Ninajirachi Has Us Wrapped Around Her Finger

Ninajirachi, bathed in light, wants you to jump. She’s halfway through her set at Terminal 5, warming up the packed audience for Oklou, and the crowd is wrapped around her finger. Playing a DJ set of her own songs, largely from her smash 2025 debut, “I Love My Computer,” Ninajirachi is an interactive host. Before the final beat drop of “All I Am,” she points her microphone at the crowd and reminds them how easy it is to sing along; the song’s hook consists of nothing more than a few melodic “yeahs.” When she plays her as-of-yet unreleased remix of Porter Robinson’s “Perfect Pinterest Garden,” Ninajirachi bounces up and down on stage, an Aussie dance commander in fingerless gloves. She finishes her set with the ultra-modern “Fuck My Computer,” and all 3000 people in the sold-out venue share her carnal desire to connect with technology.Before the show, Ninajirachi was a little nervous about opening for an artist of a different musical style. Oklou makes expansive ambient pop; Ninajirachi makes maximalist electronic music, what she calls Girl EDM. It’s the difference between a crowd that sways and a crowd that raves. “Hopefully people like my set,” she tells PAPER over Zoom a few days before the show. “If they don’t, there's nothing I can do about it. It's not gonna be for everyone.” It certainly was for most. “It looked like she was in a music video the whole time,” I overheard one concert-goer say to her friend between the sets. “I was so impressed.”The two shows in New York, opening for Oklou, are just one stop on a seemingly endless journey she’s embarked on since I Love My Computer released in August. Beyond New York, Ninajirachi has toured all over the world, producing for bands like 2charm, and performing at festivals internationally. Just this week, she announced an additional leg of North American shows taking place in the fall in support of the album. Between those upcoming New York and Los Angeles shows, she’s joining Tame Impala on their tour of her home, Australia. Back before the fingerless gloves and rapt crowd, Ninajirachi, born Nina Wilson in a suburb in New South Wales, taught herself to write and mix electronic music as she grew up online. The experience shaped her debut album, an ode to her relationship with said computer and the doors it opened for her digitally, and now, around the world. Last month, she made a big splash at Coachella, joining Madeon and PinkPantheress on stage, and filling the Sonora Tent both weekends with a surprise appearance from Porter Robinson.Off stage, she takes inspiration from how her favorite artists handle the visuals of their shows and stage production. “The thing about doing shows and touring is when I book a show, I could hypothetically play my songs off an iPhone and juggle for 60 minutes,” she says. “It’s really cool to see different artists’ presentations of their own music.” Her current setup is a little more involved than playing music off her phone. Nina plays with CDJs, a hardware she became comfortable with when she used to tour as a DJ. She plays live edits of her songs, adjusting the set lists, sequences, and transitions each night based on the crowd. “Obviously, the popular songs, like ‘iPod Touch’ and ‘Fuck My Computer’ are always in there, but then for the less popular songs, I'll just try different things each night based on the city or what people are responding to,” she says. While she transitions between songs and works up the crowd, her production crew handles the visuals. “Between us, we have a sense of like, this is a blue song. Or for a lot of songs, especially the popular ones, we have, for example, the ‘iPod Touch’ visual folder. So when I play that one, we'll go into that folder and then play visuals along to the song. Because we've done so many shows together and also because they're the best in the world, they just hit everything live, and they kill it. It looks perfect every time.” Her North American production crew is composed of Lighting Designer Courtny Seipel, Visual Supervisor and Media Director Aria Zarzycki, and VJ Will Corbani, with visuals created by a large group of artists. It’s an elaborate setup that makes fans happy, but she would like to add live vocals in the future. “Sometimes I meet fans at shows and they're like, ‘Are you ever going to sing your songs?’ And I'm like, ‘I don't know if you really want that.’ I'm not Mariah Carey, you know what I mean? I sing all my songs because I wrote them and I use my voice as an instrument,” she says. “This is the other thing: my album came out and I played the first album show the next weekend and I've been touring ever since then, and doing a live vocal show is something I would want to lock in and rehearse for like a month, and there just hasn't been any time between tours to reinvent the show yet. I just would want it to be good.”Ninajirachi’s non-stop year hasn’t been easy for her, sometimes getting ill from exhaustion as she learns her limits and adjusts to her rapi

May 11, 2026 - 17:19

Ninajirachi Has Us Wrapped Around Her Finger

Ninajirachi, bathed in light, wants you to jump.

She’s halfway through her set at Terminal 5, warming up the packed audience for Oklou, and the crowd is wrapped around her finger. Playing a DJ set of her own songs, largely from her smash 2025 debut, “I Love My Computer,” Ninajirachi is an interactive host. Before the final beat drop of “All I Am,” she points her microphone at the crowd and reminds them how easy it is to sing along; the song’s hook consists of nothing more than a few melodic “yeahs.”

When she plays her as-of-yet unreleased remix of Porter Robinson’s “Perfect Pinterest Garden,” Ninajirachi bounces up and down on stage, an Aussie dance commander in fingerless gloves. She finishes her set with the ultra-modern “Fuck My Computer,” and all 3000 people in the sold-out venue share her carnal desire to connect with technology.

Before the show, Ninajirachi was a little nervous about opening for an artist of a different musical style. Oklou makes expansive ambient pop; Ninajirachi makes maximalist electronic music, what she calls Girl EDM. It’s the difference between a crowd that sways and a crowd that raves. “Hopefully people like my set,” she tells PAPER over Zoom a few days before the show. “If they don’t, there's nothing I can do about it. It's not gonna be for everyone.”

It certainly was for most. “It looked like she was in a music video the whole time,” I overheard one concert-goer say to her friend between the sets. “I was so impressed.”

The two shows in New York, opening for Oklou, are just one stop on a seemingly endless journey she’s embarked on since I Love My Computer released in August. Beyond New York, Ninajirachi has toured all over the world, producing for bands like 2charm, and performing at festivals internationally. Just this week, she announced an additional leg of North American shows taking place in the fall in support of the album. Between those upcoming New York and Los Angeles shows, she’s joining Tame Impala on their tour of her home, Australia.

Back before the fingerless gloves and rapt crowd, Ninajirachi, born Nina Wilson in a suburb in New South Wales, taught herself to write and mix electronic music as she grew up online. The experience shaped her debut album, an ode to her relationship with said computer and the doors it opened for her digitally, and now, around the world. Last month, she made a big splash at Coachella, joining Madeon and PinkPantheress on stage, and filling the Sonora Tent both weekends with a surprise appearance from Porter Robinson.

Off stage, she takes inspiration from how her favorite artists handle the visuals of their shows and stage production. “The thing about doing shows and touring is when I book a show, I could hypothetically play my songs off an iPhone and juggle for 60 minutes,” she says. “It’s really cool to see different artists’ presentations of their own music.”

Her current setup is a little more involved than playing music off her phone. Nina plays with CDJs, a hardware she became comfortable with when she used to tour as a DJ. She plays live edits of her songs, adjusting the set lists, sequences, and transitions each night based on the crowd. “Obviously, the popular songs, like ‘iPod Touch’ and ‘Fuck My Computer’ are always in there, but then for the less popular songs, I'll just try different things each night based on the city or what people are responding to,” she says.

While she transitions between songs and works up the crowd, her production crew handles the visuals. “Between us, we have a sense of like, this is a blue song. Or for a lot of songs, especially the popular ones, we have, for example, the ‘iPod Touch’ visual folder. So when I play that one, we'll go into that folder and then play visuals along to the song. Because we've done so many shows together and also because they're the best in the world, they just hit everything live, and they kill it. It looks perfect every time.”

Her North American production crew is composed of Lighting Designer Courtny Seipel, Visual Supervisor and Media Director Aria Zarzycki, and VJ Will Corbani, with visuals created by a large group of artists. It’s an elaborate setup that makes fans happy, but she would like to add live vocals in the future.

“Sometimes I meet fans at shows and they're like, ‘Are you ever going to sing your songs?’ And I'm like, ‘I don't know if you really want that.’ I'm not Mariah Carey, you know what I mean? I sing all my songs because I wrote them and I use my voice as an instrument,” she says. “This is the other thing: my album came out and I played the first album show the next weekend and I've been touring ever since then, and doing a live vocal show is something I would want to lock in and rehearse for like a month, and there just hasn't been any time between tours to reinvent the show yet. I just would want it to be good.”

Ninajirachi’s non-stop year hasn’t been easy for her, sometimes getting ill from exhaustion as she learns her limits and adjusts to her rapidly rising star. But, she’s keeping her eye on music and connection, and fighting off her fatigue.

“I’m definitely tired sometimes, but the shows have been so nice and every time I meet people after the shows or before the shows, I hear the nicest stories about how people discovered my music, or how some of my music did something for their lives or their relationship, or a way that seeing my show made them feel a certain thing. And that is always just so energizing and motivating,” she says. “So I'm just grateful to keep going.”