Sets, edits
and originals
The quickest way to understand a DJ is to hear an hour of them. Here is how a set is built, and what is coming out of the studio between bookings.
Listen
recorded setsKovi. Live @ Lonavala — sunset to dark, in the hills of Maharashtra.
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Watch on YouTube ↗
Kovi. Live @ Lonavala
A full sunset-to-dark set recorded in the hills of Maharashtra. It opens on afro and deep house through golden hour, moves into tech house as the light drops, and lands on techno for the final stretch. The clearest example of the long-form, groove-led side of the catalogue.
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Watch clips ↗
Club nights — Mumbai
Clips from Mumbai club sets, including nights shared with DJ Ganesh, Flipsyd and tej.music.vodka. These are the open-format sets: Hindi hits and commercial records re-cut with club structure, then pushed into house once the floor is committed.
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On this page
Brazil Gullies
The loop playing quietly behind this site — percussion-forward, bass-heavy, and the kind of groove that sits under an afro-house section of a set without demanding the room's full attention.
Full-length mixes and a dated set archive are available on request with a booking enquiry.
What a set sounds like
The opening hour
Nobody dances to an empty room. The first hour is recognisable and generous — records that give people permission to arrive, edited to cut the dead weight out of radio arrangements.
The turn
Somewhere around the point the floor stops looking at its phones, the set turns. A familiar topline lands on a garage bassline; a Hindi vocal rides a house groove; a dancehall riddim takes the tempo down without taking the energy with it. Done well nobody notices the change — only that it got better.
The depth
House, garage and dancehall carry the middle. Fewer vocals, longer blends, far more attention to the low end. This is where a DJ either has a point of view or is just taking requests.
The last hour
Techno if the room and the licence allow it — driving, hypnotic, unhurried. If the night calls for a different ending, the set resolves back to singalong territory, so the room leaves on a high rather than being walked off the floor.
In the studio
Training in production under Akhil Talreja was never about becoming a studio-only artist. It was about having the tools to make the records a set needs and nobody has released yet.
That means edits and re-arrangements first: tightening intros, extending the sections that work on a floor, building the specific transitions between Bollywood and house that a stock track will never give you. These are the tools that make a Kovishin set sound arranged rather than assembled.
Original material is in progress in the house and garage space the live sets lean on. New releases are announced on Instagram first.
Bookings
Heard enough?
Send the date, city and room size. If a longer reference mix would help you decide, ask for one in the same message.