July 1, 2024 • 18 mins
Celebrating ANOTHER #1 on the dance charts, David Guetta joined us on America's Dance 30 to talk all things "I Don't Wanna Wait"! He shared w us how the song was born w OneRepublic, how long ago they started working on it, and why he was so nervous to debut it at Ultra Music Festival this year!!
David also took a trip down memory lane w us, and shared what it was like for him back when "Sexy Chick" (and the rest of his classics) were crossing over and playing on Top 40 radio!
Follow: @AmericasDance30 on all socials!
Count down the biggest dance songs in the country every week with Brian Fink on America’s Dance 30; listen on stations around the world!
Follow: @AmericasDance30 on all socials!
Count down the biggest dance songs in the country every week with Brian Fink on America’s Dance 30; listen on stations around the world!
David also took a trip down memory lane w us, and shared what it was like for him back when "Sexy Chick" (and the rest of his classics) were crossing over and playing on Top 40 radio!
Follow: @AmericasDance30 on all socials!
Count down the biggest dance songs in the country every week with Brian Fink on America’s Dance 30; listen on stations around the world!
Follow: @AmericasDance30 on all socials!
Count down the biggest dance songs in the country every week with Brian Fink on America’s Dance 30; listen on stations around the world!
Mark as Played
Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
(00:13):
Counting down the biggest dance songs inthe country. This is America's dance thirty
Now, David, I know thischat is all about I don't want to
wait, but really quickly, You'vehad a much bigger and more important release
since the last time we chatted.Congratulations on a Cyane, Thank you so
(00:34):
much, the biggest release of theten last years. So yeah, I
have a baby boy, and it'sa great, great source of happiness.
I bet congratulations. I'm so happyfor you guys. You know, it's
interesting. I'm in such a happymoment in my life that I'm almost scared
(00:57):
that something is going to happen tome because it's too beautiful to be true,
you know, Like I have mynew baby, I'm good with my
wife. I'm like, I'm havinghits after hits. I'm like, what
is happening? Like I just Ijust sold out a stadium in my country
(01:19):
in France in like a few minutes, sixty thousand people. I don't know.
Like Ibiza season is going insane.We broke all the records in Vegas
during my residency. I'm telling you, like I'm going to break a lego.
Something is gonna happen to me.Don't say that. Why are you
putting that out of the universe.I don't know. It's really good coma
(01:44):
like maybe all the good things I'vedone in my life are all coming back
at the same time, you know. Finally, well, let's talk about
some good stuff. Congratulations on allthe success of I Don't Want to Wait
with One Republic. It's so amazing. It's unbelievable. I tell you this
record, you know, like Americais always a bit slower to developed records
(02:07):
on the radio, but in Europe, I think we are top two in
all Europe. Were number one isin many countries. We're about to be
number one in Europe of the airplay. And I see the reaction being very
good on American radio too. Andwe're just starting. But what I can
(02:27):
tell you as a DJ, becausefirst of all I'm a DJ, is
this is a record that made meexperience something for the first time in my
entire career. The first time weperformed the record with that Ultra Music Week,
you know, and it was thefestival Ultra and the record was not
even released. We performed the recordwith Ryan Tad and we're looking at each
(02:54):
other. Is this even possible,so they never heard the record. On
the first chorus, of course theydon't sing. They never heard it.
On the second chorus, half ofthe people are singing the words. On
the last courage singing the song.We've never ever seen this. And then
(03:15):
I go to Vegas and my labelcame and with a camera to film make
some footage, you know, forthe record, And I'm so scared to
play a record for the first time. It's always scary, and I'm like,
I hope, I hope, I'mnot gonna empty the dance floor.
It was the record was released onlysince six days I played the record boom,
(03:42):
everyone is singing the words instant hit, Like I don't think I've ever
experienced this in my life. Thatis so incredible. Now you talk about
you guys performing it together for thefirst time at Ultra. Was the song
finished at that point or were youstill just testing it out? It was
finished, but it was just likebrand new we were going to be released.
(04:03):
I think the day after something likethat. You know, it was
like impossible that the people would haveknown the record, and really like it
was singing looking at me like isthis really happening? Do do you see
what I'm saying, And we wentout of stage. Really we went backstage
after they were like, am Itripping? You saw the same thing I
(04:26):
saw? You know, like imaginewe both like we have a little bit
of experience, you know, likewe've been doing this for a long time,
both of us, and I don'tthink we've ever seen something like this
before. So it looks like it'sgoing to be a massive hit this summer.
It truly is. And that's soincredible. Now, how was this
(04:46):
smash born between you and One Republic? So first, it was my dream
to work with them for so manyyears, and I remember joking around like
many years ago, trying to hookup with him and telling him like,
listen, I'm so inspired by yourmusic. You know, instead of me
(05:09):
covering you and you not getting paid, we should make a record together.
She would get paid and he wasHe laughed and he was like that's really
funny, you know, like likelet's do this. And it took us
years and finally we had the littlewriting camp and I went to his house.
(05:31):
He has like the most amazing housewhere it's only dedicated to music,
and I love the vibe because youknow, like he used to work in
dark studios, and him is ahouse and each bedroom is a different studio.
But you have a light, youhave a kitchen. You know,
(05:55):
like it feels like normal life,which I love. And the vibe was
so positive. He brought different youknow writers, but when him and me
were in the same room, itwas over and I had this concept of
I don't want to wait. Butthe problem was that the chorus was so
(06:16):
big that it felt borderline cheesy becauseit was so like, Okay, it
feels so good, so good,so good. It feels so good,
but you need a little bit ofemotion and poetry to balance so that the
record feels complete. And I honestlyit was the only guy that could really
(06:39):
deliver that. And it came withverses with like proper poetry and a melody
that was really edgy. So thebalance between those super cool verses and that
massive chorus makes the magic of thisrecord, I think, so really,
I don't think I would have beenable to finish the record without him,
(07:02):
So I'm very grateful. That isso incredible. How long ago did you
guys start working on it. Itwas the writing camp of a year ago,
So I give you a little secret. Like April May, I have
(07:24):
my residency in Vegas. I playevery Saturday, and it's been like this
for like twelve years. And duringthe week I go to LA and I
do songwriting, and I have enoughsongs to produce for the entire year,
because you know, when we dosongwriting, we don't go really into the
(07:47):
full dance music version. I justplay chords and we just write a song
the way you know, like itcould be a baad and like, depending
on how I produce it, Icould make it a reggae record or a
badad or a dance record, youknow, but the way we just I'm
just trying to make a beautiful songthat is timeless. And I think this
(08:11):
is why my music is still beingplayed, you know, after so many
years. Some of my classics arelike fifteen years old, and they're still
being played everywhere because I'm working ona song first. It's not based on
a technical trick you know that comesafter. So we did exactly that together
(08:33):
and we made a few beautiful songs. And it's funny because like I had
I'm Good, and that record didso good that it took way more time
than expected. Then there was thisrecord, Baby Don't hurt Me that people
don't know. But we wrote ittogether with Ed Sheeran, right and with
(08:56):
Anne Marie. And that is thethird one on and it looks like the
third one is going to be evenbigger than the other ones. So we
have like a type like on theradio, like for artists, it's the
same. You know, you canlook at your statistics and the curve that
the record and the curve that we'rehaving on this record is phenomenal. It's
(09:22):
even it goes even faster than I'mGood and I'm Good. Imagine I'm Good
is now bigger than titanium. Itsounds crazy, but it's true. So
imagine if this one becomes bigger thanim Good, like that would be crazy,
you know. So yeah, look, I think this this the job
(09:46):
we have as artists. It's noteasy on you on your mental health because
you're always on the roller coaster.So as we suffer when it's going I
think I should enjoy when it's goingup, you know. So I'm on
that high right now and I'm enxiding. I'm enjoying the ride. I'm like,
(10:11):
I'm not gonna you know, likeI had my days when I'm like,
oh, you know, I don'tknow what to do. I'm having
a writer's block, you know,and now everything is flowing in such a
perfect way. I'm like, okay, let me enshoy, this this magic
(10:31):
moment, you know. And also, you know, something special about being
a DJ is that you instantly seethe reaction and this is something incredible.
Like I told you, like whenwe performed it, we're like, okay,
we have a hit, just onetime. But you know, like
bands cannot do that. Bands cannotmake a record and play it immediately.
(10:54):
They have to rehearsal, make itpart of the show, you know,
because everything has an order. Me, I can just improvise. And the
magic and the happiness playing a recordis giving me. It's really something I
cannot even describe. This is mydrug, you know, it makes me
high. Literally. Well, it'ssuch an amazing song. Congratulations on all
(11:18):
the success with it. Well,thank you very much, and thank you
for the support. I really appreciateabsolutely. Now this is totally old news,
but when I was driving home fromwork last night, Sexy Bitch actually
came on Iheart's Evolution Radio and youtalk about your song still sounding good on
the radio. It still does.Can you think back to that point in
(11:41):
your career and what it was likeas a French DJ producer for these dance
songs to be on top forty radio. It was absolutely nuts. It's one
of the craziest experience of my life, if not the craziest. Because when
we made this record, I rememberAcon Steam telling me you're really talented as
(12:07):
a producer. We should work together, but this time make a record that
could work in America too, becauseit was so different, you know,
like everyone was into hip hop andslow tempo, and I said, I
think you're wrong. I think thisrecord is going to be a smash in
the US, and they're like,NIC's impossible, Like radios don't play dance
(12:35):
music in America. Imagine at thesame time I had I got a feeling
when Love takes Over, Sexy ChickMemories. Really in six months, I
had all those hits at the sametime. And what happened is radios to
(12:56):
really move the needle need material.So because of this, and also because
at the same time Lady Gaga camewith this dance influenced album, it became
something that was looking like a movement, and I remember something imagine me like,
(13:20):
like you said, I'm a littleFrench guy, you know, like
and I'm starting to work with allthose American superstars. It's like a radio
dream. And I remember going toa very big radio station in Los Angeles
and the boss of the radio ishosting me at the door and I'm telling
(13:43):
telling him, like, so,what's your format? And instead my format
is David Gheta or anything that soundslike David Gheta. Imagine still do that?
Remember that? I was so shocked, you know because really like I
grew up listening to American music,you know, and looking up to American
(14:09):
music and being in one of thebiggest radio in the US telling me like
my format is you okay, I'mgonna wreak up and they aren't gonna say
it was all a big joke,you know, Like it was a really
really crazy moment. Because the thingis, all this music was actually born
(14:33):
in the US, you know,house music was born in Chicago in New
York, but it stayed underground always. And then when I came with those
records that crossed over and also thatI was making with big established names in
(14:56):
America, I think they a canradio get more confident, and we're like,
Okay, we're going to give ita try because there's Black Eyed Peas.
There's Black Eyed Peas on the record, because there's Acon on the record,
you know. And then they realizedthat people were loving it. So
(15:16):
it's really interesting because the music wasborn in the US, and I've learned
from those masters, you know,at the end of the eighties beginning of
the nineties, and then I thinkI not only me, but I was
like a big part of it.I met it for us over to American
(15:39):
Top forty radio. And then becauseall those artists, including Rhianna you know
at the time, where doing thatsound, you know, it came back
again to Europe and becoming even bigger. So it's been it's been such an
(16:00):
incredible moment of my life. Andthen you know, hip hop exploded and
then I had a little bit ofa you know, sit down, be
a humble moment, and then youknow, it feels like now is a
(16:22):
good moment again for dance music.And when dance music is doing good and
doing good, we're all doing God. But you know, like I think
that every time the world is ina dog place, people need dance music
because dance music is positivity, isbringing people together, is like forget about
(16:49):
everything and just enjoy the moment.And you know, when I did,
I got a fitting, it wasthe financial crisis. It was terrible,
and then there's you know, COVIDand a disaster and I come with I'm
good, which is a bit crazyeven like you know, but this is
(17:14):
what people need. And it's veryinteresting because every DJ producer is doing such
dark music right now, and Ifeel like the world is dark enough.
We don't need more darkness. Weneed happiness and that's what I do.
You know, Yeah, I couldn'tagree with you more and you do such
(17:37):
an amazing job with it. Congratulationson all your success going on right now,
David Getta, thank you so muchfor your time with us on America's
Dance thirty and thank you for thesupport. Appreciate you, Thank you much.
America's answer counting down the biggest dancesongs in the country America's Dance thirty
Counting down the biggest dance songs inthe country. This is America's dance thirty
Now, David, I know thischat is all about I don't want to
wait, but really quickly, You'vehad a much bigger and more important release
since the last time we chatted.Congratulations on a Cyane, Thank you so
(00:34):
much, the biggest release of theten last years. So yeah, I
have a baby boy, and it'sa great, great source of happiness.
I bet congratulations. I'm so happyfor you guys. You know, it's
interesting. I'm in such a happymoment in my life that I'm almost scared
(00:57):
that something is going to happen tome because it's too beautiful to be true,
you know, Like I have mynew baby, I'm good with my
wife. I'm like, I'm havinghits after hits. I'm like, what
is happening? Like I just Ijust sold out a stadium in my country
(01:19):
in France in like a few minutes, sixty thousand people. I don't know.
Like Ibiza season is going insane.We broke all the records in Vegas
during my residency. I'm telling you, like I'm going to break a lego.
Something is gonna happen to me.Don't say that. Why are you
putting that out of the universe.I don't know. It's really good coma
(01:44):
like maybe all the good things I'vedone in my life are all coming back
at the same time, you know. Finally, well, let's talk about
some good stuff. Congratulations on allthe success of I Don't Want to Wait
with One Republic. It's so amazing. It's unbelievable. I tell you this
record, you know, like Americais always a bit slower to developed records
(02:07):
on the radio, but in Europe, I think we are top two in
all Europe. Were number one isin many countries. We're about to be
number one in Europe of the airplay. And I see the reaction being very
good on American radio too. Andwe're just starting. But what I can
(02:27):
tell you as a DJ, becausefirst of all I'm a DJ, is
this is a record that made meexperience something for the first time in my
entire career. The first time weperformed the record with that Ultra Music Week,
you know, and it was thefestival Ultra and the record was not
even released. We performed the recordwith Ryan Tad and we're looking at each
(02:54):
other. Is this even possible,so they never heard the record. On
the first chorus, of course theydon't sing. They never heard it.
On the second chorus, half ofthe people are singing the words. On
the last courage singing the song.We've never ever seen this. And then
(03:15):
I go to Vegas and my labelcame and with a camera to film make
some footage, you know, forthe record, And I'm so scared to
play a record for the first time. It's always scary, and I'm like,
I hope, I hope, I'mnot gonna empty the dance floor.
It was the record was released onlysince six days I played the record boom,
(03:42):
everyone is singing the words instant hit, Like I don't think I've ever
experienced this in my life. Thatis so incredible. Now you talk about
you guys performing it together for thefirst time at Ultra. Was the song
finished at that point or were youstill just testing it out? It was
finished, but it was just likebrand new we were going to be released.
(04:03):
I think the day after something likethat. You know, it was
like impossible that the people would haveknown the record, and really like it
was singing looking at me like isthis really happening? Do do you see
what I'm saying, And we wentout of stage. Really we went backstage
after they were like, am Itripping? You saw the same thing I
(04:26):
saw? You know, like imaginewe both like we have a little bit
of experience, you know, likewe've been doing this for a long time,
both of us, and I don'tthink we've ever seen something like this
before. So it looks like it'sgoing to be a massive hit this summer.
It truly is. And that's soincredible. Now, how was this
(04:46):
smash born between you and One Republic? So first, it was my dream
to work with them for so manyyears, and I remember joking around like
many years ago, trying to hookup with him and telling him like,
listen, I'm so inspired by yourmusic. You know, instead of me
(05:09):
covering you and you not getting paid, we should make a record together.
She would get paid and he wasHe laughed and he was like that's really
funny, you know, like likelet's do this. And it took us
years and finally we had the littlewriting camp and I went to his house.
(05:31):
He has like the most amazing housewhere it's only dedicated to music,
and I love the vibe because youknow, like he used to work in
dark studios, and him is ahouse and each bedroom is a different studio.
But you have a light, youhave a kitchen. You know,
(05:55):
like it feels like normal life,which I love. And the vibe was
so positive. He brought different youknow writers, but when him and me
were in the same room, itwas over and I had this concept of
I don't want to wait. Butthe problem was that the chorus was so
(06:16):
big that it felt borderline cheesy becauseit was so like, Okay, it
feels so good, so good,so good. It feels so good,
but you need a little bit ofemotion and poetry to balance so that the
record feels complete. And I honestlyit was the only guy that could really
(06:39):
deliver that. And it came withverses with like proper poetry and a melody
that was really edgy. So thebalance between those super cool verses and that
massive chorus makes the magic of thisrecord, I think, so really,
I don't think I would have beenable to finish the record without him,
(07:02):
So I'm very grateful. That isso incredible. How long ago did you
guys start working on it. Itwas the writing camp of a year ago,
So I give you a little secret. Like April May, I have
(07:24):
my residency in Vegas. I playevery Saturday, and it's been like this
for like twelve years. And duringthe week I go to LA and I
do songwriting, and I have enoughsongs to produce for the entire year,
because you know, when we dosongwriting, we don't go really into the
(07:47):
full dance music version. I justplay chords and we just write a song
the way you know, like itcould be a baad and like, depending
on how I produce it, Icould make it a reggae record or a
badad or a dance record, youknow, but the way we just I'm
just trying to make a beautiful songthat is timeless. And I think this
(08:11):
is why my music is still beingplayed, you know, after so many
years. Some of my classics arelike fifteen years old, and they're still
being played everywhere because I'm working ona song first. It's not based on
a technical trick you know that comesafter. So we did exactly that together
(08:33):
and we made a few beautiful songs. And it's funny because like I had
I'm Good, and that record didso good that it took way more time
than expected. Then there was thisrecord, Baby Don't hurt Me that people
don't know. But we wrote ittogether with Ed Sheeran, right and with
(08:56):
Anne Marie. And that is thethird one on and it looks like the
third one is going to be evenbigger than the other ones. So we
have like a type like on theradio, like for artists, it's the
same. You know, you canlook at your statistics and the curve that
the record and the curve that we'rehaving on this record is phenomenal. It's
(09:22):
even it goes even faster than I'mGood and I'm Good. Imagine I'm Good
is now bigger than titanium. Itsounds crazy, but it's true. So
imagine if this one becomes bigger thanim Good, like that would be crazy,
you know. So yeah, look, I think this this the job
(09:46):
we have as artists. It's noteasy on you on your mental health because
you're always on the roller coaster.So as we suffer when it's going I
think I should enjoy when it's goingup, you know. So I'm on
that high right now and I'm enxiding. I'm enjoying the ride. I'm like,
(10:11):
I'm not gonna you know, likeI had my days when I'm like,
oh, you know, I don'tknow what to do. I'm having
a writer's block, you know,and now everything is flowing in such a
perfect way. I'm like, okay, let me enshoy, this this magic
(10:31):
moment, you know. And also, you know, something special about being
a DJ is that you instantly seethe reaction and this is something incredible.
Like I told you, like whenwe performed it, we're like, okay,
we have a hit, just onetime. But you know, like
bands cannot do that. Bands cannotmake a record and play it immediately.
(10:54):
They have to rehearsal, make itpart of the show, you know,
because everything has an order. Me, I can just improvise. And the
magic and the happiness playing a recordis giving me. It's really something I
cannot even describe. This is mydrug, you know, it makes me
high. Literally. Well, it'ssuch an amazing song. Congratulations on all
(11:18):
the success with it. Well,thank you very much, and thank you
for the support. I really appreciateabsolutely. Now this is totally old news,
but when I was driving home fromwork last night, Sexy Bitch actually
came on Iheart's Evolution Radio and youtalk about your song still sounding good on
the radio. It still does.Can you think back to that point in
(11:41):
your career and what it was likeas a French DJ producer for these dance
songs to be on top forty radio. It was absolutely nuts. It's one
of the craziest experience of my life, if not the craziest. Because when
we made this record, I rememberAcon Steam telling me you're really talented as
(12:07):
a producer. We should work together, but this time make a record that
could work in America too, becauseit was so different, you know,
like everyone was into hip hop andslow tempo, and I said, I
think you're wrong. I think thisrecord is going to be a smash in
the US, and they're like,NIC's impossible, Like radios don't play dance
(12:35):
music in America. Imagine at thesame time I had I got a feeling
when Love takes Over, Sexy ChickMemories. Really in six months, I
had all those hits at the sametime. And what happened is radios to
(12:56):
really move the needle need material.So because of this, and also because
at the same time Lady Gaga camewith this dance influenced album, it became
something that was looking like a movement, and I remember something imagine me like,
(13:20):
like you said, I'm a littleFrench guy, you know, like
and I'm starting to work with allthose American superstars. It's like a radio
dream. And I remember going toa very big radio station in Los Angeles
and the boss of the radio ishosting me at the door and I'm telling
(13:43):
telling him, like, so,what's your format? And instead my format
is David Gheta or anything that soundslike David Gheta. Imagine still do that?
Remember that? I was so shocked, you know because really like I
grew up listening to American music,you know, and looking up to American
(14:09):
music and being in one of thebiggest radio in the US telling me like
my format is you okay, I'mgonna wreak up and they aren't gonna say
it was all a big joke,you know, Like it was a really
really crazy moment. Because the thingis, all this music was actually born
(14:33):
in the US, you know,house music was born in Chicago in New
York, but it stayed underground always. And then when I came with those
records that crossed over and also thatI was making with big established names in
(14:56):
America, I think they a canradio get more confident, and we're like,
Okay, we're going to give ita try because there's Black Eyed Peas.
There's Black Eyed Peas on the record, because there's Acon on the record,
you know. And then they realizedthat people were loving it. So
(15:16):
it's really interesting because the music wasborn in the US, and I've learned
from those masters, you know,at the end of the eighties beginning of
the nineties, and then I thinkI not only me, but I was
like a big part of it.I met it for us over to American
(15:39):
Top forty radio. And then becauseall those artists, including Rhianna you know
at the time, where doing thatsound, you know, it came back
again to Europe and becoming even bigger. So it's been it's been such an
(16:00):
incredible moment of my life. Andthen you know, hip hop exploded and
then I had a little bit ofa you know, sit down, be
a humble moment, and then youknow, it feels like now is a
(16:22):
good moment again for dance music.And when dance music is doing good and
doing good, we're all doing God. But you know, like I think
that every time the world is ina dog place, people need dance music
because dance music is positivity, isbringing people together, is like forget about
(16:49):
everything and just enjoy the moment.And you know, when I did,
I got a fitting, it wasthe financial crisis. It was terrible,
and then there's you know, COVIDand a disaster and I come with I'm
good, which is a bit crazyeven like you know, but this is
(17:14):
what people need. And it's veryinteresting because every DJ producer is doing such
dark music right now, and Ifeel like the world is dark enough.
We don't need more darkness. Weneed happiness and that's what I do.
You know, Yeah, I couldn'tagree with you more and you do such
(17:37):
an amazing job with it. Congratulationson all your success going on right now,
David Getta, thank you so muchfor your time with us on America's
Dance thirty and thank you for thesupport. Appreciate you, Thank you much.
America's answer counting down the biggest dancesongs in the country America's Dance thirty
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Dateline NBC
Current and classic episodes, featuring compelling true-crime mysteries, powerful documentaries and in-depth investigations. Follow now to get the latest episodes of Dateline NBC completely free, or subscribe to Dateline Premium for ad-free listening and exclusive bonus content: DatelinePremium.com