Six years and a world in the making… Brian d’Souza, better known as Auntie Flo, has consistently delivered far-reaching, horizon-opening works, spanning house, ambient, funk, and influences from the four corners of the globe. However, his fourth studio album, In My Dreams (I’m A Bird And I’m Free), scheduled for release on Thursday, 21st November, might well be his most ambitious to date—a deeply personal and expansive exploration of sound, memory, and cultural storytelling.

The album weaves a narrative of migration and connection, with each track reflecting the experiences and places that have shaped d’Souza’s journey. Themes of freedom—symbolised by birds or framed through human emotion—link sounds from Havana, Nairobi, Waiheke Island, and beyond, creating a cohesive yet richly diverse listening experience.

Known for his ability to fuse electronic music with global influences, Auntie Flo has built a career on breaking down musical and cultural boundaries. With In My Dreams (I’m A Bird And I’m Free), he pushes this ethos further, drawing from field recordings, live instrumentation, and collaborations with an impressive array of international artists.

We reached out to Brian for a Q&A interview, where he shares insights into the creative process behind the album, the stories of the people and places that shaped its sound, and how he continues to redefine global electronic music with every release.

In My Dreams (I’m A Bird And I’m Free) will be released in just a week. How would you introduce it, and what makes it distinct in your discography?

It’s the best album I’ve made; I can say that without a doubt in my mind. It’ll be the fourth ‘studio’ album, and this time, I really focused on craftsmanship and process. I identified my weaknesses and addressed them by working with the absolute best musicians, studios, and engineers in the business! It took five years to make, and no expense was spared on every element, including the artwork, vinyl packaging, mixing, and mastering. In the past, I might have settled for certain elements of my music being ‘good enough,’ but this time, that wasn’t acceptable.

What inspired the title and overarching theme of your new album?

I spent five years thinking of a good title! I knew the theme revolved around birds, migration, and the freedom of dreams, but it was only when Joshua Idehen provided his poem for the opening track that I settled on a title. It’s taken from his closing line.

The album uses the migration of birds as a metaphor. Could you explain how this theme relates to your own life and musical journey?

I’m an unashamed globalist and believe in the power of music to connect us, breaking down language and cultural barriers. I see music as a universal language that can bring us together in an increasingly polarised world. I’ve witnessed this power firsthand while touring extensively over the past 15 years. These themes are central to my music-making process and my DJ sets.

In My Dreams (I’m A Bird And I’m Free) takes listeners on a journey from Goa to Havana. Could you share how these places and your personal memories of them influenced specific tracks on the album?

Travelling is a privilege, and I treat it with the utmost respect, wanting to maximise the time I spend in each place I visit (rather than just hopping in and out for a gig, for example). I usually set up studio time, make connections with local musicians beforehand, and bring my field recording equipment to capture my experience of each place. These personal experiences and sessions form the basis of each track on the album.

You’ve worked with a diverse group of talented artists on this album. How did these collaborations shape the sound and feel of the project, and how did you navigate the creative process to ensure everyone’s vision was represented?

Most collaborations happen organically—through serendipity and luck. This is the beauty of getting out and about with an open and inquisitive mind. I find that most people are open to connecting, and an equal exchange can occur, where both sides learn from each other.

How do you approach blending so many different traditional influences while keeping your music cohesive and authentic?

I never try to copy a style or genre of music. Of course, I’m influenced by many different sounds and scenes, but every time I make a track, it has to be original and true to the narrative I’ve created in my mind. It’s a story, after all. Genre tags are lazy, and making derivative music is completely pointless.

How has your understanding of identity and migration changed with each country you’ve performed in, and how is this reflected in your latest album?

I’d like to think we are all closer as human beings than the polarised picture often painted on social media. Travelling to perform allows you to connect in real life, and it’s these chance connections that are represented on the record. Turkish nursery rhymes, Brazilian conch shells, Konkani hymns—all of these form part of my personal journey. A major takeaway is how privileged we are, holding a UK passport, to travel more freely than citizens of most other countries. This changed post-Brexit, which humbled us a bit, but the inequity remains and is difficult to ignore. These are complex, historical issues, so it’s tough to sum them up in just a few sentences!

You’re donating a portion of the album’s proceeds to environmental charities. What prompted this decision, and why is it important to you?

I became really conscious of my climate impact as a touring DJ. I also admired what Earth Percent was pioneering with their ‘nature as an artist’ campaign—where you can cite nature as a writer in your songs and collect royalties on its behalf. Ten per cent of the revenue goes to them, which is then dispersed among various climate charities.

Are there any new directions or projects you are particularly excited about exploring in the future?

Yes! Too many to mention. I want to continue exploring bioelectrical music—making music from plants and fungi. I released the Mycorrhizal Fungi EP this year and have done a variety of live performances and installations using this process with a specially built modular synthesizer. I also plan to keep releasing music as Auntie Flo, with an EP and follow-up album nearly finished. Both should be out in the first half of 2025. Additionally, I’m working on a live AV show for Auntie Flo and a deep-listening generative AI app, which I hope to launch in 2025.

Over the years, how do you feel your musical identity and sound have evolved?

Looking back, I’m proud that the Auntie Flo sound has remained consistent and true to its origins. When I started using the moniker in 2003, the focus was on fusing electronic and acoustic instruments with various rhythms, drawing inspiration from global influences. This approach has brought me immense joy, and though I’ve faced challenges over the past few years, I don’t see myself stopping anytime soon.

In My Dreams (I'm A Bird And I'm Free), Auntie Flo's 4th studio album, is set to release on Thursday, 21/11.
You can listen to it and pre-order your copy HERE

If in London, you can join him on Thursday, at Phonica Records for an exclusive album launch party

Photo ©: Ray Shnapp