Lange: "Production has changed dramatically since the late '90s. The possibilities for sound design now are endless, and that constant evolution really fuels my creativity"

In the world of trance, few names carry the same weight (or the same sentimentality) as Lange. Born Stuart Langelaan, the UK DJ, producer, and label head has been part of the genre’s DNA since the late ’90s, when trance was exploding across clubs, festivals, and airwaves around the world.

With a sound that’s euphoric, emotional, and built with laser-sharp precision, Lange helped define a golden era of melodic dance music — and he’s never stopped evolving.

Tracks like “Drifting Away,” “Out of the Sky,” and “Follow Me” became instant classics, bridging the underground and the mainstream with a sense of energy and emotion that felt unmistakably his. His productions soundtracked countless peak moments — championed by legends like Paul van Dyk, Ferry Corsten, and Armin van Buuren — while shaping what trance meant to an entire generation.

But Lange’s story has never been about standing still. Beyond the hits, he’s earned a reputation as a boundary-pushing producer — a master of sound design and the creative force behind Create Music, his forward-thinking label built to champion artistry over algorithms. Over the years, his sound has stretched beyond trance, pulling in progressive, techno, and cinematic influences while keeping that same emotional core

Q: Hi Stuart! You’ve been a key name in Trance for around 3 decades! How do you feel your sound, and Trance as a whole, has evolved since tracks like “Drifting Away” and “Happiness Happening”?
A: I’ve become a lot more experimental in the studio these days, and like to mix things up more than I used to. My tastes have only widened as I’ve become less young(!) and while I still love making driving trance, I equally enjoy creating more conceptual, progressive tracks. I tend to just go with the flow and let my mood guide the direction. Generally, though, the aim is always to create something either emotive or danceable - ideally both.

Q: From vinyl to streaming, how has making music changed for you? And what do you still miss from the old days?
A: Production has changed dramatically since the late ’90s, especially in terms of the techniques used. While I’d prefer to use more hardware, it’s so much better to be able to instantly return to another project, as it means I get much more done by being able to flick between tracks. The possibilities for sound design now are endless, and that constant evolution really fuels my creativity.

What’s really changed is the way music is promoted and that can be a constant battle with so much music out there, and far less monetary return from streaming — it must be super tough for new producers to break through. Regarding DJing, I love an occasional vinyl set, it’s so different, but I prefer digital — it better suits the way I want to mix music. I started livestreaming during the pandemic but still regularly do it. One of the reasons I still do — aside from the amazing community that’s grown around it — is the chance to do longer 4+ hour sets. I typically don’t get the chance to play the more progressive stuff in my peak time sets!

Q: Looking back, which moments really shaped you as an artist?
A: Obviously, being there in the first wave of trance was incredible and that’s where I developed my initial sound. Key milestones along the way include my albums — in particular, the third one, We Are Lucky People. I’m still shaping myself, and enjoy putting the music out I want to make and I’m very fortunate to be touring more now than at any time in the past decade. The events mean a huge amount, and it’s great to see the scene growing again with new events popping up all over the UK at the moment.

Q: You’re now offering mixing and mastering services. What do you see young producers getting wrong most often? And do you think AI will ever capture the “human emotion” Trance is known for?
A: I was offering mastering services for a time, but I have taken that page down from my website for now, as things have gotten too busy. I often do mastering for my label, Create Music, and (hopefully) give some decent feedback to the artists. The key area most people struggle with is adding too many elements — less is more! — getting the kick and bass to sit well, and generally changing dynamics.

Yes, AI will create incredibly emotive tracks. In time, I suspect it will be able to pull the emotional strings of listeners beyond what the average human producer can achieve. But, at least for the foreseeable future, I think music lovers value the fact that there’s a soul behind the creativity they’re enjoying.

Q: You’ve mentioned Trance’s emotional connection many times. If “Drifting Away” was a feeling instead of a track, how would you describe it today? Has that feeling changed over the years?
A: To me, ‘Drifting Away’ is one of those tracks that represents a feeling of being carefree and grateful for the moment. I don’t think it means anything different now. If anything, I sense a lot of those late '90s/early 2000 tracks mean much more to people now than they did back then. They were simpler times and Trance was the soundtrack to many of their best memories.

Q: After all these years behind the decks, what still gives you goosebumps during a set?
A: I’m a sucker for emotional chords, and frequently get music-induced goosebumps! When DJing live, there’s that extra buzz of seeing everyone enjoy those moments with you.

Q: If you could time-travel and attend any of your own sets, which one would you choose and why?
A: I’d rather see someone else play, but if I have to pick one, it would be Amnesia, Ibiza this September. The atmosphere was incredible! I’ve not been on the other side of the deck in there for a while. ;)

Q: “Out of the Sky” still remains a timeless Trance record that instantly transports listeners back to a moment. Did you know it was something special while making it, or only when you saw the crowd’s reaction? And what emotions or memories does it bring up for you now?
A: Thanks. I knew the track was going to be special before I produced it. Sarah Howells sang it along with an acoustic guitar — I was blown away! It was purely by chance that I met Sarah. I’d moved to Cardiff to be with (now) my wife, Ruth. I was using a hired room for my studio and just happened to ask the receptionist about good local vocalists. They recommended Sarah, and the rest is history. There’s so much positivity in that song, and seeing crowds singing it is amazing.

Q: Working with Sarah Howells back then, did you realize her voice would become such a defining part of the track?
A: Yes, Sarah has such a unique tone — very emotive. ‘Out of the Sky’ was the first trance track she was involved in, a perfect voice for it.

Q: The track has had so many remixes over the years. How do you feel about other artists putting their spin on it? And what did you think of Maratone’s latest version?
A: There have been some great mixes; I prefer most of them over my original, which was more of an album version. Kyau & Albert created the iconic mix back in 2007ish. I was blown away by Chris Schweizer’s remix a few years ago, too; it's my peak-time go-to. The Maratone remix is exceptional — really well-produced progressive trance with plenty of energy. I love it!

Q: If your studio could talk, what would it say about you as a producer?
A: I suspect it would say ‘Stu could tidy me up more often!’ 😄

Q: Are there any exciting collaborations or new directions you’re exploring right now? What’s next for Lange and his label, Create Music, in 2026 — any teasers you can share?
A: The plan is a new album. I’m just pulling the concept together for it now. I’ve already got a number of instrumentals in mind, and like my last album, the plan is to have different styles throughout, in addition to club mixes. One thing I don’t have enough of at present is vocals, so that’s where I’m focusing right now. I was talking with Jan Johnson this morning about doing something. That would be super cool, as we’ve never worked together.

The label has been gaining momentum over the past year and I’m really pleased to have a great roster of regular artists delivering interesting material. Create’s also been releasing vinyl, mainly through my Retrospect series, and has just announced a double vinyl album celebrating 25 years of “Follow Me” with The Morrighan. There are some great new mixes from Ben Hemsley, Mark Sherry, Stephen Kirkwood, and Steve Hill & Technical — check it out on my Bandcamp page!