Afterhours is where the night rewrites itself in slower ink.
Where bass settles deeper.
Where clarity sharpens at 02:47.

This year, two forces hold the room in focused intensity: DJ Haram and MOESHA 13. Different trajectories. Shared urgency.

DJ Haram

Raised in New Jersey, based in Brooklyn, DJ Haram builds sound with intent. Experimental bass, fractured club structures, analogue synth pressure, percussion that lands like carved stone. Threads of Middle Eastern instrumentation and sample work carry memory within the rhythm.

As one half of 700 Bliss with Moor Mother, she delivered Nothing to Declare — stripped, forceful, exact. Her solo EP Handplay opened a more intimate register. And with Beside Myself on Hyperdub, her voice stands firmly at the centre — direct, unsentimental, concerned with what she calls “the survival of the spirit.”

Behind the decks, that focus translates into control without rigidity. Years of broadcasting on Rinse FM and curating at The Lot Radio echo in her pacing. Rhythms shift without warning. Bass sits low and physical. Her voice cuts through distortion and clarity, close to the bone.

MOESHA 13

From Marseille’s edges, MOESHA 13 bends the club into something volatile and personal. DJ, producer, vocalist — her sets move through French rap, hardcore, reggaetón, distorted electronics. Her voice — rapped, sung, spoken — slices clean across the density.

Early collaborations with Douster, releases across underground networks, appearances aligned with Kampala’s Hakuna Kulala and Nyege Nyege Festival — each step widening her field. But the centre remains hers.

Her mixes are fast, hybrid, politically charged. Gadjicore collides with trap, dembow mutates into thrash. Borders collapse — not only sonically, but structurally. She describes her work as creating “a decolonial and feminist stage”: a mutable space where the marginal becomes central.

Visuals:
By local visual artist supermarket_sallad (aka Simon Rydén).

There ain’t no afterparty like an Intonal afterparty.