With electronic music venues in London hosting thousands of patrons every weekend, and DJs from across the globe competing for slots at clubs like Ministry of Sound,Egg London and E1, the question arises whether an artist from a country with virtually no infrastructure for electronic music can break through.
The same question rings true for many competing disk-jokeys the world over, sometimes however, the rough-shod nature of where we South Asian artists come from, propel us to heights unknown.
“Limitation breeds Creativity”;
Or so they say.
Areeb Abbasi, a Pakistani-born DJ, producer, and founder of the label and event management company, Cyberbeats, is proof that they can in fact, breakthrough.
Abbasi's voyage, from teaching himself production on pirated software in Karachi to opening for Afterlife artists at one of London's most prestigious venues, is not merely a story of individual talent or grit.
It is a case study in what happens when determination meets opportunity, and when an artist decides to build the platforms that were never available to him.
Through the course of this article i will examine Abbasi's trajectory, from his early days in Pakistan's underground scene, to his current position as a resident DJ at Jungla in Camden Town, to ultimately assess what his story reveals about the barriers facing artists from underrepresented regions, and how those barriers can be overcome.
Karachi: Hell or Highwater
His odyssey began more than a decade ago in the summer of 2014. though not with the snazzy setup he runs with now; He started as a metalhead, learning how to play the six string and later on even gave the drums a go. His enthusiasm towards electronic music only began to truly emerge after discovering artists like Avicii and Deadmau5, names that are now cemented in pop culture but 12 years ago in Karachi’s scene these sounds felt like a revelation in a nation where such music existed only in far flung, isolated corners of society.
What really knocked the stone down the hill was getting his hands on a bootleg copy of FL studio. No formal training. No mentors. No local scene to guide him.
"I was just playing with Fruity Loops for a very long time," he recalls, "until I saw my first underground party in Karachi."
As the years progressed and his proficiency of his craft increased, he became a recurring presence in Karachi’s underground electronic scene, exposing people to genres they had never heard before; in their neck of the woods atleast. He would travel to both Islamabad and Lahore during this era; However the challenges were immense.
The reader must understand that Pakistan is a conservative, nearly authoritarian state, where any form of cultural, artistic or political dissidence is not only frowned upon but stamped out entirely. As a fellow musician from Pakistan i can personally attest to this, even for “traditional” musicians like me, it is commonplace for law enforcement to try and extort us and to have no support whatsoever from the general community or local government. All forms of music are considered hedonistic and sinful according to Pakistani society, it is always associated with partying, debauchery or at the very least seen as. “A waste of time”. There are no legal venues and police raids, arbitrary detention and confiscation of equipment are a very real possibility.
"There have been moments where we had official permission for the party, and a religious person comes, finds it objectionable, calls the police, and they cancel our permission on the night when people are already there," Abbasi explains. "People who are doing this are educated people, college students, and they get locked up for what? A party."
This is where the comparison to other countries becomes relevant. In Turkey, even Dubai, there are legalized venues for electronic music, there is infrastructure bigger than Pakistan's.
Karachi has legalized off-license shops for alcohol in every area, yet cannot have one legal venue for DJs to perform. It is a contradiction that Abbasi experienced firsthand, and one that ultimately pushed him to seek opportunities elsewhere.
Istanbul: The Brasstacks
By the end of the decade our friend was on his way to Turkey. For the first time, he encountered professional club infrastructure, standardized equipment, established venues, and audiences familiar with the full spectrum of electronic genres.
At his first international gig, Abbasi arrived carrying his own Traktor controller. Back home, this was standard practice, you never knew what equipment a venue might have. In Istanbul, he discovered that clubs worldwide operate on industry-standard Pioneer CDJs.
"They were shocked," he remembers. "They asked, why did you bring your own mixer? I had to relegate my mixer to the side, plug it into the input channel of the CDJ, and play through that." It must have been shocking for both parties I would say, again, I can personally attest to the fact that most professional Pakistani musicians have gotten used to hauling around a plethora of audio equipment simply because we have no idea what the venue would have in store for us if we didn't bring our own gear.
Abbasi got used to the industry standard and began to refine his sound now that he was in a place where the genres he played were no longer on the fringe but in fact mainstream.
London: Grit & Glory
On the shores of Albion arrived our well travelled fellow, a legacy shared by many men of our nation whose ambition carries them across both sea and sky. A degree in cybersecurity is what brought Abbasi to ol’ Blithy, London's clubs however, made him a part of it.
He threw himself into the scene immediately, attending Open Decks events, informal showcases where DJs sign up to play short sets and are evaluated by promoters based purely on performance.
The merit based system suited him. Strong sets led to bookings, which led to connections with established promoters.
"First come first basis, they let you play for 30-40 minutes to showcase your music," he explains. "And usually then, on the basis of your performance, they allot you another slot on one of their events."
With less than a year of Abbasi being in the UK he was already heading the University of Hertfordshire’s DJ society, due to his work he received a residency at the Uni’s Club, “Forum”.
This must have been quite the experience for our friend, climbing through the ranks in a meritocratic society by simply doing what he loved to do; Something which, to a degree, would have been impossible back home.
His transition to London's professional circuit was swift. The milestones accumulated:
Ministry of Sound
Abbasi performed a closing techno set in the Baby Box room event, drawing 11,000 attendees across four rooms.
This establishment represents the upper echelon of the UK scene.
To play there is, for any electronic artist, a significant hallmark.
E1 London with Kas:st
Opening for Kas:st, must have been quite the pressure situation.
It took place in a sprawling E1 club
at Pennington street.
Kas:st himself is a headline performer from the Afterlife;
A melodic techno label founded by Tale Of Us.
Sharing a billing with an Afterlife artist placed Abbasi among a very select tier of London based talent.
Jungla, Camden Town
Abbasi holds a residency at Jungla, where he curates and performs at multiple recurring event series.
One such series is Techno Funk, which has achieved consecutive sold out editions.
Blending of genres and testing out modal techniques is commonplace here, a laboratory of electronic fusion.
Jungla is sort of his “home-turf” now where he performs regularly and also allows other promising DJ’s to show their chops.
International Representation - Abbasi is signed to Oxytoxy Music Corporation, a London based international booking agency. Through Oxytoxy, he has performed internationally, including headline slots in Istanbul, returning to the city where he once struggled with unfamiliar equipment, now as a featured act.
Cyberbeats: For all our sake’s
We could go on and on about his accolades as a performer but that would take away from the fact that one his main objectives is to craft a platform for others that he himself did not have when he started his journey, whether this is ambition or philanthropy I will let the reader decide: I will say however, that his record label, “Cyberbeats” has become a formidable catalyst for talent that would have otherwise gone unnoticed.
Many artists, upon achieving success, focus solely on their own careers. Abbasi has taken a different approach. Operating primarily out of Jungla in Camden Town, Cyberbeats hosts a consistent calendar of events showcasing both established names and rising artists.
Techno Funk
Cyberbeats' flagship techno series has become a staple of Jungla's programming.
The 25th July, 2025 installment featured Abbasi alongside Allesandro Ossinii, Kate Moss, Auseeb, and Selch, a lineup blending UK residents with international talent.
Minimal Groove — On 20th December 2025, Cyberbeats launched Minimal Groove at Jungla, a night dedicated to minimal house featuring Yuli Bulies (Colombia), Enrico Chirchielo(Italy), Dreurescu(Romania), Levin(UK), Drescodex(UK), Lau tastic (UK)The series represents Cyberbeats' expansion into adjacent genres while maintaining its community focused ethos.
Extended Showcases — Cyberbeats recurrently presents ambitious showcases featuring extended lineups: Areeb Abbasi, Ern:STO , FVKTO, William Quintero, Julss, Sara, NAS, and Davide are just some of the disk jockeys that play with the initiative.
Such events demonstrate the company's growing roster and pulling power.
Central to Cyberbeats' mission is its Open Decks initiative.
Modeled on the events that gave Abbasi his first London opportunities, the program offers new DJs, particularly those from South Asian countries, a platform to perform, receive feedback, and connect with promoters.
"When I was there, I was not given much of these chances," he explains. "So I try and give them as many opportunities as I can."
This is, i would argue, is a significant contribution to the UK's cultural ecosystem, making sure that future generations do not have to go through the same bottle-necks and obstacles as he did, a lesson in morality and a perspective that I personally have only observed in very rare cases, especially if said perspective is genuine.
The Sound and what lies ahead
Some of the genres Abbasi likes to mess around with are; Techno, minimal house and their fusion, known as “tech-house”.
To the layman this is a combination of rhythmic and sustained compositional style of techno, coupled with ambient, nuanced textures of house music that we have all grown accustomed to.
He has long since forgone FL studio, trading it in for Ableton Live, which he prefers due to the sheer amount of versatility and precise control the DAW offers.
"When I got here(England), that's when it really hit me(Techno)," he says. "This is it, something I could really get lost in."
His sets emphasize crowd connection and momentum. The self taught foundation remains evident, his production carries the experimental instincts of someone who learned by doing rather than instruction.
Abbasi's plans indicate sustained ambition and continued contribution to London's cultural landscape. He is currently in discussions with E1 to develop audio visual shows, performances integrating synchronized visual art with his DJ sets. Talks are also ongoing with the guys at Junction 2, one of the UK's hottest techno festivals.
Cyberbeats will keep growing if the current momentum is maintained, with more events, players and the eventual launch of its label arm. The Open Decks mentorship program remains central to the mission.
Conclusion
In rgards to his journey and what it represents, i would ultimately say that his story is not merely about individual talent. It is about the difference merit makes for men of ambition and ability. In Pakistan, had he been the best, there was still no pathway. In the UK, there was, and Abbasi took it by storm.
In reflective terms, I would say that what distinguishes Abbasi from many artists who achieve success is his commitment to creating pathways for others. It is easy for one to get in and shut the door for those behind him, it takes a special breed to not only carve out the path ahead but to make sure others can navigate it too, for this he has my utmost respect as a fellow musician.
About the Author
Haider Ali (A.K.A Strato IV) is a Pakistani guitarist, producer, and recording engineer with 10+ years of experience across live performance and audio production. He is the founder of Aukaabi, a “Musicians first”, community and ensemble that performs eclectic jazz, blues, raga fusion and provides analogue recording facilities and mentorship to promising players. An ex-session guitarist who now focuses solely on original work and all-round collaborator. Haider has worked with the best names in the game and regularly helps out musicology students at NCA as de-facto academic advisor, while also running an architecture studio at AAA and the investment firm Crossing Barriers.