After a prelude as a member of a group of DJs that held parties in San Sebastian, Frances Be began her solo career in 2016. That same year, after seeing live as iconic artists as Laurent Garnier, everything crystallized. “I remember being in an industrial warehouse,” she explains, “closing my eyes and giving my senses to music. I knew I wanted to be there too. I just had a crush on techno. ” Since that day she has outlined a sound aesthetic where techno stands as a vortex, attracting adjacent genres to conceive of her own musical vision: emotional sense, intelligent melodies and progressions of incontestable consistency. It is in the speed and darkness of techno where Frances Be finds peace and calm. Her musical imaginary is somewhere between Detroit, Amsterdam and Berlin. An imaginary full of nuances that gives life to the shadows and blurs the limits that have become so common in electronic music. A universe that tells from the cabin and whose rhythmic script stars in a four on the floor that gives meaning to the whole. The club is her natural environment. The space where the raver and the DJ converge. Because Frances Be loves to play records but, even when she is spinning a session of hypnotic acid, fast-paced house and futuristic electro, her mind is on the dance floor, with the audience. Captive for her ease and natural composure making it seem easy to be on the most demanding scenarios. She defends her own style of expansive techno and directs her musical career as she imagines it. Frances Be is also the founder and key piece of the KRII collective, which organizes and encourages parties, workshops and debates to create a space where women and electronics come together. So far she has shared a booth with noted artists such as Mama Snake, Acid Arab, Avalon Emerson, Eris Drew, Dekmantel Soundsystem, Paul Ritch, Eclair Fifi, Shanti Celeste, Gigi FM, Ana Helder, Violet, Angel Molina, Pional or Cora Novoa.