August 4, 2025 • 42 mins
What does it mean to truly connect cultures through music? GabSoul, the self-described "eclectic selector," offers powerful insights into this question as she shares her journey from basement parties to international stages.
Growing up between Trinidadian and Guyanese heritage in New York, GabSoul absorbed musical traditions from her DJ father's extensive record collection while developing an instinctive understanding of party dynamics from attending gatherings since her early teens. Despite initially being told "girls don't DJ," she found inspiration in emerging female DJs during college and eventually convinced her father to share his technical knowledge.
The conversation explores what makes GabSoul's approach distinctive—her ability to blend genres seamlessly, creating musical journeys that reveal connections between Caribbean sounds, R&B, soul, and various African diaspora traditions. She articulates how combining technical precision with feminine intuition creates a unique energy, allowing her to take risks that more traditional DJs might avoid. "I love anything soulful with a good groove," she explains, describing how she connects disparate genres to tell stories through her sets.
Beyond her technical skills, GabSoul's community-building initiatives stand out. Through events like "We Ting," "Auntie's House," and "Riddim and Soul," she creates spaces that embody Caribbean hospitality while celebrating music that often gets overlooked in mainstream venues. These platforms serve her deeper mission of helping people connect with cultural heritage while breaking down artificial barriers between diaspora communities.
We discuss GabSoul's reflection on her purpose: "To spread love and be an example of love." As she navigates the music industry with spiritual grounding rather than purely transactional relationships, she offers wisdom about staying present, practicing gratitude, and remembering that authenticity isn't something to strive for, but is something already in our possession if we're brave enough to embrace it.
Listen now to discover how music can bridge worlds while staying true to its roots, and why sometimes the most powerful selector is the one who remembers why we gather to celebrate sound in the first place.
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Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:04):
Hello everyone and welcome to another edition of
the Style and Vibes podcast withyours truly.
If you are new to the family,welcome to the family.
Are you returning?
Welcome back, family.
It's always a greatconversation you guys know I
love to have with you guys.
Today we are joined by aspecial guest.
You are going to be my firstwoman female DJ selector,
(00:28):
puniting Gamsoul.
Welcome, welcome, thank you,thank you, it's a pleasure.
Thank you, thank you so much.
So Gamsoul is her name, but sheis known as the eclectic
selector.
I have to ask more than one daybecause I like that.
That tag name is so perfect.
So she's based here in New York.
(00:48):
She is a Caribbean American DJor selector we in Caribbean call
it selector and she fuses herlove of R&B, soul, hip hop, funk
, house and all of the Africandiaspora music.
She has been seeing DJing at anumber of events across the
United States andinternationally At Afropunk R&B
(01:10):
Only Boiler Room.
But she also carries her ownevents, including we Ting so
you're not off the top boat withTing Auntie's House and
recently launched Rhythm andSoul, which amplifies connecting
artists and music in thediaspora.
So I love all the things thatyou are doing.
So we're going to talk aboutour life, but first I really
(01:31):
want to talk to you about justgetting started.
How did you become a selector?
You know well.
First of all, tell the peoplethe islands that you hail from.
Let's start there.
Speaker 2 (01:43):
Half Trini, half Guyanese, mom's Trini, dad's
Guyanese.
Speaker 1 (01:46):
Okay, and you're based in Brooklyn.
Speaker 2 (01:49):
Yeah.
Speaker 1 (01:50):
You know Brooklynites like to distinct, so don't just
say New York Menos say on aBrooklynite it's different to be
Caribbean and from Brooklyn.
Speaker 2 (01:59):
This is true.
I'm also from Long Island.
Speaker 1 (02:00):
I got to big up Long Island soon okay, okay, so tell
me about how you got startedDJing.
Speaker 2 (02:07):
I, I was in college and I think that's when I really
started honing in on my lovefor music and there was like all
these different collectivesthat are coming out like new age
DJs.
I also like been in a party,like I feel like I was born in a
basement party.
That's what I like to jokeabout.
Um, I haven't gone to partiessince I was like 13.
So like I understand thepsychology of the dance for the
(02:29):
party and all those things justfrom being an attendee.
So college, you know, we ampedit like times 10.
So like seeing like the newcollectors of DJs and pairing
(02:50):
that with like the DJs that I'mfamiliar with around the way, it
would just make me feel likeokay, this is possible.
My dad is also a dj, like as ahobby.
So I grew up with him justplaying music in the house all
the time big sound system,enormous record collection, and
that was just like my foundation.
So when I decided I reallywanted to give it a try, my mom,
you know, kind of pushed my dadto teach me how to dj and been
going since I graduated collegefirst.
Speaker 1 (03:03):
So like that, like I guess I was a yeah, but get the
education Typical Caribbeanhousehold right.
So in terms of the collectivesthat kind of inspired you like
tell me who you listen to andwho you are familiar with from a
sound system perspective.
Speaker 2 (03:21):
When I was in college I was listening to like
Selection and like Que KitRenato was still was still
coming out and like, becausethey were DJing in a very
different way that I'm used toaround the way and they were
playing the music that I wasinto at the time, I kind of felt
like, ok, I could fuse these,these two worlds and you know
making my own.
So those, those are really likethe ones that made me feel like
(03:42):
, if they could know, like no,no shade, but if they could do
it, I could do it too.
Growing up, I never really sawwomen DJs too.
That was another thing.
It's not to say it wasn'tpossible, but it wasn't
something that I thought aboutto really take seriously.
So I see all these newer DJscoming up, I'm like, okay, well,
this is a new world, this is anew landscape.
I can try this too, you know.
Speaker 1 (04:02):
And what for you was like that catalyst that you were
like, okay, I'm definitelygoing to do this.
Speaker 2 (04:08):
My friend had a house party and they always knew that
I always had like all theCaribbean music on my iPod.
Like I just, you know, Idownload everything I still do
to this day.
So they always knew like to goto me so like, oh, you know all
the songs, just hop on the aux.
And I was like on YouTube,going between tabs and I was
like the way I was timing it, Iwas like, wow, you know, I might
(04:31):
actually know what I'm doing.
This is kind of cool, you know,let me give it a shot.
So I was like playing aroundwith virtual DJ and you know,
from there I was just like youknow, I like so did you learn on
like vinyls or from a digitalperspective?
first, First when I was teachingmyself, it was on virtual DJ
and then when my dad finallystarted showing me he has like
(04:53):
turntables so he was using likeSerato vinyl.
But like I eventually learnedhow to use actual vinyl because
it was at my disposal.
But, I definitely learned onturntables.
Speaker 1 (05:03):
What would you say was the differences between
those experiences for you?
Speaker 2 (05:08):
Hmm, like I'm learning on on turntables and
versus learning digitally.
So when I was teaching myself,I didn't know anything about
anything.
So I'm like going to like be anage trying to figure out like
the tech side of it, like how doI queue it up in my, in my
headphones?
Before I, you know, because Ididn't have like a console or
(05:28):
anything to play on, so I wasjust calling from my computer.
The person in the store waskind of confused, like do you
mean?
But like we found like aheadphone splitter or whatever
and made it work.
But then like my dad showing mehow to use it was like to like
guide me, so that was helpful.
And I also had like DJ homiesaround the way who was just like
explaining the tech side ofthings and like you know, so I
(05:48):
have some context.
Speaker 1 (05:50):
So if your dad was a DJ, why didn't you go to him
first, versus trying to learn onyour own?
What was that?
Speaker 2 (05:59):
I remember when I was a kid I had asked him like
cause he used to just be mixingin the basement all the time on
the weekends.
I was like can you teach me howto DJ?
He's like no shade to it, he'slike girl, so DJ.
And I was like okay, whatever,leave that alone.
So I just wanted to try it out.
The DJs that I saw coming outagain I didn't know the tech
side of things, so like I sawthem using like Tractor and
(06:22):
stuff like that.
And when I was explaining thatit's like actual I'm not saying
actual DJs, it's kind of shady,but like people who use like
Serato and stuff like that, theywere like I don't know if
that's the route you really wantto go.
So I realized like okay, I waslearning the difference between
the different types of texts.
And then I told my dad I wantedto learn.
No, I think I told my mom andshe was like hey, she's serious,
(06:44):
you know, teacher.
So like he kind of like gottenme into it.
Speaker 1 (06:48):
So I guess it was like I don't want to say it was
a fear, but I was just like letme, let me try it first, you
know at least you, you had yourown experience to kind of play
off of, when you know you didreach out to him and have him um
kind of teach you what he knew.
But I'm sure maybe you'vesurpassed his skill set at this
point.
Speaker 2 (07:08):
I mean, I don't want to say that Different worlds,
different age.
Speaker 1 (07:14):
Now you touched upon being a female DJ, and we see
more of them now than before.
A lot of my references are likeJazzy Joyce or Coco Chanel and
they were a few even then andthen coming into the space now I
see so many more women in thespace, which I love.
(07:36):
What do you think are the keydifferences in terms of playing
styles, particularly when itcomes to you being a female and
having a certain touch that yourmale counterparts just don't
display?
Speaker 2 (07:50):
Well, first of all, shout out to Jazzy Joyce and
Coco Chanel Love them down.
Actually, when I was on theradio, I took over Jazzy Joyce's
space.
It was just like whoa, what theheck?
What does this mean?
She's all the way up here andI'm just like starting out, so
that was like a big deal for me.
But, yeah, I think, like, evenlike to reference those two like
(08:12):
they came up, like I study allthese people, so like I remember
like Coco Chanel saying, likeshe's in the basement, like
somebody was teaching her andshe was there for hours trying
to learn how to cut and theykept telling her start over,
start over, start over, startover.
And I think when you learn froma man, there's a certain like,
rigidness, um, that like makesyou really confident on the set
too.
And I'm not, you know, I'm notsaying like if you don't learn
(08:32):
from a man, it's not confidence,but it's like because they're
just very like what left brain,right brain, whatever it is like
you approach it in that way.
But I think, when you also pairthat with your femininity, your
um, your sensuality, and likehow you understand music and the
way you feel music, I feel likethat just is like a superpower.
So like knowing liketraditional style and then
pairing that with like yoursensuality and like your taste
(08:55):
and understanding what peoplewant to feel.
I think that just it's feltevery time and I think that's
something I've been hearing overthe years too.
It's not to say one is betterthan the other, but, like with
R&B particularly, I'll say likewomen play R&B better.
That's just my opinion.
But, you know, because we're,like a lot of us are newer in
(09:15):
the game, we're not as likehesitant to take risks and like
mix certain things.
You know, sometimes I empathizewith like a lot of the male DJs
because, like they feel likethey got to play in a very
specific way, like this segmenthas to go like this, this genre
has to go like this.
I was like I know you want tobreak out, just try it.
Speaker 1 (09:32):
You know, like we do it try it so so tell me about
your first party experience,where you DJed a party like.
What was that like for you?
Speaker 2 (09:44):
um, my first gig was a brunch and I had told my
friend like he was doing abrunch series or whatever at, um
, what's the place calledWoodland, rip to Woodland.
Um, and that was like also likea start of a new scene of like
event spaces, event curation andstuff like that.
So I told him that my dad wasshowing me how and he just like
immediately threw me on a flyer,like oh, you want to spin what?
(10:06):
What put you on?
I was like I don't even have aDJ name yet.
Like um, gabso was just my atname.
So like he just threw me on theflyer, I was like, okay, I
guess I gotta take this serious.
Um, so I was practicing and Iwas working at a um, a startup
PR firm, music PR firm, and um,I was kind of like phasing out,
like I don't know if I reallywant to do this.
So I had like left the job andthe gig was like two weeks after
(10:29):
.
So I was just like let me justpractice, practice for this gig,
take myself seriously.
And when I got there again Ididn't really know much about
tech.
I learned on turntables like1200.
So, like the space has CDJs.
I had no context of that.
So I didn't know.
This is also a time where youhad to use Serato boxes and you
know all these chords and thisinput, this output.
(10:52):
I didn't know anything aboutthat.
So it was like 10 of us tryingto figure out why I wasn't able
to connect.
And then we finally figured itout.
It started going smooth andlike my first transitions
because it was my first time onCDJs especially, and I was still
learning about cue points andall that stuff it was a little
choppy, but my selections thatwas the feedback I got your
(11:12):
selections are great.
I was like, okay, at least Iknow the music.
So once I got comfortable and Igot over the nerves and stuff
like that, it got really smoothand I was like, okay, I like the
way I mix.
And then I think one of mysecond gigs or my next gigs or
whatever, my friend that I wentto college with and like he used
to DJ at all our collegeparties and I had all his
mixtapes and stuff like that andI really, like you know, held
(11:34):
him to a high regard in thatsense because I'm like you're
the new generation but you'replaying in a way that's like
it's an ode to the older,anyways, it's an ode to the
older, anyways.
So we were on a gig togetherand I'm playing like before him
and he was just sitting therelistening the whole time and
when I got off he was like don'tchange anything that you do,
you know.
Like you have something that'sdifferent, don't change it.
(11:55):
And I was like okay, thank you,thank you.
I'll never forget that.
Speaker 1 (12:00):
It was like yeah.
I think that's really great,especially, you know, getting
feedback, because you're in suchan early stage of your career.
It could go like either left orright where someone could tell
you to be completely different,because they're used to seeing
and hearing something in adifferent space.
You know, like I think thatthat was great advice that you
(12:40):
got at a pivotal time, becauseif you had gotten, especially
from someone who you regardtheir opinion so highly, if they
would have told you somethingelse, then it could have gone a
completely different way.
So I think that that is amazing, and just to even kind of talk
more about that, like, tell meabout your style and can you
describe your DJing style?
Speaker 2 (12:49):
Hmm, um, on a selection side, I love anything
that's soulful and has a goodgroove, so I could be in any
genre.
I like mixing genres, but in away that makes sense or it's not
like a car crash or, like youknow, like just a jolt into a
new space or whatever.
That's one thing my dad alsotold me like don't make your dj
(13:09):
sound like popcorn.
So like here, there andcrackles and transitions just
sounded crazy.
Um, because I grew up listeningto his transitions.
I'm very big on like blendingand like smooth blending and I
also have a background in music.
So like I don't I don'tnecessarily always mix in key,
but like it's still gotta makesense.
Like I pay attention to themusicality of like the songs
(13:31):
that I'm mixing and like how Ican make it like the transition,
maybe even sound like a newsong in between.
You know, like certain thingslike that.
Um, I love things with a goodrhythm, especially like if it's
R&B.
I'm a 90s baby, so like I lovethings with a good rhythm,
especially like if it's R&B I'ma 90s baby, so like I love all
like the Dark Child and like allthose type of productions, like
with heavy beats, like you know, kind of like blending the hip
hop with the R&B.
(13:51):
Obviously I'm Caribbean, solike I love rhythm, like
dancehall, soca, especially likewith a good rhythm, and I like
how.
I like how I could connect thedots between, like the different
genres and like how we're allvery similar, like we're
different but we're all verysimilar, so like being able to
connect those dots.
I feel like that's how I tellmy story through my set.
Speaker 1 (14:14):
In terms of like how you play at parties.
Do you change the way that youplay depending on like the
scenes?
So you were talking aboutbrunch and then you know hosting
big experience events versuslike a festival.
How do you adjust for thosedifferent environments?
Speaker 2 (14:32):
So sometimes, like there are gigs where, like I'm
background music and I likethose because I could just play
whatever I want.
I'm not like rocking a crowd,but I'm playing to people who
are just listening, that's fun.
If I'm in a party, like I havelike an hour, two hour set at a
party, depending on my slot,like I'm playing to the people
but also like being mindful ofhow to carry the energy, like
(14:56):
gradually and like not bring itall the way up here and then you
know, lay the next dj to just Idon't know be scrambling or
just like confused.
You know, like I want to makeit, make the night make sense.
Um, like, if I'm doing a party,I like anthems.
Um like mixing in, like songsthat everybody may not know but
some people may know, so it'slike catch up.
(15:16):
Um remixes I think that's a wayof introducing music to like
the remixes.
Or like, if you're playing acertain genre party, like I like
to mix some like r&b remixes orlike a house beat or like a my
piano beat or something likethat.
Um, if I'm doing like a festivalor something like that, I put a
lot more time into my setbecause I want it to be an
(15:38):
experience.
Like when I did Afropunk, Iwanted to make sure I was
hitting certain places.
Like I'm hitting my Caribbeanheritage, I'm also hitting my
like soulful background.
I'm delivering messages that Iwant a larger crowd to hear,
fusing a pocket of those songsto like kind of tell a story and
tell a message and make peoplefeel more than just listen.
(16:00):
If I'm doing R&B only, forexample, that's definitely more
of a production side.
So I'm thinking about we have avery tight ship in terms of how
we control that show.
So it's really an experience.
Every set is an experience, butintentionality is very big in
that space.
So, like, if I'm doing one ofthose, like a larger production
(16:21):
or something like that, I'm verybig on that.
And then it's cool because Ican carry all that into my like
the intentionality into like aparty space too, so I can kind
of bring a different type ofexperience where if I'm on the
mic, I'm saying certain thingsthat you wouldn't necessarily
hear in a party all the time.
So it just feels like we'reconnecting nonetheless.
That's the biggest thing too.
I just want to connect with thepeople in whatever space it is.
Speaker 1 (16:42):
Do you have a favorite space to play in?
It doesn't have to bephysically, but like even
experience wise.
Speaker 2 (16:52):
Yeah, I like spaces where I have the room to perform
.
So, even if it's not a stagethat I could just, like you know
, run around and twirl orwhatever, it's a space that like
they're prepared to hearsomebody on a mic, for example.
Or like I like spaces where Ican perform and really just like
take up space that makes sense,you know, and bring people in
(17:15):
as well.
I think that's a challenge too,not to say it's hard, but it's
a challenge to know and bringpeople in as well.
I think that's that's achallenge too, not to say it's
hard, but it's a challenge totry to bring people in, to like
your world, and that's somethingI like I've been fine-tuning
over the years.
Like I'm not gonna play likethis person.
I may not play like this personand I don't know how I may
appear that you may assume I'mgonna.
You know, you're gonnaexperience from my set like let
(17:36):
me bring you into this littleuniverse that we got going on
for like an hour or however long.
Speaker 1 (17:41):
And in terms of you talked about like breaking new
records and artists, is itharder now to break new artists
and new music in the club sceneholistically?
Speaker 2 (17:55):
It could be a challenge.
What I like to do is like payattention to like before I even
get on the set.
I'm paying attention to whatpeople listening to online
what's trending, what's startingto bubble, what people are
talking about in conversation,like a great example is for
Campe I think I'm saying thatcorrectly that new compas song.
(18:17):
I learned about that song in anUber.
My driver was Haitian.
He was like I told him I was aDJ, he's like oh, you have to
know this song, you have to knowthis.
And I played it back in Januaryand I think that was the first
song I opened with at a set thatI did and I think people
received it because it was Compa, but I don't think everybody
(18:41):
knew about it yet.
Fast forward to now.
That's one of the biggest songsright now.
Yeah, so I'm like, let me trustmy intuition if I know like
this is going to be something,and like another artist that I
play I like to introduce intothese spaces because, like you
may know what in trinidad or inthe caribbean, whatever, like
kutain is one, and I think, likethose artists are like if you
know, you know, and it kind oflike speaks to like a pocket of
people and it catches theattention of somebody else, like
what is this that I don't knowabout yet.
But I think also likesandwiching songs, like even if
(19:04):
nobody knows about likesandwiching songs, to like
create a context for it.
They're already having a goodtime for these three songs that
I'm playing and I just squeezeit into, like in between, that
they're already on a certainlevel.
Speaker 1 (19:20):
Now I just play a song afterwards that they're
more familiar with.
So I was like, okay, like I'mhere for it.
I just did a podcast and wewere talking about like music
discovery and how much you knowthat the there's so much volume
of new music and then the way wediscover new music has changed.
And I was actually justwatching a documentary it was
was with David Rodigan and theywere talking about, you know, at
(19:41):
that time reggae and dancehallwasn't really playing on the
radio, so you had to go todancehall spaces to hear new
music and for the most part,that's a lot of what you heard
is just new music.
Part, that's a lot of what youheard is just new music.
Like it's fresh in my mind thatthe space has changed so much
(20:02):
and how we party has changed.
Even in the last 30 years it'sbeen changed so much.
So I think a lot of people nowthey go out to listen for their
favorite songs that they alreadyhave played, versus going with
an open ear.
So I kind of like think aboutlike that space now, like in
(20:24):
terms of new music andintroduction, I feel like it's
very separate.
It's either you're going to anevent to hear new music, or
you're going to an event toexperience the music you already
love and what does that meanfor both settings?
Speaker 2 (20:40):
so I don't know if you have any thoughts yeah, and
honestly, like when I firststarted DJing, I didn't
automatically like startspending in like a Caribbean
space.
I was kind of like the newtransplant, new Brooklyn, kind
of you know eclectic crowd orwhatever, and I got to
experiment a lot in those spaces.
But one thing that I noticed,even just being from a party
goer, like same thing with likebefore I started DJing I'm like
(21:03):
there's an absence of Caribbeanmusic and modern Caribbean music
.
Like we're just as present here.
We didn't stop making music inthe 2000s.
You know what I'm saying.
I know everybody has like theirnostalgia with Diwali rhythm and
Bookshelf and all them kind ofthings.
But like there's so much greatmusic and there's these same
artists are listening to this.
We're all listening to the samestuff.
So like let's incorporate eachother.
And being in those spaces, likeeven to this day, like I love
(21:27):
it because I can, like I said, Ican experiment and I can be
open format, as people say.
But I also like come from aCaribbean space and I'll play in
those spaces and there'scertain songs that everybody
knows.
So if I go in that spacethey're probably only still
going to go up to like noLetting Go by Wayne Wonder.
You know what I'm saying, butlike I'm going to take the risk
to play the songs that y'allshould know by now, like Catch
Up respectfully as to my OwnHorn, I've noticed in the space
(21:49):
like more people are starting toplay Soca.
That was something that wasnever played.
Now I'm like, oh, I rememberwhen I was the only person
playing the song and I was likeokay, well, now that y'all know
these five songs, here's anotherfive to start incorporating in
a regular circuit.
You know what I'm saying?
Speaker 1 (22:04):
Yes, and even now I see a lot of and I don't know if
it just surged because of COVID, but I see them now and I enjoy
them myself but more of thesetup around um DJs making mixes
online and you know, they'rekind of the stars with their
(22:25):
friends either behind them orwith them partying.
It's like that boiler room typesetup.
Um, that has become extremelypopular.
But I I also wonder, even whenI'm watching, I'm like is this
good editing or is this goodactually good partying?
Like, is it a mix of both?
Like, give me the deets,because I feel like everybody's
(22:47):
having this grand, amazing timeand I'm like I've never one been
to a.
I'm also I don't go out as muchas I used to, but I've never
been to a party where they playthese mashups and I've never
seen all of the reactions thatI'm seeing online.
I see them more online than Isee in person, but that might
just be me.
Speaker 2 (23:07):
There's a lot to unpack there for sure, because
I've done them and I've had agood time doing them and, like I
said, like I like to blend theworlds that I come from so like
I can have the context of whatthey do there, but like I'm
going to still be myself and belike a real DJ, so to speak, in
that space.
You know, I love a good mashup,I love a good edit, but I think
, like things become likecommodified with social media
(23:30):
over the years and it's like Ithink sometimes we lose the art
of how to infuse these things.
Like I also listen to what thepeople are saying.
I don't think everybody reallywants to hear a whole hour full
of mashups and edits.
You know, like people actuallylike let the music breathe.
People spend so much timecreating this music.
Let it breathe, you know.
But I think, like in thosesettings, some of them are
(23:51):
really cool and I think likethere's been like an influx of
new ones.
I was like kind of copy andpaste, respectfully, and it's
like at the same time, it's likehave fun with your friends.
I'm not knocking that, you knowwhat I'm saying.
Create something, whatever.
But I think, like this, we are avery chronically online
generation now, where it's likeand I forget that, like not
(24:12):
everybody's from like ametropolitan city or like a
super high energy party city, sothey're watching these things
to feel included.
We go outside, you're living ina city that only has one club,
you know what I'm saying.
So like, oh, I want to be apart of this thing, so that's
how you assume it is in Brooklynor in Miami or LA, whatever the
case may be, and I think itkind of like creates an
(24:32):
expectation before people getinto the actual experience, and
I think that takes away from thespecialness of a buildup of a
night, and there are people whodo it very well.
There are people who haveaudiences who specifically want
to hear that type of stuff,which is cool too.
Like everybody has their ownaudience, you know, but I think
like part of it is and this isjust my hot take I feel like
(24:53):
we're in a generation whereeverybody just wants to be seen
so badly and some of thereactions do seem a little
scripted or seem a little overexaggerated because of the good
editing.
They know that it's going to beedited post-production, cool.
At the same time, it's like letpeople enjoy things.
But in terms of a partyexperience, you can't
necessarily expect that, becausepeople still just want to have
(25:16):
a good time.
And I don't know I'm.
I'm also like biased because,like I'm one of the people who
don't necessarily want a lot ofpeople in the dj booth, like I'd
rather y'all be out on thedance floor.
It's not because I don't wantyou showing me love, it's like
I'd rather y'all be out on thedance floor.
This is, this is where you'resupposed to be.
You know, I'm saying, like whyare we crowding around?
Speaker 1 (25:33):
you know, that's.
Speaker 2 (25:33):
This is my thing.
I think it'd be cooler to seelike people in the front, like
you know, in front of the djbooth and you see them actually
and engaging with each other,rather than just, like you know,
making sure they look cute oncamera because, like, I think
that also like inhibits people'sfreeness.
You know, this is one clip oflike um kate shonada at a boiler
room and this artist's name, Ithink john doe.
Um, she's like kind of poplocking and stuff like that, and
(25:55):
it went viral and people likelaughing at her.
But I'm like at least she's,she's not like just, you know
she's having a good time.
Those are the type of peopleyou need around you know what
I'm saying she would be doingthe same thing on the dance
floor.
you know, yeah, so that's that'sjust how I feel.
(26:22):
No-transcript.
Um.
So we ting.
Um I started that right afterthe pandemic.
Um, like I said, I was like kindof bored into a basement party,
like my parents always hadparties like in the basement or
in the backyard, like labor daybarbecues and stuff like that.
My mother they barbecues, andthat's where I come from.
Like the hospitality aspect ofit being trinity, like there's a
(26:45):
certain level of likehospitality that you experience
in fETs, particularly inTrinidad.
That like I don't necessarilyalways feel in America, like
there's so many Caribbeanparties, but like the, the
welcomeness and like the you'retaken care of aspect of it, I
feel like that's important toremember.
That's a that's an importantpart of who we are too.
(27:05):
You know the music is veryimportant, but like that's also
it too's an important part ofwho we are too.
You know the music is veryimportant, but like that's also
it too, that's the essence ofwho we are.
The same way, um, so I startedthat so that I could kind of
create that like a backyardparty kind of vibe.
Um, I like curating things, soI like pulling people.
That I know like will create avibe that I know will kind of
like be very cohesive and, youknow, feel like a nice flow
(27:28):
through the night and people whoactually want to be there and
like who have the same love oflike exchanging music and energy
with people, especially throughCaribbean music, and also, like
I wanted to incorporate, youknow, the diaspora in general.
Like people who play my piano,people who are playing Afro
beats, people are playing likeDumbo and all that type of stuff
(27:48):
, because I grew up in New Yorkand that's what I grew up around
.
Like Puerto Rican people arecraving people too.
You know like I have a lot ofPuerto Rican people in my family
as well.
So, like all these music youknow you have, like I come from
the era of like Nina Sky andlike doing vibes, cartel
features, like this was all athing that I think we forgot
about with the Diaspora Wars andI want it to be like.
The purpose of like we ting islike it's we, it's all of we,
(28:11):
you know it's our ting, you knowlet's stop fighting and let's
really like appreciate thisthing that we have here.
So now I'm in a process of likeexploring how I can branch out
of it just being a party andlike different community
initiatives or just ways that wecan gather as a people and
connect the dots and connect thediaspora, especially like
people who don't necessarily getto experience the culture back
(28:33):
home If they are of Caribbeandescent.
I want to kind of like offerexperiences that they can, you
know, feel.
You know that a lot of peoplehave like family situations or
whatever the case, where theyfeel disconnected from the
places their family comes from.
So, like I want to try to likefind ways that we can bridge
those gaps.
Um, so that was long-winded, butum, rhythm and soul is kind of
(28:55):
like a little cousin of that,where it started off as like me
just doing mixtapes of like,like blending the genres and
stuff like that would be liker&b or r&b sounding afro beats,
r&b sounding soca and stuff likethat, and I made it into a
media platform where now I'mdoing interviews and
conversations with people that Ifeel are kind of like left of
(29:17):
center, who may like make thesetraditional genres of Caribbean
music but like are also verymuch like myself or like my
peers in New York.
You know who we listen to, thesame type of music we have.
We draw from differentinfluences, but we're also very
rooted in our culture and justtelling the stories and having
those conversations around thatand their influences and stuff
(29:38):
like that, and also just likecreating a playlist to
contextualize these types ofsounds.
And with Auntie's House I comefrom, like I said, my dad used
to play music on Saturdays allthe time.
Like I'm very much an old soul,like, and now I'm getting older
, I'm like maybe I can't callmyself that anymore Cause I'm
actually getting older Um, butlike I grew up with like
(29:58):
seventies music and like sittingsinging in the basement with my
dad and all these, like PatriceRussian and like you know, know
stylistics and all these people.
But also like I love R&B andthere's so many pockets of R&B
that like we don't necessarilyget to hear in a party because,
like I don't know if everybodyknows this type of stuff, I
don't know if everybody grew upon this type of stuff.
So, um and past R&B, likereggae, you know we don't hear a
(30:22):
lot of like classic reggae inparties anymore.
I don't think we have a lot oflike reggae parties, like we
have dancehall, but it's not alot of reggae parties that are
in a way that speaks to the waythat we grew up with it.
Not necessarily like these arethe classics, you know it's like
you know you're in a backyardparty, like there's certain
songs that get played, like Iwant to create that feeling in
(30:43):
everything that I do, like bringback a feeling and Auntie's
House is really just like a safespace for everybody who just
loves nostalgic music and, justlike you know, also may want to
be home a little earlier.
Like we're not going to be outall night.
It's not ending at four in themorning.
You're going to get home at adecent hour.
You know what I'm saying Getyour little wine, whatever the
case is, get your two-step in,sing any songs and go home and
(31:03):
feel good Like I.
Like it's how I want Sundays tofeel.
That's how I grew up with mySundays feeling.
So I just want to create aspace for people to feel that
too.
Speaker 1 (31:11):
I love it.
So how do you balance all ofthese creative outlets?
Speaker 2 (31:17):
Ooh, that's a good question.
Speaker 1 (31:17):
No, I'm joking.
Speaker 2 (31:20):
Um, now I'm in a space where I'm like being open
to asking for help and also likeremembering the fun of it.
Like, yeah, this is a project,but like remember why you're,
why you know, and not be sorigid about it.
(31:44):
And also just like finding waysto like organize myself better
and like time things out and notfeel like I have to pack my
month up with so many things allthe time.
Like I'm very okay with likethe bigger picture and like
there's no rush.
I could spread things out.
These are my ideas.
There's no deadline that youknow is necessarily being
(32:05):
impended on me.
I create these rules, so, like,with that, how do I want to
experience it, how do I want tospread it out?
Speaker 1 (32:11):
and like, yeah, I think that's, that's what I'm
learning right now tell me aboutsome of the caribbean and
non-caribbean artists that youare listening to right now um,
I'm still very much like onasoka High from Carnival this
year.
Speaker 2 (32:28):
So, like I love, like I said I love Kutain.
That's like one of the upcomingartists out of Trinidad.
Um, I like, hmm, who am Ilistening to?
I don't see, I'm not gonna lie.
I've been listening to a lot oflike throwback stuff and I'm
like, let me get back into themix.
Coco Jones has a really goodalbum out.
Um, so does Leon Thomas.
(32:52):
I have like random playlists.
There's a lot of my piano stuffthat I cannot even pronounce.
I'm not even going to try to,but I have a whole playlist when
I just want to get in that zone.
Who else am I listening to?
There's a bunch.
I gotta go through my stuff.
But yeah, I feel like I'm gothrough my stuff, but yeah, I'm
trying to think I feel like I'mforgetting somebody and that
(33:12):
kind of sucks that alwayshappens.
Speaker 1 (33:14):
You like drawing a blank with you in terms of
logistics and organization.
What is something that thatpeople don't understand or
underestimate about being a DJ?
Speaker 2 (33:34):
The things you don't see.
Like behind the scenes there'sa lot of doubt.
Sometimes.
There's a lot of resiliencethat you have to develop and I
think that comes with just beingan entrepreneur in general and
an artist.
You have to be prepared to nottake things so personal, because
everybody in this ecosystem hastheir own agendas, and I don't
(33:58):
mean like in a negative way, butlike, let's say, a promoter.
They understand their timelinefor when they want to throw
events or how to space out whothey want to book or whatever
the case may be.
When they want to throw eventsor how to space out who they
want to book or whatever thecase may be, venues may be going
through issues on a financialside where they're not trying to
, you know, book as many peopleor pay as many people.
(34:18):
Sometimes, like your peers, maynot have the capacity to take on
certain things or to engagewith you or have conversations.
You know, or to engage with youor have conversations.
You know, just like everybodyhas a lot going on and I think,
like we're in a time, especiallythe state of the world right
now, there's a lot going on atall times.
(34:39):
I think having the grace tounderstand that like this is a
marathon, not a race.
Yes, like the shiny things thatwe like to see, the whole
booked and busy.
I'm personally, like you don'thave to say that Like this is
part of my job.
I'm very blessed, I give thanks, but also, like you may not
know what somebody's goingthrough Like this may be like to
pay their bills.
(34:59):
You know what I'm saying.
Like this is just thankful.
You know it's not like a flex.
Also, on the other side, like Idon't always want to talk about
dj stuff, like I just like music.
You know I don't want to talkabout what gigs I have coming up
.
I like to talk about, like this, the nerdy stuff about music,
like this era and this pocketand what they did with this drum
and stuff like that.
(35:19):
Like I know people are talkingto producers about that, but
we're music nerds.
The same way, I also think thisis very much like a it's a very
competitive space and like theact of DJing is like getting
easier.
But like I think we have a veryunique career.
(35:39):
I guess you could say wherelike I don't want to say brand,
because I hate that word, butlike you're really creating a
brand essentially around who youare as a person.
You know we have influencersthese days, but this is like a
bit different because it's likean actual interest and like a
hobby that turned into a career.
Like I don't necessarily alwaysknow how to give advice when it
comes to like DJ things.
(36:00):
Sometimes it's like this isreally like personal journey
stuff, like I'm very spirituallyinclined and like I don't
remove God from anything that Ido and I feel like that's what
got me to this place.
Not networking, not cold emailAll those things are cool, but a
lot of it is praying and justmaking sure I keep my spirit
(36:20):
clean and I'm around good peopleand I have discernment and
stuff like that.
I think that's the biggest partof it too, that a lot of people
don't really see Cause, like itcould feel like very mechanical
, like transactional, but likethat I don't subscribe to that,
you know personally, and I liketo have a community of people
who feel the same way.
So I know it's long winded, butI hope that answers the
(36:42):
question.
Speaker 1 (36:43):
No, I feel like the next question I'm going to ask
you.
You'll make it even more longwinded or maybe short.
You talk a lot about alignment.
What do you believe that yourpurpose is in your mission right
now?
I'm going to say right nowbecause I feel like your
lifespan is long, so right nowis the focus.
Speaker 2 (37:04):
To spread love and be an example of love, and I think
that's what we're all here todo essentially.
I guess I'm another reminder ofthat, and my medium is music
and words or storytelling moreso, I'd like to say, right now,
I think that's what I'm here todo.
I'm still discovering new waysof doing so, because music and
(37:24):
DJing was my first avenue.
I feel like I knew that fromthe start.
Djing is a first step toeverything else that I want to
do.
It's just a space for me togain confidence, for me to put
myself out there.
I was very shy, like I alwayshad a lot of friends, I was
always in a mix, but like mebeing on the spotlight, like I
like to be behind the scenes orlike real quick on the stage, do
my little one, two and then,you know, leave.
(37:45):
Yeah, I think I'm here to showthat and like, remind people,
like that authenticity is okay,you don't have to try to be
authentic, you just are Likethat's all part of your
self-journey.
And yeah, I think that's whereI'm at right now.
Speaker 1 (38:00):
Any advice for someone younger starting out
right now?
Speaker 2 (38:05):
Take your time.
Try not to be so anxious aboutthe future, you know, because
you're gonna look up and thenyou'll see everything happen and
you're like, oh shoot, like Ispent all this time worrying I
could have been enjoying theprocess.
Um, enjoy the process you know,yes, even now I'll be like that
.
Speaker 1 (38:22):
I did a lot, but I'm like I didn't even get to enjoy
it like, yeah, how do you stayin the moment, like you know,
reminding yourself about that?
I feel like that's a constantthing, a state of like when you
reflect, you kind of look backand say, yeah, I did those
things.
Then you're like wait a minute,I didn't enjoy it.
How do you proactively stay inthe moment and try to enjoy
(38:47):
what's right in front of you?
Speaker 2 (38:49):
I thank God.
Gratitude I reflect a lot, likeI spend a lot of time by myself
.
Just, you know, contrary towhat it may seem, I know I'm
around a lot of people, but Ispend a lot of time by myself
Just reflecting.
Journaling also helps.
I need to do that a bit more,like sometimes I'll do like a
video journal.
I'll just dump it all out,everything that I feel, and
(39:15):
connect those dots as I'mspeaking.
Yeah, I think those are themain things, just gratitude at
the very root, and sometimesit's hard because I think I have
a better grip on my anxiousness.
Sometimes, being a woman,there's different hormonal
levels of emotions and stufflike that.
So like, understanding the ebbsand flow of my life and my
emotions, I think has left me alot more grounded.
Like, ok, feel your stuff.
(39:36):
If you're anxious right now,know it's going to be you and be
fine next week, you know.
Just like, remember that you'regoing to be OK.
You know and remember that likeyou're on the right path.
And remember that like you'reon the right path, control your
thoughts a bit more.
So like you're not takinganything personally or you're
not like not understanding whereyou are presently, something is
(39:58):
going to come.
Like, this too shall pass, Isuppose.
And just like, when thesunshine does come after the
rain, it's like oh, wow, like,ok, if I continue to just move
down this path, I'll be allright.
Like everything, everything'sgoing to be fine, more good
things will continue to come tome.
So, like, let me trust thatthat's, that's my path.
You know that's how this goes.
I hope that answers thequestion.
Speaker 1 (40:22):
Yeah, no, it does, it does.
Thank you so much.
Um last question what are you?
Speaker 2 (40:23):
excited for that you're working on.
I am excited about auntie'shouse because I finally finally
have, like I found a space forlike a residency that feels
aligned with it and just feelingmore sure of like my, my
audience, or like me being ableto stay true to myself.
I think it's something that Istruggle with because I was like
I don't know if everybody'sgoing to like this Like.
I think I struggled with that alot in the past, but now, like
(40:44):
just actually putting likemomentum behind my own ideas is
something that I'm excited about.
Same thing with Rhythm and Souland just like trying to align
more interviews andconversations to like you know,
not not for my own sake, butlike to tell the stories that I
feel like are important.
Speaker 1 (41:02):
Well, that's awesome.
I feel like this calm naturetalking to you in terms of you
have like this Zen spirit aboutyou.
So I'm excited to see what youhave coming up and I'll most
definitely now that it's warmingup I can most definitely make
it out.
Speaker 2 (41:17):
Yeah.
Speaker 1 (41:18):
To maybe one of the aunties events and somebody told
me recently I'm an auntie.
Speaker 2 (41:22):
Yes, I love it.
Speaker 1 (41:25):
I was like, as long as you put Rich before it, I'm
fine.
Speaker 2 (41:27):
I'm fine.
Thank you, fine, whatever.
Speaker 1 (41:31):
Exactly All right.
Well, thank you so much.
I really appreciate you comingon, gab.
Tell the people, then, wherethey can find you.
Speaker 2 (41:39):
You can find me on Instagram at GabSoul, underscore
.
I'm also on TikTok.
You know talking crap.
Soundcloud is Gab-Soul.
Have some mixes on apple musictoo.
Just google, I mean google goodsearch capsule, um, and yeah,
I'll be around here there,everyone.
Speaker 1 (41:57):
Thank you so much.
We appreciate you for being onthe podcast and look forward to
all the things that you havecoming up.
Uh, we'll be sure to puteverything in the show notes,
and until next time, leah TummyPeeps.
Speaker 2 (42:10):
Thank you so much.
I appreciate you Take care.
Bye.
Hello everyone and welcome to another edition of
the Style and Vibes podcast withyours truly.
If you are new to the family,welcome to the family.
Are you returning?
Welcome back, family.
It's always a greatconversation you guys know I
love to have with you guys.
Today we are joined by aspecial guest.
You are going to be my firstwoman female DJ selector,
(00:28):
puniting Gamsoul.
Welcome, welcome, thank you,thank you, it's a pleasure.
Thank you, thank you so much.
So Gamsoul is her name, but sheis known as the eclectic
selector.
I have to ask more than one daybecause I like that.
That tag name is so perfect.
So she's based here in New York.
(00:48):
She is a Caribbean American DJor selector we in Caribbean call
it selector and she fuses herlove of R&B, soul, hip hop, funk
, house and all of the Africandiaspora music.
She has been seeing DJing at anumber of events across the
United States andinternationally At Afropunk R&B
(01:10):
Only Boiler Room.
But she also carries her ownevents, including we Ting so
you're not off the top boat withTing Auntie's House and
recently launched Rhythm andSoul, which amplifies connecting
artists and music in thediaspora.
So I love all the things thatyou are doing.
So we're going to talk aboutour life, but first I really
(01:31):
want to talk to you about justgetting started.
How did you become a selector?
You know well.
First of all, tell the peoplethe islands that you hail from.
Let's start there.
Speaker 2 (01:43):
Half Trini, half Guyanese, mom's Trini, dad's
Guyanese.
Speaker 1 (01:46):
Okay, and you're based in Brooklyn.
Speaker 2 (01:49):
Yeah.
Speaker 1 (01:50):
You know Brooklynites like to distinct, so don't just
say New York Menos say on aBrooklynite it's different to be
Caribbean and from Brooklyn.
Speaker 2 (01:59):
This is true.
I'm also from Long Island.
Speaker 1 (02:00):
I got to big up Long Island soon okay, okay, so tell
me about how you got startedDJing.
Speaker 2 (02:07):
I, I was in college and I think that's when I really
started honing in on my lovefor music and there was like all
these different collectivesthat are coming out like new age
DJs.
I also like been in a party,like I feel like I was born in a
basement party.
That's what I like to jokeabout.
Um, I haven't gone to partiessince I was like 13.
So like I understand thepsychology of the dance for the
(02:29):
party and all those things justfrom being an attendee.
So college, you know, we ampedit like times 10.
So like seeing like the newcollectors of DJs and pairing
(02:50):
that with like the DJs that I'mfamiliar with around the way, it
would just make me feel likeokay, this is possible.
My dad is also a dj, like as ahobby.
So I grew up with him justplaying music in the house all
the time big sound system,enormous record collection, and
that was just like my foundation.
So when I decided I reallywanted to give it a try, my mom,
you know, kind of pushed my dadto teach me how to dj and been
going since I graduated collegefirst.
Speaker 1 (03:03):
So like that, like I guess I was a yeah, but get the
education Typical Caribbeanhousehold right.
So in terms of the collectivesthat kind of inspired you like
tell me who you listen to andwho you are familiar with from a
sound system perspective.
Speaker 2 (03:21):
When I was in college I was listening to like
Selection and like Que KitRenato was still was still
coming out and like, becausethey were DJing in a very
different way that I'm used toaround the way and they were
playing the music that I wasinto at the time, I kind of felt
like, ok, I could fuse these,these two worlds and you know
making my own.
So those, those are really likethe ones that made me feel like
(03:42):
, if they could know, like no,no shade, but if they could do
it, I could do it too.
Growing up, I never really sawwomen DJs too.
That was another thing.
It's not to say it wasn'tpossible, but it wasn't
something that I thought aboutto really take seriously.
So I see all these newer DJscoming up, I'm like, okay, well,
this is a new world, this is anew landscape.
I can try this too, you know.
Speaker 1 (04:02):
And what for you was like that catalyst that you were
like, okay, I'm definitelygoing to do this.
Speaker 2 (04:08):
My friend had a house party and they always knew that
I always had like all theCaribbean music on my iPod.
Like I just, you know, Idownload everything I still do
to this day.
So they always knew like to goto me so like, oh, you know all
the songs, just hop on the aux.
And I was like on YouTube,going between tabs and I was
like the way I was timing it, Iwas like, wow, you know, I might
(04:31):
actually know what I'm doing.
This is kind of cool, you know,let me give it a shot.
So I was like playing aroundwith virtual DJ and you know,
from there I was just like youknow, I like so did you learn on
like vinyls or from a digitalperspective?
first, First when I was teachingmyself, it was on virtual DJ
and then when my dad finallystarted showing me he has like
(04:53):
turntables so he was using likeSerato vinyl.
But like I eventually learnedhow to use actual vinyl because
it was at my disposal.
But, I definitely learned onturntables.
Speaker 1 (05:03):
What would you say was the differences between
those experiences for you?
Speaker 2 (05:08):
Hmm, like I'm learning on on turntables and
versus learning digitally.
So when I was teaching myself,I didn't know anything about
anything.
So I'm like going to like be anage trying to figure out like
the tech side of it, like how doI queue it up in my, in my
headphones?
Before I, you know, because Ididn't have like a console or
(05:28):
anything to play on, so I wasjust calling from my computer.
The person in the store waskind of confused, like do you
mean?
But like we found like aheadphone splitter or whatever
and made it work.
But then like my dad showing mehow to use it was like to like
guide me, so that was helpful.
And I also had like DJ homiesaround the way who was just like
explaining the tech side ofthings and like you know, so I
(05:48):
have some context.
Speaker 1 (05:50):
So if your dad was a DJ, why didn't you go to him
first, versus trying to learn onyour own?
What was that?
Speaker 2 (05:59):
I remember when I was a kid I had asked him like
cause he used to just be mixingin the basement all the time on
the weekends.
I was like can you teach me howto DJ?
He's like no shade to it, he'slike girl, so DJ.
And I was like okay, whatever,leave that alone.
So I just wanted to try it out.
The DJs that I saw coming outagain I didn't know the tech
side of things, so like I sawthem using like Tractor and
(06:22):
stuff like that.
And when I was explaining thatit's like actual I'm not saying
actual DJs, it's kind of shady,but like people who use like
Serato and stuff like that, theywere like I don't know if
that's the route you really wantto go.
So I realized like okay, I waslearning the difference between
the different types of texts.
And then I told my dad I wantedto learn.
No, I think I told my mom andshe was like hey, she's serious,
(06:44):
you know, teacher.
So like he kind of like gottenme into it.
Speaker 1 (06:48):
So I guess it was like I don't want to say it was
a fear, but I was just like letme, let me try it first, you
know at least you, you had yourown experience to kind of play
off of, when you know you didreach out to him and have him um
kind of teach you what he knew.
But I'm sure maybe you'vesurpassed his skill set at this
point.
Speaker 2 (07:08):
I mean, I don't want to say that Different worlds,
different age.
Speaker 1 (07:14):
Now you touched upon being a female DJ, and we see
more of them now than before.
A lot of my references are likeJazzy Joyce or Coco Chanel and
they were a few even then andthen coming into the space now I
see so many more women in thespace, which I love.
(07:36):
What do you think are the keydifferences in terms of playing
styles, particularly when itcomes to you being a female and
having a certain touch that yourmale counterparts just don't
display?
Speaker 2 (07:50):
Well, first of all, shout out to Jazzy Joyce and
Coco Chanel Love them down.
Actually, when I was on theradio, I took over Jazzy Joyce's
space.
It was just like whoa, what theheck?
What does this mean?
She's all the way up here andI'm just like starting out, so
that was like a big deal for me.
But, yeah, I think, like, evenlike to reference those two like
(08:12):
they came up, like I study allthese people, so like I remember
like Coco Chanel saying, likeshe's in the basement, like
somebody was teaching her andshe was there for hours trying
to learn how to cut and theykept telling her start over,
start over, start over, startover.
And I think when you learn froma man, there's a certain like,
rigidness, um, that like makesyou really confident on the set
too.
And I'm not, you know, I'm notsaying like if you don't learn
(08:32):
from a man, it's not confidence,but it's like because they're
just very like what left brain,right brain, whatever it is like
you approach it in that way.
But I think, when you also pairthat with your femininity, your
um, your sensuality, and likehow you understand music and the
way you feel music, I feel likethat just is like a superpower.
So like knowing liketraditional style and then
pairing that with like yoursensuality and like your taste
(08:55):
and understanding what peoplewant to feel.
I think that just it's feltevery time and I think that's
something I've been hearing overthe years too.
It's not to say one is betterthan the other, but, like with
R&B particularly, I'll say likewomen play R&B better.
That's just my opinion.
But, you know, because we're,like a lot of us are newer in
(09:15):
the game, we're not as likehesitant to take risks and like
mix certain things.
You know, sometimes I empathizewith like a lot of the male DJs
because, like they feel likethey got to play in a very
specific way, like this segmenthas to go like this, this genre
has to go like this.
I was like I know you want tobreak out, just try it.
Speaker 1 (09:32):
You know, like we do it try it so so tell me about
your first party experience,where you DJed a party like.
What was that like for you?
Speaker 2 (09:44):
um, my first gig was a brunch and I had told my
friend like he was doing abrunch series or whatever at, um
, what's the place calledWoodland, rip to Woodland.
Um, and that was like also likea start of a new scene of like
event spaces, event curation andstuff like that.
So I told him that my dad wasshowing me how and he just like
immediately threw me on a flyer,like oh, you want to spin what?
(10:06):
What put you on?
I was like I don't even have aDJ name yet.
Like um, gabso was just my atname.
So like he just threw me on theflyer, I was like, okay, I
guess I gotta take this serious.
Um, so I was practicing and Iwas working at a um, a startup
PR firm, music PR firm, and um,I was kind of like phasing out,
like I don't know if I reallywant to do this.
So I had like left the job andthe gig was like two weeks after
(10:29):
.
So I was just like let me justpractice, practice for this gig,
take myself seriously.
And when I got there again Ididn't really know much about
tech.
I learned on turntables like1200.
So, like the space has CDJs.
I had no context of that.
So I didn't know.
This is also a time where youhad to use Serato boxes and you
know all these chords and thisinput, this output.
(10:52):
I didn't know anything aboutthat.
So it was like 10 of us tryingto figure out why I wasn't able
to connect.
And then we finally figured itout.
It started going smooth andlike my first transitions
because it was my first time onCDJs especially, and I was still
learning about cue points andall that stuff it was a little
choppy, but my selections thatwas the feedback I got your
(11:12):
selections are great.
I was like, okay, at least Iknow the music.
So once I got comfortable and Igot over the nerves and stuff
like that, it got really smoothand I was like, okay, I like the
way I mix.
And then I think one of mysecond gigs or my next gigs or
whatever, my friend that I wentto college with and like he used
to DJ at all our collegeparties and I had all his
mixtapes and stuff like that andI really, like you know, held
(11:34):
him to a high regard in thatsense because I'm like you're
the new generation but you'replaying in a way that's like
it's an ode to the older,anyways, it's an ode to the
older, anyways.
So we were on a gig togetherand I'm playing like before him
and he was just sitting therelistening the whole time and
when I got off he was like don'tchange anything that you do,
you know.
Like you have something that'sdifferent, don't change it.
(11:55):
And I was like okay, thank you,thank you.
I'll never forget that.
Speaker 1 (12:00):
It was like yeah.
I think that's really great,especially, you know, getting
feedback, because you're in suchan early stage of your career.
It could go like either left orright where someone could tell
you to be completely different,because they're used to seeing
and hearing something in adifferent space.
You know, like I think thatthat was great advice that you
(12:40):
got at a pivotal time, becauseif you had gotten, especially
from someone who you regardtheir opinion so highly, if they
would have told you somethingelse, then it could have gone a
completely different way.
So I think that that is amazing, and just to even kind of talk
more about that, like, tell meabout your style and can you
describe your DJing style?
Speaker 2 (12:49):
Hmm, um, on a selection side, I love anything
that's soulful and has a goodgroove, so I could be in any
genre.
I like mixing genres, but in away that makes sense or it's not
like a car crash or, like youknow, like just a jolt into a
new space or whatever.
That's one thing my dad alsotold me like don't make your dj
(13:09):
sound like popcorn.
So like here, there andcrackles and transitions just
sounded crazy.
Um, because I grew up listeningto his transitions.
I'm very big on like blendingand like smooth blending and I
also have a background in music.
So like I don't I don'tnecessarily always mix in key,
but like it's still gotta makesense.
Like I pay attention to themusicality of like the songs
(13:31):
that I'm mixing and like how Ican make it like the transition,
maybe even sound like a newsong in between.
You know, like certain thingslike that.
Um, I love things with a goodrhythm, especially like if it's
R&B.
I'm a 90s baby, so like I lovethings with a good rhythm,
especially like if it's R&B I'ma 90s baby, so like I love all
like the Dark Child and like allthose type of productions, like
with heavy beats, like you know, kind of like blending the hip
hop with the R&B.
(13:51):
Obviously I'm Caribbean, solike I love rhythm, like
dancehall, soca, especially likewith a good rhythm, and I like
how.
I like how I could connect thedots between, like the different
genres and like how we're allvery similar, like we're
different but we're all verysimilar, so like being able to
connect those dots.
I feel like that's how I tellmy story through my set.
Speaker 1 (14:14):
In terms of like how you play at parties.
Do you change the way that youplay depending on like the
scenes?
So you were talking aboutbrunch and then you know hosting
big experience events versuslike a festival.
How do you adjust for thosedifferent environments?
Speaker 2 (14:32):
So sometimes, like there are gigs where, like I'm
background music and I likethose because I could just play
whatever I want.
I'm not like rocking a crowd,but I'm playing to people who
are just listening, that's fun.
If I'm in a party, like I havelike an hour, two hour set at a
party, depending on my slot,like I'm playing to the people
but also like being mindful ofhow to carry the energy, like
(14:56):
gradually and like not bring itall the way up here and then you
know, lay the next dj to just Idon't know be scrambling or
just like confused.
You know, like I want to makeit, make the night make sense.
Um, like, if I'm doing a party,I like anthems.
Um like mixing in, like songsthat everybody may not know but
some people may know, so it'slike catch up.
(15:16):
Um remixes I think that's a wayof introducing music to like
the remixes.
Or like, if you're playing acertain genre party, like I like
to mix some like r&b remixes orlike a house beat or like a my
piano beat or something likethat.
Um, if I'm doing like a festivalor something like that, I put a
lot more time into my setbecause I want it to be an
(15:38):
experience.
Like when I did Afropunk, Iwanted to make sure I was
hitting certain places.
Like I'm hitting my Caribbeanheritage, I'm also hitting my
like soulful background.
I'm delivering messages that Iwant a larger crowd to hear,
fusing a pocket of those songsto like kind of tell a story and
tell a message and make peoplefeel more than just listen.
(16:00):
If I'm doing R&B only, forexample, that's definitely more
of a production side.
So I'm thinking about we have avery tight ship in terms of how
we control that show.
So it's really an experience.
Every set is an experience, butintentionality is very big in
that space.
So, like, if I'm doing one ofthose, like a larger production
(16:21):
or something like that, I'm verybig on that.
And then it's cool because Ican carry all that into my like
the intentionality into like aparty space too, so I can kind
of bring a different type ofexperience where if I'm on the
mic, I'm saying certain thingsthat you wouldn't necessarily
hear in a party all the time.
So it just feels like we'reconnecting nonetheless.
That's the biggest thing too.
I just want to connect with thepeople in whatever space it is.
Speaker 1 (16:42):
Do you have a favorite space to play in?
It doesn't have to bephysically, but like even
experience wise.
Speaker 2 (16:52):
Yeah, I like spaces where I have the room to perform
.
So, even if it's not a stagethat I could just, like you know
, run around and twirl orwhatever, it's a space that like
they're prepared to hearsomebody on a mic, for example.
Or like I like spaces where Ican perform and really just like
take up space that makes sense,you know, and bring people in
(17:15):
as well.
I think that's a challenge too,not to say it's hard, but it's
a challenge to know and bringpeople in as well.
I think that's that's achallenge too, not to say it's
hard, but it's a challenge totry to bring people in, to like
your world, and that's somethingI like I've been fine-tuning
over the years.
Like I'm not gonna play likethis person.
I may not play like this personand I don't know how I may
appear that you may assume I'mgonna.
You know, you're gonnaexperience from my set like let
(17:36):
me bring you into this littleuniverse that we got going on
for like an hour or however long.
Speaker 1 (17:41):
And in terms of you talked about like breaking new
records and artists, is itharder now to break new artists
and new music in the club sceneholistically?
Speaker 2 (17:55):
It could be a challenge.
What I like to do is like payattention to like before I even
get on the set.
I'm paying attention to whatpeople listening to online
what's trending, what's startingto bubble, what people are
talking about in conversation,like a great example is for
Campe I think I'm saying thatcorrectly that new compas song.
(18:17):
I learned about that song in anUber.
My driver was Haitian.
He was like I told him I was aDJ, he's like oh, you have to
know this song, you have to knowthis.
And I played it back in Januaryand I think that was the first
song I opened with at a set thatI did and I think people
received it because it was Compa, but I don't think everybody
(18:41):
knew about it yet.
Fast forward to now.
That's one of the biggest songsright now.
Yeah, so I'm like, let me trustmy intuition if I know like
this is going to be something,and like another artist that I
play I like to introduce intothese spaces because, like you
may know what in trinidad or inthe caribbean, whatever, like
kutain is one, and I think, likethose artists are like if you
know, you know, and it kind oflike speaks to like a pocket of
people and it catches theattention of somebody else, like
what is this that I don't knowabout yet.
But I think also likesandwiching songs, like even if
(19:04):
nobody knows about likesandwiching songs, to like
create a context for it.
They're already having a goodtime for these three songs that
I'm playing and I just squeezeit into, like in between, that
they're already on a certainlevel.
Speaker 1 (19:20):
Now I just play a song afterwards that they're
more familiar with.
So I was like, okay, like I'mhere for it.
I just did a podcast and wewere talking about like music
discovery and how much you knowthat the there's so much volume
of new music and then the way wediscover new music has changed.
And I was actually justwatching a documentary it was
was with David Rodigan and theywere talking about, you know, at
(19:41):
that time reggae and dancehallwasn't really playing on the
radio, so you had to go todancehall spaces to hear new
music and for the most part,that's a lot of what you heard
is just new music.
Part, that's a lot of what youheard is just new music.
Like it's fresh in my mind thatthe space has changed so much
(20:02):
and how we party has changed.
Even in the last 30 years it'sbeen changed so much.
So I think a lot of people nowthey go out to listen for their
favorite songs that they alreadyhave played, versus going with
an open ear.
So I kind of like think aboutlike that space now, like in
(20:24):
terms of new music andintroduction, I feel like it's
very separate.
It's either you're going to anevent to hear new music, or
you're going to an event toexperience the music you already
love and what does that meanfor both settings?
Speaker 2 (20:40):
so I don't know if you have any thoughts yeah, and
honestly, like when I firststarted DJing, I didn't
automatically like startspending in like a Caribbean
space.
I was kind of like the newtransplant, new Brooklyn, kind
of you know eclectic crowd orwhatever, and I got to
experiment a lot in those spaces.
But one thing that I noticed,even just being from a party
goer, like same thing with likebefore I started DJing I'm like
(21:03):
there's an absence of Caribbeanmusic and modern Caribbean music
.
Like we're just as present here.
We didn't stop making music inthe 2000s.
You know what I'm saying.
I know everybody has like theirnostalgia with Diwali rhythm and
Bookshelf and all them kind ofthings.
But like there's so much greatmusic and there's these same
artists are listening to this.
We're all listening to the samestuff.
So like let's incorporate eachother.
And being in those spaces, likeeven to this day, like I love
(21:27):
it because I can, like I said, Ican experiment and I can be
open format, as people say.
But I also like come from aCaribbean space and I'll play in
those spaces and there'scertain songs that everybody
knows.
So if I go in that spacethey're probably only still
going to go up to like noLetting Go by Wayne Wonder.
You know what I'm saying, butlike I'm going to take the risk
to play the songs that y'allshould know by now, like Catch
Up respectfully as to my OwnHorn, I've noticed in the space
(21:49):
like more people are starting toplay Soca.
That was something that wasnever played.
Now I'm like, oh, I rememberwhen I was the only person
playing the song and I was likeokay, well, now that y'all know
these five songs, here's anotherfive to start incorporating in
a regular circuit.
You know what I'm saying?
Speaker 1 (22:04):
Yes, and even now I see a lot of and I don't know if
it just surged because of COVID, but I see them now and I enjoy
them myself but more of thesetup around um DJs making mixes
online and you know, they'rekind of the stars with their
(22:25):
friends either behind them orwith them partying.
It's like that boiler room typesetup.
Um, that has become extremelypopular.
But I I also wonder, even whenI'm watching, I'm like is this
good editing or is this goodactually good partying?
Like, is it a mix of both?
Like, give me the deets,because I feel like everybody's
(22:47):
having this grand, amazing timeand I'm like I've never one been
to a.
I'm also I don't go out as muchas I used to, but I've never
been to a party where they playthese mashups and I've never
seen all of the reactions thatI'm seeing online.
I see them more online than Isee in person, but that might
just be me.
Speaker 2 (23:07):
There's a lot to unpack there for sure, because
I've done them and I've had agood time doing them and, like I
said, like I like to blend theworlds that I come from so like
I can have the context of whatthey do there, but like I'm
going to still be myself and belike a real DJ, so to speak, in
that space.
You know, I love a good mashup,I love a good edit, but I think
, like things become likecommodified with social media
(23:30):
over the years and it's like Ithink sometimes we lose the art
of how to infuse these things.
Like I also listen to what thepeople are saying.
I don't think everybody reallywants to hear a whole hour full
of mashups and edits.
You know, like people actuallylike let the music breathe.
People spend so much timecreating this music.
Let it breathe, you know.
But I think, like in thosesettings, some of them are
(23:51):
really cool and I think likethere's been like an influx of
new ones.
I was like kind of copy andpaste, respectfully, and it's
like at the same time, it's likehave fun with your friends.
I'm not knocking that, you knowwhat I'm saying.
Create something, whatever.
But I think, like this, we are avery chronically online
generation now, where it's likeand I forget that, like not
(24:12):
everybody's from like ametropolitan city or like a
super high energy party city, sothey're watching these things
to feel included.
We go outside, you're living ina city that only has one club,
you know what I'm saying.
So like, oh, I want to be apart of this thing, so that's
how you assume it is in Brooklynor in Miami or LA, whatever the
case may be, and I think itkind of like creates an
(24:32):
expectation before people getinto the actual experience, and
I think that takes away from thespecialness of a buildup of a
night, and there are people whodo it very well.
There are people who haveaudiences who specifically want
to hear that type of stuff,which is cool too.
Like everybody has their ownaudience, you know, but I think
like part of it is and this isjust my hot take I feel like
(24:53):
we're in a generation whereeverybody just wants to be seen
so badly and some of thereactions do seem a little
scripted or seem a little overexaggerated because of the good
editing.
They know that it's going to beedited post-production, cool.
At the same time, it's like letpeople enjoy things.
But in terms of a partyexperience, you can't
necessarily expect that, becausepeople still just want to have
(25:16):
a good time.
And I don't know I'm.
I'm also like biased because,like I'm one of the people who
don't necessarily want a lot ofpeople in the dj booth, like I'd
rather y'all be out on thedance floor.
It's not because I don't wantyou showing me love, it's like
I'd rather y'all be out on thedance floor.
This is, this is where you'resupposed to be.
You know, I'm saying, like whyare we crowding around?
Speaker 1 (25:33):
you know, that's.
Speaker 2 (25:33):
This is my thing.
I think it'd be cooler to seelike people in the front, like
you know, in front of the djbooth and you see them actually
and engaging with each other,rather than just, like you know,
making sure they look cute oncamera because, like, I think
that also like inhibits people'sfreeness.
You know, this is one clip oflike um kate shonada at a boiler
room and this artist's name, Ithink john doe.
Um, she's like kind of poplocking and stuff like that, and
(25:55):
it went viral and people likelaughing at her.
But I'm like at least she's,she's not like just, you know
she's having a good time.
Those are the type of peopleyou need around you know what
I'm saying she would be doingthe same thing on the dance
floor.
you know, yeah, so that's that'sjust how I feel.
(26:22):
No-transcript.
Um.
So we ting.
Um I started that right afterthe pandemic.
Um, like I said, I was like kindof bored into a basement party,
like my parents always hadparties like in the basement or
in the backyard, like labor daybarbecues and stuff like that.
My mother they barbecues, andthat's where I come from.
Like the hospitality aspect ofit being trinity, like there's a
(26:45):
certain level of likehospitality that you experience
in fETs, particularly inTrinidad.
That like I don't necessarilyalways feel in America, like
there's so many Caribbeanparties, but like the, the
welcomeness and like the you'retaken care of aspect of it, I
feel like that's important toremember.
That's a that's an importantpart of who we are too.
(27:05):
You know the music is veryimportant, but like that's also
it too's an important part ofwho we are too.
You know the music is veryimportant, but like that's also
it too, that's the essence ofwho we are.
The same way, um, so I startedthat so that I could kind of
create that like a backyardparty kind of vibe.
Um, I like curating things, soI like pulling people.
That I know like will create avibe that I know will kind of
like be very cohesive and, youknow, feel like a nice flow
(27:28):
through the night and people whoactually want to be there and
like who have the same love oflike exchanging music and energy
with people, especially throughCaribbean music, and also, like
I wanted to incorporate, youknow, the diaspora in general.
Like people who play my piano,people who are playing Afro
beats, people are playing likeDumbo and all that type of stuff
(27:48):
, because I grew up in New Yorkand that's what I grew up around
.
Like Puerto Rican people arecraving people too.
You know like I have a lot ofPuerto Rican people in my family
as well.
So, like all these music youknow you have, like I come from
the era of like Nina Sky andlike doing vibes, cartel
features, like this was all athing that I think we forgot
about with the Diaspora Wars andI want it to be like.
The purpose of like we ting islike it's we, it's all of we,
(28:11):
you know it's our ting, you knowlet's stop fighting and let's
really like appreciate thisthing that we have here.
So now I'm in a process of likeexploring how I can branch out
of it just being a party andlike different community
initiatives or just ways that wecan gather as a people and
connect the dots and connect thediaspora, especially like
people who don't necessarily getto experience the culture back
(28:33):
home If they are of Caribbeandescent.
I want to kind of like offerexperiences that they can, you
know, feel.
You know that a lot of peoplehave like family situations or
whatever the case, where theyfeel disconnected from the
places their family comes from.
So, like I want to try to likefind ways that we can bridge
those gaps.
Um, so that was long-winded, butum, rhythm and soul is kind of
(28:55):
like a little cousin of that,where it started off as like me
just doing mixtapes of like,like blending the genres and
stuff like that would be liker&b or r&b sounding afro beats,
r&b sounding soca and stuff likethat, and I made it into a
media platform where now I'mdoing interviews and
conversations with people that Ifeel are kind of like left of
(29:17):
center, who may like make thesetraditional genres of Caribbean
music but like are also verymuch like myself or like my
peers in New York.
You know who we listen to, thesame type of music we have.
We draw from differentinfluences, but we're also very
rooted in our culture and justtelling the stories and having
those conversations around thatand their influences and stuff
(29:38):
like that, and also just likecreating a playlist to
contextualize these types ofsounds.
And with Auntie's House I comefrom, like I said, my dad used
to play music on Saturdays allthe time.
Like I'm very much an old soul,like, and now I'm getting older
, I'm like maybe I can't callmyself that anymore Cause I'm
actually getting older Um, butlike I grew up with like
(29:58):
seventies music and like sittingsinging in the basement with my
dad and all these, like PatriceRussian and like you know, know
stylistics and all these people.
But also like I love R&B andthere's so many pockets of R&B
that like we don't necessarilyget to hear in a party because,
like I don't know if everybodyknows this type of stuff, I
don't know if everybody grew upon this type of stuff.
So, um and past R&B, likereggae, you know we don't hear a
(30:22):
lot of like classic reggae inparties anymore.
I don't think we have a lot oflike reggae parties, like we
have dancehall, but it's not alot of reggae parties that are
in a way that speaks to the waythat we grew up with it.
Not necessarily like these arethe classics, you know it's like
you know you're in a backyardparty, like there's certain
songs that get played, like Iwant to create that feeling in
(30:43):
everything that I do, like bringback a feeling and Auntie's
House is really just like a safespace for everybody who just
loves nostalgic music and, justlike you know, also may want to
be home a little earlier.
Like we're not going to be outall night.
It's not ending at four in themorning.
You're going to get home at adecent hour.
You know what I'm saying Getyour little wine, whatever the
case is, get your two-step in,sing any songs and go home and
(31:03):
feel good Like I.
Like it's how I want Sundays tofeel.
That's how I grew up with mySundays feeling.
So I just want to create aspace for people to feel that
too.
Speaker 1 (31:11):
I love it.
So how do you balance all ofthese creative outlets?
Speaker 2 (31:17):
Ooh, that's a good question.
Speaker 1 (31:17):
No, I'm joking.
Speaker 2 (31:20):
Um, now I'm in a space where I'm like being open
to asking for help and also likeremembering the fun of it.
Like, yeah, this is a project,but like remember why you're,
why you know, and not be sorigid about it.
(31:44):
And also just like finding waysto like organize myself better
and like time things out and notfeel like I have to pack my
month up with so many things allthe time.
Like I'm very okay with likethe bigger picture and like
there's no rush.
I could spread things out.
These are my ideas.
There's no deadline that youknow is necessarily being
(32:05):
impended on me.
I create these rules, so, like,with that, how do I want to
experience it, how do I want tospread it out?
Speaker 1 (32:11):
and like, yeah, I think that's, that's what I'm
learning right now tell me aboutsome of the caribbean and
non-caribbean artists that youare listening to right now um,
I'm still very much like onasoka High from Carnival this
year.
Speaker 2 (32:28):
So, like I love, like I said I love Kutain.
That's like one of the upcomingartists out of Trinidad.
Um, I like, hmm, who am Ilistening to?
I don't see, I'm not gonna lie.
I've been listening to a lot oflike throwback stuff and I'm
like, let me get back into themix.
Coco Jones has a really goodalbum out.
Um, so does Leon Thomas.
(32:52):
I have like random playlists.
There's a lot of my piano stuffthat I cannot even pronounce.
I'm not even going to try to,but I have a whole playlist when
I just want to get in that zone.
Who else am I listening to?
There's a bunch.
I gotta go through my stuff.
But yeah, I feel like I'm gothrough my stuff, but yeah, I'm
trying to think I feel like I'mforgetting somebody and that
(33:12):
kind of sucks that alwayshappens.
Speaker 1 (33:14):
You like drawing a blank with you in terms of
logistics and organization.
What is something that thatpeople don't understand or
underestimate about being a DJ?
Speaker 2 (33:34):
The things you don't see.
Like behind the scenes there'sa lot of doubt.
Sometimes.
There's a lot of resiliencethat you have to develop and I
think that comes with just beingan entrepreneur in general and
an artist.
You have to be prepared to nottake things so personal, because
everybody in this ecosystem hastheir own agendas, and I don't
(33:58):
mean like in a negative way, butlike, let's say, a promoter.
They understand their timelinefor when they want to throw
events or how to space out whothey want to book or whatever
the case may be.
When they want to throw eventsor how to space out who they
want to book or whatever thecase may be, venues may be going
through issues on a financialside where they're not trying to
, you know, book as many peopleor pay as many people.
(34:18):
Sometimes, like your peers, maynot have the capacity to take on
certain things or to engagewith you or have conversations.
You know, or to engage with youor have conversations.
You know, just like everybodyhas a lot going on and I think,
like we're in a time, especiallythe state of the world right
now, there's a lot going on atall times.
(34:39):
I think having the grace tounderstand that like this is a
marathon, not a race.
Yes, like the shiny things thatwe like to see, the whole
booked and busy.
I'm personally, like you don'thave to say that Like this is
part of my job.
I'm very blessed, I give thanks, but also, like you may not
know what somebody's goingthrough Like this may be like to
pay their bills.
(34:59):
You know what I'm saying.
Like this is just thankful.
You know it's not like a flex.
Also, on the other side, like Idon't always want to talk about
dj stuff, like I just like music.
You know I don't want to talkabout what gigs I have coming up
.
I like to talk about, like this, the nerdy stuff about music,
like this era and this pocketand what they did with this drum
and stuff like that.
(35:19):
Like I know people are talkingto producers about that, but
we're music nerds.
The same way, I also think thisis very much like a it's a very
competitive space and like theact of DJing is like getting
easier.
But like I think we have a veryunique career.
(35:39):
I guess you could say wherelike I don't want to say brand,
because I hate that word, butlike you're really creating a
brand essentially around who youare as a person.
You know we have influencersthese days, but this is like a
bit different because it's likean actual interest and like a
hobby that turned into a career.
Like I don't necessarily alwaysknow how to give advice when it
comes to like DJ things.
(36:00):
Sometimes it's like this isreally like personal journey
stuff, like I'm very spirituallyinclined and like I don't
remove God from anything that Ido and I feel like that's what
got me to this place.
Not networking, not cold emailAll those things are cool, but a
lot of it is praying and justmaking sure I keep my spirit
(36:20):
clean and I'm around good peopleand I have discernment and
stuff like that.
I think that's the biggest partof it too, that a lot of people
don't really see Cause, like itcould feel like very mechanical
, like transactional, but likethat I don't subscribe to that,
you know personally, and I liketo have a community of people
who feel the same way.
So I know it's long winded, butI hope that answers the
(36:42):
question.
Speaker 1 (36:43):
No, I feel like the next question I'm going to ask
you.
You'll make it even more longwinded or maybe short.
You talk a lot about alignment.
What do you believe that yourpurpose is in your mission right
now?
I'm going to say right nowbecause I feel like your
lifespan is long, so right nowis the focus.
Speaker 2 (37:04):
To spread love and be an example of love, and I think
that's what we're all here todo essentially.
I guess I'm another reminder ofthat, and my medium is music
and words or storytelling moreso, I'd like to say, right now,
I think that's what I'm here todo.
I'm still discovering new waysof doing so, because music and
(37:24):
DJing was my first avenue.
I feel like I knew that fromthe start.
Djing is a first step toeverything else that I want to
do.
It's just a space for me togain confidence, for me to put
myself out there.
I was very shy, like I alwayshad a lot of friends, I was
always in a mix, but like mebeing on the spotlight, like I
like to be behind the scenes orlike real quick on the stage, do
my little one, two and then,you know, leave.
(37:45):
Yeah, I think I'm here to showthat and like, remind people,
like that authenticity is okay,you don't have to try to be
authentic, you just are Likethat's all part of your
self-journey.
And yeah, I think that's whereI'm at right now.
Speaker 1 (38:00):
Any advice for someone younger starting out
right now?
Speaker 2 (38:05):
Take your time.
Try not to be so anxious aboutthe future, you know, because
you're gonna look up and thenyou'll see everything happen and
you're like, oh shoot, like Ispent all this time worrying I
could have been enjoying theprocess.
Um, enjoy the process you know,yes, even now I'll be like that
.
Speaker 1 (38:22):
I did a lot, but I'm like I didn't even get to enjoy
it like, yeah, how do you stayin the moment, like you know,
reminding yourself about that?
I feel like that's a constantthing, a state of like when you
reflect, you kind of look backand say, yeah, I did those
things.
Then you're like wait a minute,I didn't enjoy it.
How do you proactively stay inthe moment and try to enjoy
(38:47):
what's right in front of you?
Speaker 2 (38:49):
I thank God.
Gratitude I reflect a lot, likeI spend a lot of time by myself
.
Just, you know, contrary towhat it may seem, I know I'm
around a lot of people, but Ispend a lot of time by myself
Just reflecting.
Journaling also helps.
I need to do that a bit more,like sometimes I'll do like a
video journal.
I'll just dump it all out,everything that I feel, and
(39:15):
connect those dots as I'mspeaking.
Yeah, I think those are themain things, just gratitude at
the very root, and sometimesit's hard because I think I have
a better grip on my anxiousness.
Sometimes, being a woman,there's different hormonal
levels of emotions and stufflike that.
So like, understanding the ebbsand flow of my life and my
emotions, I think has left me alot more grounded.
Like, ok, feel your stuff.
(39:36):
If you're anxious right now,know it's going to be you and be
fine next week, you know.
Just like, remember that you'regoing to be OK.
You know and remember that likeyou're on the right path.
And remember that like you'reon the right path, control your
thoughts a bit more.
So like you're not takinganything personally or you're
not like not understanding whereyou are presently, something is
(39:58):
going to come.
Like, this too shall pass, Isuppose.
And just like, when thesunshine does come after the
rain, it's like oh, wow, like,ok, if I continue to just move
down this path, I'll be allright.
Like everything, everything'sgoing to be fine, more good
things will continue to come tome.
So, like, let me trust thatthat's, that's my path.
You know that's how this goes.
I hope that answers thequestion.
Speaker 1 (40:22):
Yeah, no, it does, it does.
Thank you so much.
Um last question what are you?
Speaker 2 (40:23):
excited for that you're working on.
I am excited about auntie'shouse because I finally finally
have, like I found a space forlike a residency that feels
aligned with it and just feelingmore sure of like my, my
audience, or like me being ableto stay true to myself.
I think it's something that Istruggle with because I was like
I don't know if everybody'sgoing to like this Like.
I think I struggled with that alot in the past, but now, like
(40:44):
just actually putting likemomentum behind my own ideas is
something that I'm excited about.
Same thing with Rhythm and Souland just like trying to align
more interviews andconversations to like you know,
not not for my own sake, butlike to tell the stories that I
feel like are important.
Speaker 1 (41:02):
Well, that's awesome.
I feel like this calm naturetalking to you in terms of you
have like this Zen spirit aboutyou.
So I'm excited to see what youhave coming up and I'll most
definitely now that it's warmingup I can most definitely make
it out.
Speaker 2 (41:17):
Yeah.
Speaker 1 (41:18):
To maybe one of the aunties events and somebody told
me recently I'm an auntie.
Speaker 2 (41:22):
Yes, I love it.
Speaker 1 (41:25):
I was like, as long as you put Rich before it, I'm
fine.
Speaker 2 (41:27):
I'm fine.
Thank you, fine, whatever.
Speaker 1 (41:31):
Exactly All right.
Well, thank you so much.
I really appreciate you comingon, gab.
Tell the people, then, wherethey can find you.
Speaker 2 (41:39):
You can find me on Instagram at GabSoul, underscore
.
I'm also on TikTok.
You know talking crap.
Soundcloud is Gab-Soul.
Have some mixes on apple musictoo.
Just google, I mean google goodsearch capsule, um, and yeah,
I'll be around here there,everyone.
Speaker 1 (41:57):
Thank you so much.
We appreciate you for being onthe podcast and look forward to
all the things that you havecoming up.
Uh, we'll be sure to puteverything in the show notes,
and until next time, leah TummyPeeps.
Speaker 2 (42:10):
Thank you so much.
I appreciate you Take care.
Bye.
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