At just 25 years old, Philip Pape — better known as PAJANE — finds himself in a rare position: globally recognised, widely supported, and yet consciously recalibrating what success means on his own terms. From topping the overall Beatport charts with his breakout hit “Back Once More” on Tiësto’s Musical Freedom to earning a place among Tomorrowland’s “20 Artists to Watch”, PAJANE’s rise has been as rapid as it has been impactful. Millions of streams, world-class festival appearances, and consistent support from industry heavyweights have firmly positioned him as one of electronic music’s most compelling young talents.
His latest single “Crush,” out now on World Club Dome’s WCD Music, arrives at a pivotal moment in that journey. Marking his debut on the label — and following the recent launch of his own imprint OVERSTIM — the release signals a new chapter defined less by expectation and more by instinct. Driving, energetic, and unfiltered, “Crush” reflects the high-impact tech house sound that has carried PAJANE from underground clubs to some of the world’s biggest stages, including World Club Dome, Parookaville, and Bootshaus Cologne, while also revealing a renewed sense of creative freedom.
With over 23 million Spotify streams, standout collaborations and remixes alongside the likes of Tiësto, Joel Corry, BIJOU, and Sidney Samson, and international hits such as “Riverside MF” continuing to resonate across dancefloors, PAJANE is no stranger to momentum. Yet behind the numbers and milestones lies a more nuanced story; one of navigating pressure, rediscovering balance, and choosing longevity over noise.
In this conversation with We Own The Nite NYC, PAJANE opens up about trusting his instincts again, building a future on his own terms, and why this moment feels less like a breakthrough, and more like the beginning of something deeper.
Welcome to We Own The Nite NYC. For those of our readers who are not yet familiar with your music, can you introduce yourself?
I’m PAJANE, but you can call me Philip. I’m 25, from Germany, and I make music and I press buttons across the world *laughs*
Your new single “Crush” is out now on WCD Music – beyond the release itself, what does this track represent for your artistic growth or direction?
Crush represents a moment where I stopped overthinking and just followed my instinct again. For a while I felt a bit stuck between expectations, pressure and everything I had going on personally. With this track I wanted to prove to myself that I can still create something that feels natural, fast and unfiltered. There’s no big concept behind it, no long planning, it’s just pure energy and emotion in the moment.
This marks your debut with WCD Music. How did that partnership come about, and what made it a meaningful step in your career?
When WCD Music started reaching out, it wasn’t some big business move for me. It was more the feeling of, okay, these are people who actually see me, not just the artist on stage but the human behind it. I’ve known the team for a while, I’ve been part of their world in different ways, so there was already a connection. When I played them Crush, the reaction felt real. No forced hype, no pretending. They understood the energy immediately. What made it meaningful was the timing. I wasn’t in the easiest phase personally. I was trying to find my balance again, get my motivation back, rebuild my confidence in what I do. So working with a team that genuinely supports you without pressure made the whole thing feel right. It wasn’t about a contract or a label name. It was about dropping a track with people who believe in you at a moment where you need it the most.
You’ve recently launched your own label, OVERSTIM. How has taking on that entrepreneurial role influenced your approach to your music and long-term career goals?
Launching OVERSTIM changed the way I look at my career a lot. Before that I was mainly thinking in singles and labels, like “where does this track fit, who could sign it, what is the right timing.” With my own label I don’t think like that anymore. I think more in terms of building something that actually represents me over a longer period of time. It’s less about chasing one big moment and more about creating a home for a certain sound and energy.
Your breakout hit “Back Once More” on Tiësto’s Musical Freedom was a major milestone. How did that early success shape the way you plan releases and grow your audience today?
Back Once More was a huge moment for me, and all the support that came with it was honestly insane. From one day to the next my music was being played all over the world and I suddenly got bookings in places I never thought I’d see that fast. For someone who came from small open format nights and student parties, that jump felt unreal. At the same time it also messed with my head a bit. When a track blows up like that, you feel like you have to live up to it every single time. For a while I felt this pressure to repeat it or to make something that fits exactly what people now expected from me. That took some of the fun out of releasing music for a moment, because it stopped being just about the idea and started being about expectations. What it really taught me, once I had some distance, is that you can’t build your whole identity on one song. You have to find your own rhythm again. I stopped trying to plan everything around “the next Back Once More” and went back to asking myself a simple question: do I actually feel this track or not. I try to grow my audience now by being myself, even if that means some records go big and some stay more under the radar.
With millions of streams and performances on some of the world’s biggest stages, how do you maintain momentum while continuing to push your creative boundaries?
When people talk about momentum, it always sounds perfect from the outside, but in reality it’s a mix of pressure and privilege. I’m aware that having millions of streams and playing big stages is something I once only dreamed about, and I’m genuinely grateful for that. At the same time I had to learn how to handle it without burning out. There was a phase where I said yes to almost everything and pushed myself way too hard, and that’s what pushed me into that whole anxiety and panic chapter. The positive part is that it forced me to change how I work. Now I see momentum as something I want to build in a healthy way, not as a race I have to win. I protect my energy more, I pick shows and projects that actually make sense for me as a person and as an artist, and I give myself space to breathe. Creatively it actually helped me, because I’m less scared to try new things. I know now that my career doesn’t depend on one single track or one single moment, but on staying honest and consistent over time.
You’ve received support from artists like Tiësto, Diplo, and GORDO. How have those connections or endorsements impacted your career perspective and opportunities?
Honestly, when guys like Tiësto, Diplo or GORDO started supporting my tracks, it blew my mind. I’m not going to pretend it was normal. Seeing your name pop up in their sets when you’re still figuring out your place in the scene is crazy. It was one of those moments where you realise, okay, maybe I’m actually doing something right. It didn’t magically turn my life upside down, but it definitely shifted my perspective. It showed me that my ideas work way beyond my own bubble. And it opened doors, for sure. When artists on that level play your music, promoters, other DJs, even fans look at you differently. Suddenly conversations that felt far away become real.
But the biggest thing for me was motivation. It made me hungrier. You see your track in a Tiësto set or someone like GORDO messages you about your music, and you think, alright, let’s push this even further. It’s not about validation, it’s about realising what’s possible when you stay true to your sound.
When crafting new music, how do you approach versatility – making tracks that work in clubs, festivals, or other contexts – while staying true to your sound?
For me it always starts with my own taste, not with the context. I don’t sit down and say “this one is for festivals” or “this is only for clubs.” I try to make something that I would actually want to play in both situations. The core has to be my sound first, the rest ist dann Feintuning. Because I’ve played so many different types of shows, I kind of know what each setup needs. In a small club I focus more on groove and tension, on those rolling parts that keep people locked in. On a big stage you need clearer moments, bigger switches and sections that hit the whole crowd at once. When I’m producing, I keep that in the back of my mind, but I don’t let it control every decision. The goal is that you can hear a track and say “ok, that’s PAJANE” whether it’s in a sweaty 300-cap room or on a big festival stage.
Looking ahead, what can fans and industry partners expect from you in the next phase of your career – are there upcoming releases, collaborations, or other projects you’re excited about?
Looking ahead, I feel like I’m just getting started. I’m sitting on a lot of new ideas and I’m in a phase where I really want to push things to the next level. There is a new single coming that shows a more catchy and emotional side of my sound, but it still hits in the club the way it should. It feels like a natural next step, not a reset. On top of that there are a few collaborations in the pipeline that I am really excited about. Joel Corry and I have been talking ONCE AGAIN and exchanging ideas, so there is a real chance something happens there again after Riverside MF. And then there is the whole US side of things. Once everything is sorted and I can finally tour there properly, I’m ready to go all in. I can’t wait to bring my sound to those stages and see how it connects. So fans and industry can expect more music, more international shows and a version of me that is fully locked in. I have a much clearer vision now of where I want to go, and I’m ready to push hard for it.
PAJANE – Crush is out now via WCD Music: https://save-it.cc/bcb/crush
