like TikTok are also shaping trends and influencing the new generation in a big way.
Antonio: For me, it started with the lack of DJs—especially skilled ones. While performing, especially around Makarska, I noticed that some DJs were still struggling with the fundamentals, like beatmatching. I’d sometimes try to offer a tip or suggestion, coming from a good place, but they’d get offended, saying things like, “I’ve been doing this for five years,”—and honestly, that surprised me.
I’d love to see more young people get into DJing and music in a healthy, inspired way. I want this to be a positive story—where we’re all connected, helping each other, and sharing opportunities. A scene built on friendly, supportive competition—that’s how everyone grows.
In anticipation of the upcoming courses at the Sea DJ Academy, set to launch this fall, the ANNA x AOB duo is heading into a packed summer season.
If you want to join their classes or catch them live, stay tuned to their social media.
With their exponential growth, grounded attitude, commitment to learning, and focus on lifting the scene – they’re just getting started. For this talented couple, the sky really is the limit.
