“The tougher the economic situation in the country, the more people crave an illusion of luxury, especially with the presence of celebrities and influencers,” says Stefan Rončević, better known as DJ Runy, one of the most prominent Serbian DJs whose musical style is characterized by a techno-house sound immersed in deep shamanistic trance, acid, with unexpected jazzy and disco elements. Since joining the scene, the founder of the CMOK project and a key figure at the award-winning Tunnel Club in Novi Sad has witnessed significant changes in the industry. “It feels like club culture, at least in this region, is becoming outdated, and all that matters now are massive, over-the-top parties.”
Despite this shift, Runy remains dedicated to keeping the flame of something real and authentic alive. “And thankfully, we have a like-minded audience that supports us – I’m truly grateful for that. At the end of the day, it’s all about choice: do you want to experience something that’s the real thing, or…” One place where he consistently finds that like-minded audience is Zagreb and just a few months after his performance at Masters club, he is returning to the Croatian capital to perform at Peti Kupe on Friday, February 7th. In anticipation of the event, the winner of Ambasador Award for the best regional DJ reflects on his music career, the state of the regional club scene, and even touches on politics, drugs, and fashion.
Since we started our conversation by discussing the conditions of the electronic scene in this region, I have to ask you – do you still believe that clubs are better venues for performing than big festival stages? And where is a dream destination you’d love to play?
Of course, I still prefer playing in clubs where you can truly feel that raw and intimate club atmosphere or on smaller stages. It almost gives me the feeling of performing in a theater setting—that’s exactly how it felt recently at Masters. South America really intrigues me, and if I could choose, that would be my next dream destination!
Last year, you mentioned that the audience tends to follow the majority rather than the music itself or “something authentic.” When you say “authentic,” what exactly do you mean? And how do you strike that balance between commercial appeal and staying true to your sound?
Trends and our scene have never been more dynamic than they are today, and true musical quality leaves little room for compromise—except when it comes to improving club conditions, like sound systems, promotion, and technical standards. When those things are at their best, the audience can truly experience the music the way it’s meant to be felt. It’s always a privilege and a pleasure to play in a space where you’re surrounded by good and warm people and true lovers of electronic music.
The fact that you are a true lover of electronic music can be seen in your efforts to promote it – you’re someone who’s on both sides of the DJ booth—not just as a performer, but also as a promoter, club co-owner, and producer. From that perspective, what do you think are the biggest challenges for club owners and nightlife entrepreneurs in our region?
The biggest issue is the lack of skilled professionals in our industry. Everyone wants to be a DJ, but few are willing to invest time and effort beyond just curating their playlist. We’re missing good promoters—people who are proactive, who are willing to fight for their ideas and visions. Today, being just a DJ in our region is often not enough. That’s why I always encourage young people to explore event organization, launching their own label, music production, podcasts, or radio shows. There are so many missing pieces that could pave the way for truly great parties.
You mentioned that you would like to have gigs in South America. You already had a lot of performances in Europe and other continents – have you noticed differences in energy and club culture across the former Yugoslav countries? What about when you compare our scene to the rest of Europe or beyond? And if we’re talking about the shortcomings of the regional electronic scene—what’s something you’d love to see disappear forever?
In some parts of the former Yugoslavia, you can really feel the warmth, hospitality, and passionate atmosphere—that’s something special. But at the same time, club culture here is less developed, and we’re easily distracted by cheap trends. Everything has become mixed—folk music and electronic music blend in ways that make it hard to tell what belongs where. The result is a collapse in the understanding of electronic music, and the real club scene has almost disappeared.
Meanwhile, in Europe and more developed countries, the situation is much more structured. There are strong collectives, clubs with great sound systems, record labels, producers, vinyl stores, and true enthusiasts. The venues have character—they’re alternative, unique, often dimly lit and smoky, with a clear sense of belonging. Nobody wants to be in a glass-walled club that looks like yet another cheap Dubai imitation, obsessed with prestige.
You aim to fix all those flaws of the Serbian and regional electronic scene with CMOK. How would you sum up its achievements so far? And are you thinking about expanding beyond Serbia, maybe through festivals or residencies?
Of course! We’re still here, keeping the fire alive for what we deeply believe in. So far, we’ve hosted a series of incredible parties across Serbia, and we hope to bring that energy to Zagreb as well. In addition, we’re planning to continue our podcast series featuring artists we’ve booked. We have a great collective—we respect each other, share the same passion for music, and I’m grateful to have such strong friendships within it, built on years of unbreakable bonds.
Have you ever had that feeling after a set where you didn’t quite manage to get the emotion across to the crowd? How do you deal with that? And just in general—how do you handle failure?
It’s tough to deal with those moments, but sometimes you just have to accept that not everything will always go exactly as you imagined. The key is to always come prepared—do your homework ahead of time—and to be able to adapt to the moment.
When you’re playing a set, what’s your favorite part—the beginning, when you’re setting the mood, the middle, when everything is in full swing, or the end, when you’re wrapping things up and leaving a final impression? I read somewhere that you “don’t look at the crowd,” but do you actually think about these stages of a set while performing?
That must have been taken out of context because I always look at people in the crowd—often straight into their eyes. The synergy that happens at a party is the result of that connection with them. Over the years, I’ve often played closing sets, and that’s where I’ve felt the most comfortable and confident, like I’m on my home turf. I love the mornings, the sunrise, and that moment when the hype has settled, and everyone is more relaxed.
When it comes to live performances, how often do you try out new tracks just to test the crowd’s reaction? Have you ever had to stop playing a track you personally love because it didn’t connect with the audience the way you expected?
The most beautiful thing is when you manage to play the right track at the right time in the right place—that’s the true art of DJing. Some tracks have gone from being absolute highlights to complete misses, depending on the situation, moment, venue, sound system, and overall vibe. There’s no definitive answer to this, except that I always try to place the tracks I love in the moments where they truly belong.
There are so many stereotypes surrounding the electronic music scene, especially when it comes to drugs. But beyond that, what about other assumptions, like age limits in clubbing?
One thing that fascinates me about Zagreb is that I often see people in the audience who are my parents’ age! That’s the spirit—I admire those who choose to live life to the fullest, without caring about stereotypes, and who simply know how to have a great time. Because, in the end, what’s the real essence of it all? To sit at home and grow old? It’s all about your mindset and how much you allow time to weigh you down.
As for drug use, I believe there’s a difference between use and abuse, and ultimately, it’s a matter of personal choice—whether you’re at a club or anywhere else. These topics need to be open and transparent so we can help future generations avoid falling into psychological traps or depression.
Developmental styles follow anyone involved in any form of art. Looking back at your career, how has your mixing and track selection style changed? When you listen to your earlier works, is there anything you’re particularly proud of, or maybe something you’d rather not think about?
I’m a child of Potok, and grew up in the forest surrounded by underground sounds, sunrise vibes, and the wild Public Pee parties in Novi Sad. That’s where I was raised and I got some DNA from the older guys, and I think I still carry that with me. I’d say my style has probably changed since then, in the sense that I started searching for something more specific and exotic in music, but I’ve always kept my personal touch, which is a reflection of my inner feelings.
I am glad that you mentioned Novi Sad, which, like the whole of Serbia, has been rocked by student protests against the corrupt government in recent months. The club scene supported the student protests – can you share your thoughts on the situation, why you decided to support them, and what you hope comes from all this?
Students are fighting for a better future for all of us, and they’re doing it in a very diplomatic and cultured way. There’s an expansion of creative energy, emotions, and unity, unconditional human goodness. Just the other night, there were around 300,000 people gathered in Novi Sad. It was incredible—people were sharing food, coffee, rakija, playing basketball and volleyball, and everyone was united in those performances as one. There were lots of interesting slogans with a touch of modern humor… I just saw one with a group of blondes holding a sign saying “Even Blondes Got It”—that’s a real historical thing, and it was truly a privilege to be with them.
Can you share a couple of anecdotes, or maybe the craziest moment from a past performance related to the audience or a technical issue that was a nightmare at the time, but today you can laugh about it?
Many stories aren’t exactly for public consumption, even though they’re harmless, but I just remembered Ian Pooley from the last CMOK party at Kupe. He decided to test out some Vojvodina plum brandy… I totally forgot that foreigners need to be careful with rakija. By the end of the set, I found him on the floor in shock, with a lamp, searching for his records, convinced that someone had stolen his vinyl collection. He even managed to convince Felver of this… After a few minutes, we found the records just a few meters behind him. These are those little sweet dramas.
Is Felver your favorite Croatian DJ?
Definitely. I’m impressed by how, after so many years, he’s managed to keep that sincere, childlike passion for music, and that madness too… He still brings a fresh energy to the scene with his modern, carefully curated sets, as well as the bookings he regularly does in Zagreb.
You have a specific clothing style. Since you usually wear shirts during your performances, how important do you think appearance and style are in your job?
I just wear what feels comfortable. I believe that clothes don’t make the man, but they often say something about them.
Is there a genre that you listen to a lot privately, but would never play in your set?
I listen to a lot of ambient music, classical music with drones, and also experimental music… You can hear these shows on D59B’s midnight program and also on Mixcloud in the Arcadia Radio Show, which I’m really attached to. DJ Brka regularly does shows for D59B, and Gordan Paunović for the Arcadia Radio Show—those would be my warm recommendations for anyone who wants to relax at any time of the day or night.
You’re organizing the perfect night with an unlimited budget. What does your dream lineup look like?
Jane Fitz / Francesco Del Garda / Vladimir Ivković / Margaret Dygas / Sonja Moonear.
What should we expect from your performance on February 7th in Peti Kupe?
Some things should remain a mystery in this interview!
Absolutely! Then, while we’re waiting for your performance, give us a link to one of your sets for some preparation!
Here you go:
