If you have had the opportunity to see Alex Unger perform, you already know that his music encompasses something much greater than just beats- it’s an immersive experience that pulls you into a hypnotic groove. His sound reflects swagger, curiosity, and sensuality from the very beginning- encapsulating a feeling that feels difficult to put in words. On Thursday, August 20th, 2026, Alex Unger brings his mind-bending soundscapes to the beloved stage of The Black Box in Denver, with support from Sundog, Regular Ass Dude, and an all:Lo Collective B2B. We had the incredible opportunity to drop in with Alex ahead of his upcoming headline at the Black Box to discuss his origins, goals, and unique sound.
Listen to Alex Unger’s latest mix from Shambhala to prepare for The Black Box!
In Conversation with Alex Unger
Lauren Jeter, Electric Hawk: Can you tell us a little bit about where you’re from and if there was a particular moment or set that you remember inspiring you to want to start pursuing music professionally?
Alex Unger: Hey y’all, I’m Alex, and I’m from Salt Lake City, Utah — I don’t know if there was a particular set or moment; I’ve always been very into music from a young age. I started getting into the rave scene towards the end of high school. Shortly after, I began tinkering with DJing and mixing (at the time I was really into trance, electro, big room, etc lol). A couple years later, when I attended Shambhala for the first time, my eyes were really opened to how many interesting sub-genres there were. I remember being exposed to sounds much deeper and more minimal than I was used to. The energy was more grounded, swaggy, and sexy. I became obsessed from that moment. I didn’t really start diving deep into production until around 2018 or so, but it was something I was very determined to learn early on.
LJ: When you sit down to work on music, can you share what kind of rituals you do/ creative process looks like in order to transition into that headspace?
Alex: It varies quite a bit, but it’s always very helpful to first listen to some music that inspires me. It really assists to calibrate your ears and spark ideas. I’m huge into sampling and have a couple massive folders of songs I’ve collected to sample that I consistently add to. Oftentimes I start by flipping something from those folders, building around it, and then deciding later whether to continue down that path or mute the original sample and see where the elements I built around it lead. And then that can be less intimidating than starting with a blank canvas and infinite directions.
LJ: You carry such a unique sound that is so consistent across your music, how do you feel like you have developed that throughout the years and what artists have inspired your sound?
Alex: Thank you! I think my sound stems from having a very broad set of influences. I tend to gravitate towards music that has more of a humanistic feel in one way or another, so I listen to lots of jazz, funk, world music, hip hop, soul, r&b, etc. – across all eras, especially the ‘70s to early 2000s. All of those flavors trickle into my music in one way or another, and the end result tends to make this rather odd and hard to pinpoint sound that just feels like me.
LJ: Your live sets often feel less like a DJ set and more like a journey. How do you think about pacing, tension, and release when you’re crafting that experience?
Alex: Again, thank you! I’ve always been a DJ first, and it’s very important to me to showcase my taste in the types of music I mentioned in the previous question. As for pacing, tension, and release, I think those are the most important concepts to focus on in a DJ set besides track selection. To me, every song has a specific signature moment where the peak feeling is delivered. I think those moments can only be as good as how you set them up. If you’ve been blasting your audience with constant drums and bass for 20 minutes straight without giving them a chance to re-focus, those moments can easily become lost.
I’m a huge fan of tunes with dynamic arrangements and contrast, so when a track has a dramatic bridge, breakdown, intro, or outro, why not use those moments intentionally? Think about it as a dancer: if you’ve been going hard for 30 minutes straight, you’re likely to get fatigued or reach a point where you tune out, maybe go sit down, go to the bathroom, etc. From my experience, if you offer consistent periods of breath in your sets, you can recapture the listener’s focus right before that critical moment of showing them the tune you love so much, and keep people locked in.
Also – I enjoy moving between tempos/genres and exploring contrast: hard and soft, rude and sweet, new and old, serious and silly, etc. The more emotions you can touch on, the better.
LJ: We know you are a part of the beloved all:Lo collective; what has it been like working with the other members of all:Lo collective and how do you feel like you guys push each other creatively?
Alex: Ah man, I feel so incredibly blessed to have the family that I do with all:Lo. Everyone involved is a gem of a human and amazing at what they do. The crew is so supportive of one another and it’s really special how all of our sounds fit together to create something even more distinct. Ever since first connecting with everyone back in 2020/21, I’ve felt a major sense of comfort knowing I’ll always have a place where my music can live and fit in. Not only does it feel like I’ll have life-long collaborators, but also the best friends I could ask for.
LJ: The all:Lo community has become about much more than music. Why do you think people connect so deeply with what you all have built together?
Alex: I think a big reason is that our music spans such a wide range and is hard to put into a box. It really feels like there’s a little something for everyone. This creates a sense of inclusion that you may not always get with other more specific subgenres. In the context of the electronic music and festival world, I believe we offer a much-needed breath of fresh air energetically and can resonate with people from all different musical backgrounds, age groups, cultures, etc.
LJ: You went on tour with Thievery Corporation recently, a huge trailblazer in the downtempo, dub electronic scene. What was it like performing as direct support for Thievery Corporation on their recent tour? Did you have a favorite moment?
Alex: That was such an incredible experience. I had never done any touring of that intensity before, we did 15 shows in 20 days across the northeastern U.S. and Canada. Almost every city was a place I’d never been. Thievery has built such an amazing fanbase, and it was really cool getting to play for new crowds outside of the electronic landscape that I felt would still have an appreciation for what I do. Also, we played in a bunch of classy, theatre-style venues that are less typical for electronic music / DJ sets.
I learned so much about what it takes to operate a tour at a high level, and I have so much respect for that whole team. The level of musicianship, professionalism, and consistency was very admirable and inspiring. As great as the shows were, my favorite moments would have to be all the in-between; getting to hang out with the band and crew before and after each day. Everyone was so kind and welcoming, and some of the most down-to-earth and humble people I’ve worked with in the industry.
LJ: As a musical artist, I’m sure it can be easy to envision people listening to your music in different settings. Is there an ideal space that you imagine people listening to your music? For example: driving through the mountains, hiking alongside a creek in the desert, or working on a painting in their apartment?
Alex: Ultimately, I strive to make music that can be enjoyed in just about any context. That is one of the most difficult challenges I face when producing and simultaneously one of the greatest joys. I aim for the musicality of something that can evoke emotions and spark imagination, but also try to merge that with certain elements of dance / electronic music that can allow it to shine in the context of sound system / DJ culture.
LJ: Looking back at the beginning of your career, what’s something you’ve learned about yourself that has fundamentally changed the way you create music today?
Alex: The moment I realized I didn’t care as much about making “party music” is when I started writing my best stuff. I think it’s important when creating to avoid worrying about the who, what, where, and when in terms of how the music will be received, and focus on what feels good to you in the present moment.
Also, I’m very passionate about the idea of providing a more sensual, sexy, and groovy atmosphere on the dance floor during peak hour opportunities. It’s rare in the club/festival setting to have that type of offering in peak hours, as the norm is typically more aggressive, high-energy music. We’ve become very used to that, but from my experience, people are extremely receptive to the feelings I just described during those windows, and it can lend to very mushy, connective experiences.
LJ: You’ve played at a lot of really big venues such as Lightning in a Bottle, Shambhala, and recently, the Chapel of Sacred Mirrors. Do you have a dream place you’d like to play your music someday?
Alex: Red Rocks is certainly a place that comes to mind. I think my music pairs well with nature and open air, and I’d love the chance to play sets accompanied by as many climates and beautiful landscapes as possible.
LJ: How does it feel to be headlining the Black Box, and is there anything you can share with us about what to expect from that show?
Alex: The Black Box is one of the first clubs I both attended and got the opportunity to play outside of my hometown of SLC. It feels very full-circle to have the chance to headline and curate my own evening there. The atmosphere of The Black Box is perfect for my style: low-lit, not super flashy, amazing sound, and an environment that pulls you inward and lets you get immersed in the music.
I’m going to approach the set by leaning into what I enjoy most: showcasing a healthy blend of my own productions paired with a bunch of my favorite music that has inspired my project over the years across as many genres as possible. We’ll see what happens, but ideally I’d like to keep it pretty improvisational and take the ride with everyone in real time!
Also, I’ve been working on a bunch of new merch designs that will be available for the first time at the show!
LJ: Without giving too much away, what excites you the most about this next chapter of your project? Are there any new ideas, sounds, or goals that you’re especially eager for people to experience?
Alex: I’d really like to start working with more vocalists this year, both in the Hip-Hop/Rap and R&B spheres. The idea of making more stripped-back beats and letting vocalists write to them is exciting to me right now. I’ve also enjoyed playing around with graphic design and coming up with brand aesthetics and merch ideas.
Alex Unger breaks it down for us here, revealing how he draws inspiration from a wide range of influences as an artist. It was fascinating to hear him reflect on his approach to creating and how he captures the listeners attention. Having the chance to chat with him about what brought him to this craft, his vibe curation and unique vision was an absolute pleasure.
An artist who has been on our hawk-eye radar since the start of the year, we can’t wait to see what is in store for Alex Unger’s Black Box headline this Thursday. Don’t miss out on securing your tickets, this one is gonna be epic. See you on the dance floor.
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