Trusting The Process With EBITDA
We caught up with the versatile selector to talk about his journey so far, how he’s built a connection with audiences through the sound he believes in, what this year holds, and much more.
We caught up with the versatile selector to talk about his journey so far, how he’s built a connection with audiences through the sound he believes in, what this year holds, and much more.
It’s not always producers alone who define or move a sound forward; the architectural evolution of electronic music equally involves DJs who play a vital role in shaping how that sound is felt, understood, and carried forward. This is an argument Yash Mundhra, aka EBITDA, would back ten times out of ten, thanks to his exceptional level of intelligence behind the decks, and set a solid example that DJs are the essential purveyors and protectors of a genre’s soul.
DJs take on the responsibility of keeping that sound alive, relevant, and emotionally resonant on the dancefloor, and this is an art form that EBITDA has mastered in a remarkably short span of time since his debut just a few years ago. The name EBITDA might suggest the cold metrics of finance – Earnings Before Interest, Taxes, Depreciation, and Amortization; but for Yash, it’s a coded acronym for the genres and influences he seamlessly bundles into his sets.
EBITDA’s sets are a dense, rich tapestry of bass-leaning sounds, moving through the spectrum with a conscious fluidity that has firmly stamped his name as one of the most vital selectors of India’s bass music underground. This reputation of his has also transcended borders, landing him a significant foothold in the United Kingdom through his partnership with Simple Oxford and his Subtle Radio showcase, Bangers Galore. Through these spaces, EBITDA has been able to project his thoughtful yet high-octane curation and establish a distinct identity, marking him as a global tastemaker.
EBITDA’s trajectory is punctuated by milestone performances alongside heavyweight names such as Joy Orbison, DJ Boring, and DJ Heartstring, while also holding his own alongside artists like DjRum, Sam Binga, and Neffa-T. No matter the setting, the sonic idea for EBITDA remains the same: a deep understanding of context, crowd, and sound, which is delivered with confidence and clarity.
If you want to get a glimpse of how EBITDA masters the art of the idea behind taking the listener on a journey, take his 60-min sonic spectacle for MSSNLDN about a year ago. It’s a masterclass of delivering raw, wonky, and unpredictable club music. The set showcases his signature meticulous fluidity that seamlessly connects the dots through a variety of sub genres of bass music. It’s exactly the kind of futuristic, genre-blurring performance that provides rich, compelling material if you’re looking for a proper deep dive into the underground bass culture.
If one is not enough, there’s another sparkling example of his artistry. Recorded towards the tail end of 2025, EBITDA’s guest mix for Wild City provides a compelling journey through the darker, weightier side of bass music, tracing an emotional arc that traverses through low-end intensity before gradually lifting into more expressive territory. Anchored in leftfield rhythms, the set thrives on tension and release, moving from murky, atmospheric textures toward more liberating, joyous energy towards its climax.
Entering 2026, EBITDA isn’t claiming loud proclamations or grand takeovers. His roadmap is built in favor of a more meaningful, patient philosophy, focusing on the immersive quality of the experience rather than the scale of the stage. It’s a measured, intentional path forward, and while he’s fully immersed in it, we caught him in the middle for a chat about his beginnings, his penchant for bass music, how his sound has grown over the years, and what lies ahead for him in 2026. It’s exactly the kind of futuristic, genre-blurring performance that provides rich, compelling material if you’re looking to pen a deep dive into the current state of underground bass culture.
TFword: When did the name “EBITDA” come about and what is the story or meaning behind it?
EBITDA: The name came from a simple idea. I wanted something that captured the full range of sounds I love. When I used to go out, I always enjoyed nights where the music jumped across styles. I never wanted to restrict myself to one lane. I wanted the freedom to play at any hour of the day, like reggae in the afternoon, breakbeat/house in the evening, and heavier club stuff at night.
One day, my dad was watching CNBC and I saw the word EBITDA pop up on the screen. It clicked in my head right away. Electro, breaks, IDM, techno, drum and bass, acid. It somehow covered the whole set of sounds I dig. Plus, in India, everyone was watching Shark Tank at that time, so the word was already familiar and slightly funny for people.
I also had my admission to business school coming up, so I knew the name would stick there, too. In fact, in my yearbook, almost 80 percent of people wrote to me as EBITDA instead of my real name. It showed me that the name had a strong recall and a bit of personality, so I kept it.
You May Also Like: Inside Noriko Shakti’s Cross-Cultural Alchemy
TF: Growing up in India and later moving to the UK, how did your local scenes shape your tastes and approach?
EBITDA: By the time I got into electronic music, I was living in Delhi in 2017. Auro had just opened and the first proper underground gig I attended in India was Arjun Vagale playing a long vinyl set. I also heard about Magnetic Fields around then. I could not afford the 2017 edition because I had just started working, but I promised myself I would not miss 2018. When I finally made it there, something shifted. I got fully pulled into the Indian scene and started attending almost every festival I could, nearly twenty in three years before COVID. That period shaped my taste for underground and niche sounds.
In 2019, I moved to Bangalore and the local scene pushed me even deeper. I was at almost every gig Twokid Wickid, Oceantied, and other local acts played. By being a regular at gigs, I was able to form a beautiful community that I cherish till date. I also started living with people who were also into electronic music. One of my housemates is now a DJ under the moniker Out Of Office. I was often the only person still on the dance floor, even at smaller gigs. As a group, we had this unspoken rule that the DJ should never be left alone. We stood by the artists. Now, when I play, I feel that same support coming back.
When I moved to the UK for my MBA at Oxford, I started following Simple Oxford online. Right before their first gig of 2023, I messaged them saying I was coming anyway and could warm up if they wanted. Somehow it worked. One gig led to another, and I became a resident. The Oxford community accepted me very naturally. Gro:FM crew also gave me space to record sets and meet people. I never felt like an outsider there.
On weekends, I kept going to London. The nightlife is huge and mature, which opened my horizons, but not in a way that made me feel India lacked anything. India has quality. London has an incredible volume. Both shaped me. India taught me community and curiosity. The UK refined my taste and pushed me to take DJing more seriously. Together, they set the foundation for how I play today.
TF: How would you describe your signature sound to someone hearing you for the first time? What are the key elements that define you?
EBITDA: I like to tell people to expect something fresh. My sets lean toward forward-thinking club music. I always try to push new sounds, not the usual linear stuff. The one thing that stays constant is that I want people to feel intrigued.
If it is early in the night or daytime, I keep it groovy and playful. If it is late in the night, I take it into darker or more brooding territory. Overall, my sound is dancey, a bit futuristic, and usually has some surprise inside it. That is what I enjoy playing and what feels true to me.
TF: Which artists, genres or musical influences do you still reference when building your sets today?
EBITDA: I know it has become a bit boring how every artist in the world mentions Aphex Twin, but for me, it was honestly life-changing. I watched him live in Bristol in 2023 and the set was so intense that it pushed me to be a lot more edgy with my own music. It showed me how far electronic music can really go.
Another big moment was Squarepusher at Echoes of Earth in 2019. That set also blew my mind. When you hear artists like that, you understand where the boundaries sit and how fun it is to break them. Those two shows became my reference points. Whenever I build a set, I try to hold that feeling in mind, the idea that the music should feel cutting edge and not safe.
TF: You have been involved with Simple Oxford. How did that come about and what role did you play there?
EBITDA: It is a funny story, actually. Before I even moved to the UK, I bought early bird tickets for three Simple Oxford events. I had never been to the UK before, but I posted on Instagram saying that my season in the UK already looked sorted. I tagged Simple and they started following me. They checked out my DJ journey in India, even though at that time, I was only a month old as a DJ.
When I reached Oxford, I went to their first gig and played a warm-up. A lot of my friends showed up to support and the whole night turned into a proper vibe. Thereafter, Nick (head honcho at Simple) and I met for a coffee, and he told me he already knew I was a crazy guy because of those early bird tickets. During that chat, he confirmed that they wanted me as their resident DJ.
I ended up playing all eight of their gigs that year. It was honestly one for the books. Being a resident at Simple was one of the best things that happened to me in the UK. It helped me learn how to structure sets, it gave me community, and it made me feel at home in a new country. My relationship with Simple still feels like family and I hope the partnership keeps growing for many years.
TF: Can you share a standout memory from your time with Simple Oxford that changed how you viewed your DJ career?
EBITDA: Oh, absolutely. The standout moment came very early for me. It was only my fourth gig at Simple and I was a seven-month-old DJ. I somehow got the chance to close after Joy Orbison. I was excited out of my mind. I prepared for almost two months and put everything I had into that set.
When it was over, a bunch of my friends and even other DJs in the crowd came up and told me that they liked my set even more than Joy’s. That gave me a crazy amount of confidence. During that set, I felt almost possessed, like something else had taken over and I was in full control of the room. That was the night I realised that I was ready for bigger stages and that this is what I want to do for the rest of my life. It was a proper turning point.
TF: How did your UK experience influence your style when you later returned or played for audiences in India?
EBITDA: I would not say the UK changed my style. The scene in India was already strong and I had a solid taste before leaving. What the UK really gave me was opportunity. At Simple Oxford, I got to play with headliners whom I would have needed a long time to reach in India. That experience built my confidence in a big way. So when I came back to India and started playing again, that confidence showed on the dance floor. The connection felt stronger and the season went really well because of that.
TF: You have played the Warehouse Project India. What was that experience like playing a large-scale event in India after spending time abroad?
EBITDA: Warehouse Project India also felt like one of those nights where I was possessed and a proper flow state took over. Coming back to India and getting placed on a lineup of that size was a big moment for me. Even though I had an early slot, a lot of people showed up and the energy was strong from the start. I had an amazing time there. It gave me even more confidence and made me feel happy about how things are moving in my career.
TF: Now that you are established as EBITDA, how do you plan to push your brand and sonic identity further in 2025 and beyond?
EBITDA: In terms of brand and sonic identity, I feel I am already in a good place. My sets have spoken for themselves and people who come to see me know what to expect. I do not feel the need to change anything just for the sake of change. I want to keep the same direction and just do more of it. So the plan is not some huge shift. It is more consistent, more gigs, and building on what already feels true to me.
TF: What do you see as your next frontier? International bookings, festival main stage, radio mix series, or something else? And how are you preparing for it?
EBITDA: My next frontier is still the same goal. I want to be a busy DJ. I care more about being on the right lineups with the right promoters than chasing scale. A huge crowd is nice, but big names do not excite me by themselves. What excites me is playing my music in the places where it fits and where the audience is actually listening.
If in 2024 I am playing around three gigs a month, then in 2025 I want that to become five. And then slowly keep growing it without losing quality. I am quite proud of the gigs I have picked so far. I have avoided doing shows just for the heck of it. I want to continue that approach, stay selective, and grow in a steady way.
The idea is simple. More gigs, better curation, and being present in the right rooms.
TF: If you had to pick one gig anywhere in the world that defined you as EBITDA, which one would it be and why?
EBITDA: The gig that defined me was in Mumbai in November 2024. It was my first show with AMNAP Records and also my first ever gig in Mumbai. I opened for DJ Paypal that night. The crowd did not know who I was, so there was this sense of surprise when I started playing. The reactions I got from the dance floor, from the club staff, from everyone in the room, were honestly phenomenal. Whenever I think about the sets that shaped me or made me feel like I am on the right path, my mind always goes back to that night.
TF: Outside of DJing, how do you recharge, find inspiration and keep your creative edge?
EBITDA: Outside DJing, I keep things very simple. I love spending time with my family, especially my nephews and nieces. That always resets my mind. I also watch a lot of cricket. Honestly, copious amounts of it. It keeps me happy in a very normal way. I am also a big movie and TV buff. I acted for three to four years during my undergrad, so that side of me is still alive. I watch performances with a bit of that old actor mindset. All these things help me switch off and come back to music with a fresh head.
TF: If you could send a message to your future self five years from now, what would you say?
EBITDA: I would probably say, “you never imagined you would come this far, did you”. And then I would remind myself to stay grateful, stay grounded, and keep having fun with the music.
For more new music updates and reviews, keep up with TFword on Instagram | Facebook | X
You May Also Like:
Phase Records DNB Drops ‘Geometry’ Loaded With 13 Tracks for Every Taste
Bass Music Stalwarts Ivy Lab Announce Their Split at the End of 2026
