August 24, 2025 • 42 mins
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Episode Transcript
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Speaker 1 (00:00):
It's my fault that you guys are dealing with Daddy
us over here, d still waiting for my check on them,
but I would never have it. And then you know,
he was gone in the bathroom and.
Speaker 2 (00:11):
For two minutes, and I was like, welcome, guys to
the last episode of first season of hit Shots, and
we are welcoming one of my best friends in this
industry and also really talented artists. Welcome Sarah.
Speaker 1 (00:26):
Thank you for having me. I'm super excited to yap
with you today.
Speaker 2 (00:29):
Yeah, we are too, We are too. You were like
one of the big names that come up all the time. Really, Yeah, yeah,
So I'm super glad you're here.
Speaker 1 (00:37):
Me too. This is actually my first long form podcast,
and I've really been wanting to do fun for a
long time, but I've wanted to save it for somebody
that I actually know and I'm friends with because I
think that just leads to a much more natural feeling conversation. Yeah,
no filter, no filter, And especially since we've collaborated so much,
I think there's so much that we'll be able to
talk about that the fans are really going to love.
(00:58):
So I'm super excited to be.
Speaker 3 (01:00):
Okay, So, first question, like what is sahab background?
Speaker 1 (01:03):
As you can hear, I am American. I was born
in the States. I was raised in California, Colorado, and Austin, Texas.
Spent some time in New York and fell in love
with the music scene, partially in Austin and partially in
New York. Really got into the electronics scene when I
was at university in New York.
Speaker 3 (01:20):
What did you study exactly?
Speaker 1 (01:22):
I went to NYU and I did. They have a
school there called Gallatin where you can do like a
custom major essentially, where you can pick things from all
of their different schools. And so my thesis was called
the Psychology of Capitalism. And I studied finance, psychology and
advertising essentially. So studied derivatives, studied like financial social theory, studied.
Speaker 2 (01:43):
Psychology, psychology. I can see you there like one hundred
percent hundred percent.
Speaker 4 (01:47):
Yeah.
Speaker 1 (01:47):
I like to bust that one out every so often,
so I don't feel like I wasted my money.
Speaker 2 (01:52):
So, okay, you're study. You were studying, then you discover
like partying in New York. What was the club that
was like ring?
Speaker 1 (02:00):
I mean one of the ones I used to go
to a lot that especially did a lot of like
more electronics stuff. Was a club in the Mewpacking district
called Marquee.
Speaker 5 (02:08):
It still exist, it does.
Speaker 1 (02:10):
I think they just closed it down for renovations. But
that was where like all when the EDM DJs first
kind of came through New York. Like I'm talking like
this was on like Martin Garrick's Animals went really big.
You know. This was when the Chainsmokers were resident DJs
at a club called Avenue on Tuesdays. But it was
like that sort of space for that sort of music,
and they kind of had more of like a classic production.
(02:32):
It's the same company. They have a lot of mega
clubs in Vegas. They have a Marquee in Singapore, which
interestingly I played together, played that one. Yeah, yeah, club insane.
Speaker 2 (02:41):
Class insane at the restaurant and everything. It's actually amazing
in Singapore. This is in Yeah, it's inside the hotel.
Speaker 1 (02:48):
Yeah, inside the Marina Bay Sands. Yeah, that insane. Like
that was kind of like the first wave that really
kind of popped through was that sort of sound. And
I found my way into the DJ booth and became
friends with the DJs, kind of saw what they were
doing on the CDJs and I was like, oh, that
looks way less complex than I thought it would be
as just a raver on the other side of the rail.
(03:08):
Like actually, because I'd been a raver for a long
time at that point, had attended a lot of festivals
and seen a lot of electronic music, and was always like,
how do they do this? What's happening? And had kind
of played around with Reason five.
Speaker 5 (03:19):
Actually, which I oh, wow, okay.
Speaker 1 (03:21):
Downloaded on LimeWire when I was like sixteen, and I
was super int a dubstep at that point because that
was kind of dubsteps always been kind of like American
electronic bread and butter until you know, more recently things
have changed, and I was like, I can do this,
And so I got like a Newmark controller off of
Amazon and started learning to mix like trance and deep
house and stuff like that, and was starting to get
(03:43):
into like early forms of techno and minimal and stuff
like that.
Speaker 2 (03:46):
Do you have artists that you want to name drop
about it, like, like what kind of artists you were
listening to back in the days?
Speaker 1 (03:51):
Actually, the I actually remember what kind of got me into,
you know, out of kind of like the more mainstream
stuff and kind of into the more underground stuff. Actually,
it was one of above and beyond like radio shows
that I was listening to at a retail job, group therapy,
and so I was They had played a song on
their radio show, which was normally like euphoric trance, which
(04:14):
I used to love and still do have a deep
left for, and it was a song called Excommunication by Erca,
I believe, and it was just this really vibey kind
of housetrack. It was a vibe and I remember hearing
that and I was like, this is really interesting, what's this?
And from there I kind of got into deep house
and techhouse and minimal and techno kind of just slowly
(04:35):
went down, darkness up and speed.
Speaker 2 (04:39):
Yeah, but I thought you were producing before what you
dj before producing?
Speaker 1 (04:45):
I started djaying in twenty fourteen, and I knew that
that was what I really really wanted to do with
my life.
Speaker 5 (04:50):
I fell in love with it, like right away.
Speaker 1 (04:52):
Yeah, and then I was kind of like, okay, like
what are the next steps for me?
Speaker 2 (04:56):
Since you started dj you were like, Okay, this is
what I want to do in life.
Speaker 1 (04:59):
Even and even before I started DJing, I remember when
I was first going to like electronic events, and festivals
in my teens and clubs and seeing like early dubstep
acts out like play and stuff. I was like, what
is this? I want to learn more about this. And
I had, like I said, when I was sixteen, I
want to say, I had downloaded Reason five and started
(05:21):
kind of playing around with Reason five and starting to
see playing around in garage band or logic and kind
of trying to figure stuff out. And it didn't really
stick at the time, I think because I had, you know,
I had to do school stuff and do everything like that.
And I think there was a part of me that
honestly that felt like because I didn't have like that
classic musical training background with like years and years of
(05:42):
lessons and music theory and learning lots of instruments. I
think kind of naively at that time, I almost thought
like it was too late for me to become a musician,
which discouraged me. But I still loved it so much.
And I remember being on the rail being like, God,
I want to.
Speaker 2 (05:55):
Do this so bad, and you start playing, you start
DJing like in the club.
Speaker 1 (05:59):
Or like no not then I was mostly doing I
was mostly learning to DJ at home, and then I
didn't really start to play out until I lived in Austin.
Speaker 3 (06:08):
Yeah, we went back to and this is where like
we started to talk.
Speaker 1 (06:11):
Yeah right, yeah, I think a couple of years after
I went back, eighteen or twenty sixteen or fifteen fifteen
years after back, so it was like two years after.
Speaker 3 (06:20):
Yeah, we know each other since like long time long
eighteen or twenty.
Speaker 5 (06:24):
Nineteen something like that.
Speaker 1 (06:25):
It's been a while.
Speaker 3 (06:26):
Yeah, she was sending me tracks and this is where
how we started talking.
Speaker 1 (06:30):
At Yeah, it was that was how we became friends.
I think was a shit talking online, which that's us tracks.
Speaker 2 (06:36):
Okay, so you you finished your study, you start like producing,
you started DJing club? When did you? When was your
first gig? Did when you did your first gig? Were
you producing ALREADYO or not?
Speaker 1 (06:47):
I was? I think my very very first gig I
played at a bar in New York called Boutique. This
would have been in twenty fifteen ish and I had
started producing in I want to say early twenty fifteen.
Speaker 3 (07:02):
Okay, how was then, Like, how was your first geek?
What happened?
Speaker 2 (07:06):
Like you did? You started with like mixing in club
in bar then club?
Speaker 1 (07:12):
Yeah, bars, like week nights during well, I had an
office job to rooms of like ten people for fifty
dollars maybe. And then there was a club in Austin,
Texas that was like a rooftop bar. It was called Ethics.
Speaker 3 (07:23):
You were already back in Texas.
Speaker 1 (07:25):
This would have been twenty sixteen or twenty seventeen ish,
and there was a rooftop bar there and I had
kind of started playing at that in that club at
that time.
Speaker 3 (07:35):
Resident.
Speaker 1 (07:36):
Yeah, I did get a residency. Actually, the residency was
on Saturdays. It was shared with another guy, and I
named the party Dirty Landry because his name, his DJ
name was Dirty Clean in mine obviously is Sarah Landry,
and so the party was called Dirty Landry and it
was marketing waste. Yeah. I started doing that and kind
of a I had a residency there on Saturdays and
(07:56):
was playing other clubs around town. And then there was
something that happened in Austin, I want to say in
twenty eighteen ish where there was some real estate takeover
and he bought the buildings that all the clubs were
in Kingdom and Ethics basically shut down all the clubs,
which kicked off a huge underground warehouse party scene in Austin, Texas.
And I was playing twenty eighteen ish and I was
(08:19):
playing for those parties for a while, and at this
point I was getting into like harder and deeper techno,
which nobody was really playing. Everybody was really playing house
music there at the time.
Speaker 3 (08:28):
You were already like on techno, I was, Yeah.
Speaker 1 (08:30):
I was already into techno and it was it was.
It was such a thing that with you know, like
the politics of the scene at the time and what
the promoters were booking and everything like that, there weren't
a lot of opportunities for me to actually play techno.
So I started just throwing my own parties myself.
Speaker 2 (08:44):
Yeah, that was my question, Like when and how did
you learn about heart Tachnoway, Well.
Speaker 1 (08:52):
So I had gotten really really into Ableton at that point,
and I had had I ended up taking i think
an intro to synthesis class at the local community college
because I had heard from people in the scene that
one of the greatest sound designers of our generation mister
Francis prev which is absolutely true. He is a genius.
He's the guy who designs a lot of presets and
(09:13):
patches that come stock with hardware. Since Ableton native instruments
serum Kila. Hearts everybody, every he's he's done sound design
work for basically everybody. And he taught some music production
classes at the local community college, and so I signed
up and took one of those, and he and I
became friends, and he became sort of like a mentor
for me at that point as I was getting into
(09:33):
sound design. And he is very, very big working with
Ableton and speaks every year at able to Loop, which
is like their conference for music makers and able to
users where they do workshops and talk about tech stuff.
It was online, no Berlin to able to throw as
a conference in Berlin. They did at this time, they
(09:55):
threw a conference in Berlin. That's basically like it's like they're.
Speaker 3 (09:58):
Like you went there, Oh, yeah, I did.
Speaker 1 (10:00):
It's like Apple's annual.
Speaker 3 (10:01):
But it was like when when was that twenty seventeen?
Speaker 1 (10:04):
November twenty seventeen, Okay, and I at that point I
had started to get really into techno and I had
heard a lot about berkhin of course and trustwork, and
so that was my excuse.
Speaker 3 (10:14):
Okay, so it was Berlin.
Speaker 1 (10:16):
Yeah, So that was which is why I initially moved
to Berlin. When I moved to Europe.
Speaker 3 (10:19):
Because you remember your my my opinion about.
Speaker 1 (10:21):
That, yes, and yeah, yeah.
Speaker 3 (10:23):
Yeah, he loved Berlin.
Speaker 1 (10:24):
So Berlin is wonderful airport.
Speaker 3 (10:26):
Though.
Speaker 5 (10:27):
I like Berlin.
Speaker 1 (10:28):
I always have a nice time there, But the airport
for me is a deal breaker. But that's a separate conversation.
Speaker 3 (10:33):
No, it's not only about that.
Speaker 2 (10:34):
I was like, I remember, like she was like, I'm
going to I'm going to move to Europe and she
was like, oh so nice. We're going to meet but
more often and she's like, I'm moving to Berlin. That
was like, yeah, no, don't do that. How long do
you stay in Berlin?
Speaker 1 (10:46):
Eight months?
Speaker 3 (10:47):
Yeah?
Speaker 1 (10:48):
The airport, it was the airport for me, that was
the primary. It was the airport, and then like vibe,
My vibe was not really a mash for yeah, that's
the city there. I liked it, but like, I don't know,
for me, it's like it just I didn't click with it.
Speaker 2 (11:03):
But I think that's because you're really like strictured and
really you like to control everything in your life.
Speaker 3 (11:09):
And that's also like why like billion doesn't much for you.
Speaker 1 (11:13):
Yeah, I don't know. I think it's just I had
a great time there and it was I have a
lot of love and respect for the scene and the
culture there, just because my first love from this sort
of techno came from when I went to Burghin and
Treasor in November twenty seventeen. And I actually still have
a voice note like recording on my phone because obviously
(11:34):
no photo, no video, bird kind of like length Acai
set that night of me just by myself, by myself,
you know, vibing.
Speaker 3 (11:43):
That's cool.
Speaker 2 (11:44):
You can get lost in Bergham, That's what's cool in
this amazing you can be alone and you get get lost, completely.
Speaker 1 (11:49):
Lost, and in it. It's amazing. Yeah, So I have
that and that and at the time I thought it
was the hardest thing I had ever heard. And it's
like one hundred and thirty four bpm, you know what
I mean, which is I know, I know, so different
and that was what eight years ago, So it's like
it's crazy how differently the perspectives changed, you know. Yeah,
it's interesting though, because I remember even actually back in
(12:10):
those days with like the industrial stuff, and then remember
when we first kind of came on of the scene.
It's it's so funny because at that time I was
making shrans like I was making one fifty bpm shrans
and style tracks, remember, oh yeah, twenty nineteen and twenty twenty,
I was kind of making stuff that was with the
(12:31):
Schanz percussion yea. And it's actually, it's actually so funny
because the technos, you know, the technosknobs who you know,
under the umbrella of hard techno. There's like six different
things right now that are considered hard techno. You know,
you have shans, you have kind of like the classic
hard techno and the you know, the Dutch sound that
borders on gabber. You have industrial, you have the hard
(12:52):
bounce and hard groove stuff. There is definitely a little
bit of the raw style type of element for me
that's not particularly my taste. And then you have the
stuff that I've been doing, which is kind of like
that side techno type stuff which I really like that
I think is also under that umbrella. But the cool
thing is, right now you can get away with playing
a lot of stuff that falls under the umbrella, which
is great. But it's so funny to me when the
(13:13):
techno bros try and give me shit for not playing
as much shrans anymore, when in reality I used to
make shrans and now I'm making a lot of the
side tecto stuff. And what's the difference. Instead of using
a pitch down conga to make a sixteenth note role basline,
I'm using a basynth. That's the fucking difference. It's the
(13:35):
same groove, it's the same.
Speaker 3 (13:37):
Yeah.
Speaker 2 (13:37):
But the thing is also there's a lot of like
I would say, like new techno snow they think that,
like they discover like the Fire was like, oh yeah,
I heard about Like I don't like hard techno. Now
I'm liking too a hot groove or like groovy techno.
That's the new shit, bro. We were playing that like
ten years ago.
Speaker 3 (13:56):
Yeah, what you don't like?
Speaker 1 (14:02):
No, I love shuns, I play, I still play. I've
been of shuns, and I have a lot of shuns.
For me, I think it's not that I don't necessarily
like it, because when it's well done, it can be awesome.
But for me, I'm not a huge fan of like
like I don't mind the raw style pre drop type
of transition effects that you hear in a lot of
(14:22):
tracks now I have heard about a million of them,
so I'm like, all right, come on. But the thing
that for me, I've never particularly loved is the raw
style and super hard style type stuff, just because for me,
I don't think it has any swing or groove, so
I get my brain, my ear gets bored of it quickly.
(14:44):
There's like no base, there's no base on it, so
it doesn't knock on the speakers, right, And like I
bought the ticket to go to the club, to go
to the festival, to get kicked in the chest by
their expensive sound system, you know. So for me, that's
kind of why it's not my favorite. But there's a
lot of people who do it well and I respect them.
Y'all have fun, stay safe.
Speaker 2 (15:02):
But you have produced what like a lot of people
doesn't know. Is that like you were in a Builton
certified right.
Speaker 1 (15:08):
Yeah, yeah, not. I didn't get the Ableton certification, but
I had become really good team like friends with their
artist relations team, and so they brought me on as
an early beta tester for Live eleven. And actually a
lot of my biggest tracks from those first releases, like
Queen of the Banshees and that raw EP, and then
the Possession EP and then some of that other stuff
(15:29):
was all stuff that I made while I was beta
testing Live eleven, which I was doing for about six
months before it ever was even announced, and so I
was like playing with all of these new features that
came out on eleven, like the Velocity automation and all
of the.
Speaker 3 (15:42):
New tools for Earth Is like Christmas.
Speaker 5 (15:44):
Huh Yeah, I loved it.
Speaker 1 (15:46):
Yeah, it was great.
Speaker 2 (15:47):
Okay, I want to switch about a topic that could
interest our audience. Is you decide to become a DJ
and to make career right?
Speaker 1 (15:56):
Yes?
Speaker 2 (15:57):
How what was the step for you, like, build a team?
How did you meet your team? And how how did
you when you decide to make it your life, your
professional life?
Speaker 3 (16:09):
What was the step? The different step?
Speaker 1 (16:12):
So, like a lot of people I like, like we
talked about, I started kind of by myself making DJ
mixes on my dining room table or kitchen table or
you know whatever. And then I from there I started
emailing people kind of in my local scene, sending the
mixes to see if I could get into the clubs.
And I did, and I built my name for myself
(16:33):
in the local scene there, made friends, you know again,
played the empty rooms, all that fun stuff and all
while at this time I was producing because I had
been given very very good advice early on, which was
you cannot at this point and this was almost this
was ten years ago, so it's even more true you can't.
At this point. It was like, you can't build a
touring DJ career to support your life if you don't
(16:54):
have music that you released.
Speaker 3 (16:57):
So how did you get noticed?
Speaker 2 (16:58):
I mean like in the you with market, not US market,
but by the US bookers and edgency.
Speaker 1 (17:05):
Well, I had started building all of my stuff in Austin, Texas,
which led to me starting to do my warehouse parties.
And at the time I was starting to release music
and starting to send my music out and get like
very early tracks that aren't even like really techno yet signed,
and so I started to get use those label affiliations
to like make friends and then you know, be on
(17:26):
like opening slots for DJs who would come to town.
And at that point I was throwing my warehouse parties,
which was which was great, and then I was about
to start touring when like I start doing like small
gigs outside of Texas when COVID hit and obviously none
of that happened, and so at that point I was
(17:46):
kind of like, all right, well, I'm bored of what
I'm making anyway, so I'm going to start focusing on
making like industrial and harder stuff. And as I was
doing the warehouse parties, they kind of had progressively started
to get harder and faster, which was great because they
were mine and nobody, no club promoter could tell me
what to pay for fifty bucks for an opening set
or whatever it was. And so I had started doing that,
(18:10):
and then I had made a lot of friends in
the production space in Austin because of just like being
in clubs a lot and playing in clubs, and all
of those guys were out of work obviously off tour.
One of them is actually now John Summit's production manager
and he I had known him, Yeah, I'd known him
(18:31):
from years and he was like, you know, a PM
and a TowIt director and everything like that in Texas
and him and a bunch of other guys, and that's
actually how I met Warren, who's now my tour director.
Speaker 5 (18:43):
Yeah, yeah, I didn't know that.
Speaker 4 (18:45):
Yeah, Warren's my twit director and has been for one
of the friends. That's no, his name's Warren, and he's
now my tour director. But I had met them and
actually my current VJ also because they had in a
production where they had built a full festival stage setup
and were starting to run streams on Twitch for extra income.
(19:07):
And so they all knew me and knew I was
a good DJ, and knew I was playing techno, and
they were like, Hey, why don't you come into this
room and we'll start throwing these live streams, And so
we did, and we put them online and they started
to get like a lot of attention and got pretty
successful during that time, and that got the attention of Insomniac,
who had me do like a guest one for Insomniac
(19:28):
in twenty twenty one.
Speaker 1 (19:29):
But at that point I had had like some releases
out that had done well and gotten some good attention,
and I had met Harry at Ade in twenty nineteen.
He had reached out to me. Harry's my manager, and
we took a meeting and then ended up working together
a few months later. And at that point, I think
I had maybe nine thousand or ten thousand followers, and
he was the first member of the team, was my manager.
Speaker 2 (19:51):
We're going to talk about the moment in your career
that you break everything. When was that you decide? What
was the moment you realized that, okay, you part of
like the big League.
Speaker 1 (20:07):
It's kind of hard because there were there were like
a couple, but I think one of the biggest ones
was obviously with Boiler Room. The Boilroom when that came
out in twenty twenty three, that kicked off like an
insane amount of growth for me, and then that kind
of led into I would say probably my biggest festival
(20:32):
moment last year in the US was when they had
to move me at at EDC. I heard about that
from Neon Garden two Circuit Rounds and there were seventy
thousand people at Circuit grounds for that set.
Speaker 3 (20:42):
That was a huge You had this change because like
on other.
Speaker 1 (20:47):
Festival, forty thousand people showed up to a five thousand
cap stage, So that was a big one. And then
obviously to Marland mainstage.
Speaker 3 (20:53):
Oh yeah last summer.
Speaker 5 (20:54):
Yeah, that's a.
Speaker 1 (20:55):
Really was a really really big moment. And then aside
from that, I would say like the start of the
Eternalism shows, that's Coachella with that Eternalism this year was
another really big one. I've been very lucky that we
they've at moments have kind of continued to get more amazing,
which is just very exciting.
Speaker 3 (21:12):
How do you deal with this pressure?
Speaker 1 (21:14):
It depends on what point in my female hormone cycle
I'm at, honestly, looking back at the data, it really
it really kind of depends because it's one of those
things where it's like, at the end of the day,
when you're putting yourself out there and putting yourself and
taking a risk creatively and putting yourself out there, you
(21:37):
know what I mean, you really have no control over
how people are going to respond to your art and
respond to who you are and your presence and all
of it. So it's one of those things where it's
it's been an exercise for me and being like, that's
none of my business. All I can really do is
do my best at any given time and enjoy myself
as much as possible and be as excited and grateful
(21:58):
as I am to have these opportunity news and experiences,
and I try and always stay in that energy and
operate from there, which keeps me feeling my happiest and
my best regardless of what's going on. Doud does that
slip when I haven't had any sleep sleep and have
to go listen to someone's kid cryan and our plane
absolutely absolutely.
Speaker 3 (22:18):
We have those kind of talk right well, all the.
Speaker 1 (22:20):
Time, all the time, but it's it's been a really
amazing journey, and it's an amazing.
Speaker 2 (22:25):
Yeah, it's a blessing. It's it's clearly a blessing. What
we're doing in life right now.
Speaker 1 (22:29):
It's absolutely incredible. Do I want to go to two
hundred to two undred and fifty airports a year? Not particularly,
but I didn't know about that until it was too late,
and so we've had to adjust. We have norse canceling headphones,
and it's it's the moments of being on stage and
the joy of like having a really good set and
(22:49):
really good adrenaline. All of that is so much fun
that it almost like no matter how I'm feeling or
what I'm going through, it makes me feel like a
million you know what I mean, of course, But of
course it's you know, like any like anything, you get tired,
you have moments where you're like, oh my gosh, I
just want to be at home, or your flight's de late,
or you know, there's always something I have a question.
Speaker 2 (23:11):
I think it's it's interesting, what would you change if
you had to like start your carrier now from what
you've done before, would you change anything?
Speaker 1 (23:20):
I wouldn't.
Speaker 5 (23:21):
Yeah, no, I wouldn't.
Speaker 3 (23:22):
But the market change, did you think?
Speaker 1 (23:25):
So?
Speaker 3 (23:25):
Like the market the full way of like getting.
Speaker 1 (23:29):
I mean, like, if I started now, what would I
do differently?
Speaker 3 (23:32):
Yes?
Speaker 1 (23:33):
See, I think that everything for me happened and exactly
the way it was supposed to in exactly the right timing,
And everything that happened was a result of like our
deliberate moves based on how the market was at the time.
And so that's why I'm in the right position. And
so I can't even answer that question because if I
(23:54):
had made a different decision at any point, there's no
idea what would be going on. And also the market
now is completely different. And so all I could really
do now if I was starting over, would be to
go through the process of building a really good, really
strong team again and trust the advice that they give
me for today's market as opposed to market five years ago.
Speaker 2 (24:13):
That's the best advice you would give, like to someone
who wants to start, like like be surmundered a great.
Speaker 1 (24:19):
Team and yeah, build a build a build a really
really great team.
Speaker 3 (24:22):
You can trust people who.
Speaker 1 (24:24):
Know what they're talking about, who you can trust and
don't give away percentage points or equity to somebody who
doesn't know what the fuck they're talking about.
Speaker 5 (24:31):
Agree very important, you know what I mean.
Speaker 1 (24:33):
And don't be in a rush just to get an
agent or a manager. The wrong agent or the wrong
manager is going to cause you way more of a
headache than just being patient and waiting for the right
person to come to you. I think there's so many
people that try to rush.
Speaker 2 (24:45):
Yeah, but this is also like the generation and the
market who wants that because like someone who doesn't who
were like who started last year, it can like reach
like big, big, big fistiva now.
Speaker 1 (24:55):
Yeah sure, but like that'll that'll work fine for maybe
a couple of years, four years, maybe maximum five. But
that's not how you have a thirty year career.
Speaker 3 (25:04):
Yeah, true, that's.
Speaker 1 (25:05):
Not how you never have to work again aside from
doing your music stuff. That's not how you become a
legacy act. Which has always been my goal was not
to be a flash in the pan or somebody who's
around for a moment, but to be able to build
a substantial career that I can I can you know,
live just off my art for the rest of my life.
Speaker 5 (25:23):
That's always all you always.
Speaker 3 (25:24):
Say that since we met.
Speaker 2 (25:26):
Yeah, yeah, like this is another topic that we can
we can start talking about.
Speaker 1 (25:29):
But like.
Speaker 2 (25:31):
You you're from America, right, You're from US. And I
felt that, like the US crowd really support US. I mean,
like the US market support US artists. I feel that
sometimes the US they want to do like if if
you reallya is like if there is like a good
French movie, they won't like you did under Cinema, they
(25:51):
will like and the are they will make a remake
and do like the the US version, you know, And
I feel that we saw it's like they found like
the chosen one, you know, like she's good, She's like
she's gathered really big crettybidity in Europe.
Speaker 3 (26:08):
And she's American.
Speaker 2 (26:09):
But like this is the hope I catch that push
them also that what do you think about that?
Speaker 1 (26:14):
I don't know if it's necessarily my americanness. I think
it's my understanding of the American listener, the market, and
American subculture in order to be able to, you know,
like make a flip of something that's culturally relevant, include
something in a set that's like a meme reference that's
(26:36):
local to the US, or things like that, and I
think I understand really well because I've grown up with it.
I understand exactly what an American festival crowd, especially given
the stage it's different for every stage is going to
want to hear. And I understand really the cultural politics
(26:56):
that exists behind that, so I can play for anything.
I just did an eight hour set at SPASED Miami. Yeah,
a week after I played Kinetic field edc Vegas main stage,
and those were two very different sets because they had
to be of course, you know. And so I think
they like me. I think obviously dealing with an American
(27:16):
like of course, there's I think everybody likes to work
with like friends and people that they understand that you
can make jokes and you know what I mean. I
think there's certainly an element of that. But I think
they like me because I'm versatile enough and I have
enough range. Yeah, I have enough range to be able
to play where they put.
Speaker 2 (27:34):
But still, in my opinion, I steel Field that there
is like you know, the US people like they're so
patriot like, they so like they like what is American?
Speaker 1 (27:44):
I think to a certain extent, yeah, I think a
lot of times people I think there's an American thing
where I think Americans like to be able to have
fun in an American way without getting judged for it
or being called taste lists on cultured tacks. By the way,
to answer your question about why they don't put foreign
(28:05):
French films and American cinema, it's because Americans don't are
too lazy to learn how to read subtitles. That's literally why.
Speaker 3 (28:11):
I think it's there. There isn't no.
Speaker 1 (28:15):
I think it's just there's a weird thing with Americans
and we.
Speaker 3 (28:18):
Don't we don't know, we don't want subtitle That's why.
Speaker 1 (28:21):
That's probably why anime dubs exist instead of subs. Think
about it. The dubs are always in English.
Speaker 5 (28:28):
Aren't they.
Speaker 3 (28:29):
Yeah? But still I think.
Speaker 1 (28:30):
Because Americans can't be bothered to read a subtitle during
during TV brain rot.
Speaker 3 (28:35):
Time, that's why can we talk about like the scene
in the US.
Speaker 1 (28:39):
Yeah.
Speaker 2 (28:39):
Okay, So what I felt lately is that since three
years two years more recently, I would say it became
way more herd techno, and they like they had like
a delay, they didn't.
Speaker 3 (28:57):
Compared to Europe. But I think that they catch up
to date.
Speaker 1 (29:01):
I agree. I think initially people who have been doing
that sound for a while. I think the delay was
because of the way that American festivals like Insomniac book talent,
which is on like they send you, like we talked
about this, like a yearly packaged deal. They don't book
you sending an offer per festival. This is why, like
you see in a year, you see a lot of
(29:22):
DJs that are on the same lineup multiple times. It's
because they'll send you a package to your agents that says, hey,
we want to book you at all of these festivals
and these Insomniac properties over the course of the next year.
Which ones do you want to do? Usually for something
like that, like they don't just go okay, we'll book
you for Vegas. You know, you have to kind of
prove yourself and of course, you know, prove that you're
somebody that can sell tickets that you know, yeah, sure
(29:44):
you may have a huge following, but like, can you
actually fill the room with bodies before we put you
on a really big stage.
Speaker 3 (29:51):
You know, once again, it's about ticket selling.
Speaker 1 (29:53):
You have to earn your way up. And so that
was something I did for a long time in the
US before I even got to the really, really big
festival stages. Was I is playing smaller shows in local markets,
and we did this kind of everywhere around the world
where I was doing. You know, it's called a solo headline.
You know, I was doing a solo headline, my name
at the top, and you know, showing how many tickets
I'm worth. Regardless of whatever viral moments or social media
(30:16):
presence or however many people are putting my face upon TikTok,
you still have to prove in order to earn your
spot in a headline slot or earn your spot high
up on these festivals.
Speaker 2 (30:26):
I'm sorry because you were talking about TikTok. What is
your opinion about TikTok and like what they call like
TikTok techno, what is your opinion about that.
Speaker 1 (30:33):
My thoughts on this are multi pronged because I'm somebody
where I think a lot of people discovered who I
was through social media, which is amazing and I'm super
grateful for because that's led me to the place that
I'm at now. I love TikTok. I think it's great.
I am a big doom scroller, no Tino Scheit. I
love it. You know, it's great. It's a fantastic. It's
(30:55):
a fantastic app for airports and which I spend a
lot of time and so love it for that. I also,
I think the algorithm's good. It pushes me a lot
of cool music. I've discovered a lot of up and
coming artists through TikTok, which is great. But I mean again,
I think it's it's so funny to see people try
and judge a DJ off of a thirty second TikTok
clip that's clipped by your team to make sure it
(31:16):
has engagement and is never a video of you doing
an actual transition because nobody's doing actual transitions on the
most important part of the song. They're letting them play
face to camera because that's how you.
Speaker 5 (31:27):
Can engage it.
Speaker 3 (31:27):
And they say like like press player DJ or something.
Speaker 1 (31:30):
They say all sorts of bullshit, and then I post
an eight hour space set and you know, where are
those guys?
Speaker 2 (31:36):
They do not watching them from this, Yeah.
Speaker 1 (31:40):
Of course, because I mean it's one of those things
like I work for so long, you know, eleven years
of my life, ten years of my life, and from
the beginning, I you know, when I first started, I
thought everybody at the tippy top of their game was
did the right thing and learned how to be an
engineer and was making all their own music. And then
I actually got there and I was like, oh, I'm
(32:00):
one of the few who actually does all my own
music myself. A lot of people hire ghost producers so
that they can be on tour. It's easy to find out. Yeah,
you can check the credits on Spotify or check the
credits on BMI. Go do it. If you don't believe me, right,
click dots show credits. It'll show you exactly who produced
everybody's music. Notice on mine, you'll see my name, or
(32:20):
if it's a clearly listed collab Sarah Andry Schlomo play
with me, you'll see our two names.
Speaker 5 (32:26):
And that's it.
Speaker 1 (32:26):
I mix all of it down myself. Nobody used to
mixing engineer. I master a lot of it myself.
Speaker 5 (32:30):
Like you felt that it was right, Yeah.
Speaker 1 (32:34):
I just thought everybody else was kind of going through
those steps. And I discovered later that that wasn't necessarily
the case. But I had already done the work and
had earned my spot, really earned my spot, and I felt,
especially since I moved to Europe, I was kind of
constantly having to prove that I deserve to be where
I was, and I really earned that. I think in
(32:54):
twenty twenty two when I was first in the club
scene there that started off this really big wave of
growth for me. Was kind of those sorts of touring
and every single set I approached every single set like
I had to earn and prove that I deserve to
be there, which is still what I do.
Speaker 3 (33:07):
But I witnessed that.
Speaker 2 (33:08):
I mean I really witnessed like how you were dedicated
to to to your job and to your career and
like to perform in a good way, to produce good tracks,
and and and sometimes I felt that it was really unfair,
you know some throughout throughout you that all the critiques
and like all the trash online. Oh yeah, do you
(33:30):
think it's because also, like it's it's more you have
more critiques and trash because you're you're a woman.
Speaker 1 (33:37):
Yeah. Absolutely, it's misogyny. It's misogyny. I get I get
dragged for I could track for everything, but I mean,
look how many of the DJs that are seeing show
up and take off their shirt and go stand on
the DJ booth And the only person who I want
to see on the DJ with is Nikum right now.
That's he's the only one that's a lot up there,
because I love that love does and when everybody else
(33:59):
does it, I'm like, get that. Yeah, you so, and
and you know, everybody's like, oh my god, this is
the coolest thing I've ever seen. But you know, I
just put on like my cue little outfit and I'm
just there waiting for my you know, groove in a
little bit while I wait to mix out into another track.
(34:19):
And people say the most heinous, awful ship and they
don't know what the fuck they're talking about. You don't
know what you're talking about. Of course, go watch my
eight hour spacet Go watch my master classes, go watch
any of it. The boiler room people were saying was fake,
and that was a prerecorded set. I'm like, dude, the
decks are right there. You can literally see what it's
right there. It's just because I'm a woman. They do
(34:40):
this to everybody, to the point that Charlotte normally had
to give me, both had to give me. Pep talks
about it. They're like, girls, stan out of the comments.
Ignore it. They do it to all of us. You're
going to get it no matter what.
Speaker 2 (34:48):
You're really strong mark and marketing wise, there's also something
like marketing related that I own you the credit.
Speaker 3 (34:56):
And nobody knows.
Speaker 1 (34:57):
Nobody knows this.
Speaker 3 (34:58):
The daddyus my my my nickname the daddy as is
coming from her.
Speaker 1 (35:02):
It is I sent him a meme. I sent him
a meme in when I was born, when my son
was born, and I sent him to congratulate him on
the birth of his son.
Speaker 3 (35:13):
Was this it was just this, yeah, yeah.
Speaker 1 (35:18):
On the screen, but send him this to congratulate him
on the birth of his son. And it became it
became obviously a very effective marketing tool. Still waiting for
my check on that, but.
Speaker 2 (35:29):
I would never have it loyalties. No, no, she's asking
all the time.
Speaker 1 (35:35):
Yet And so that's that's actually part of like the
inside joke behind uh the lyrics and play with me
funny enough is because like and I guess most people
didn't know this, but like obviously like there this has
been like a joke of ours for years. Is that
you know, it's my fault that you guys are dealing
with Daddy's over here. My bad, but hey, very effective
marketing on Webbart. So again that degree is not going
(35:57):
to waste. But yeah, that was that was part of
the inspiration why I was like, oh my god, I
have to include this like little inside.
Speaker 5 (36:04):
Joke and our attack.
Speaker 2 (36:05):
But he was talking about that like play with me.
It was the vocal is so nice.
Speaker 1 (36:09):
Thanks, you know what's so funny about that? And Sean,
we can dive into the way that we the way
that we work, which is kind of the same way
that I work with. Like all of my friends that
I worked with on the album, and like everybody I
worked with on Spiritual Drive By or almost everybody were
like close friends I've known for years. And it wasn't
something where I ever set out to make a collaborative album.
It was like, Okay, I'm really burned out and exhausted
(36:30):
from touring and making music is starting to feel like
less of a joyful thing for me to do and
more like an obligation or a chore, and I hate that,
So how do I make it fun again? And the
solution was to pick like a couple of my close
and favorite friends who we'd been wanting to get together
for a while and just hadn't been able to, and
just like, let's spend six hours together and just be
(36:52):
creative together and just see what happens.
Speaker 3 (36:54):
Percent agreed.
Speaker 2 (36:55):
This is exactly what I felt right now when I'm
like writing my album, right it's I feel exactly what
she said. Like sometimes like producing alone, you feel like
less like less joy, and at some point you're like, Okay,
let's spend some time with talent and friends who are
like friends that are talented artists. Yeah, and let's see
what happens, you know.
Speaker 1 (37:15):
And so the thing that I love about like working
with Sean, working with Nico, working with all Tae, working
with like all my collaborator Alex Ferrell, on my collaborators
that I work with is we always kind of work
in this way where we're trying to go as fast
as we possibly can and just get something down, but
then we switch off. Like one person starts with one
thing and then the other person does something else. So
like we'll always start with a kick or whatever, and
(37:37):
it's like, okay, kick is here, what's next? You at
a layer, you add something else to do it.
Speaker 3 (37:41):
It's not too us to like working on their laptop.
Speaker 1 (37:44):
It's like no, we like switch someone's driving and we
switch off. And then if somebody, like like yesterday, for example,
if either one of us gets a really good idea
while the other person's working on something, they'll be like,
oh wait, let me do this.
Speaker 5 (37:54):
And we'll switch off.
Speaker 1 (37:56):
And so that's what we had been doing for Play
with Me is we had been kind of going back
and forth, kind of switching off, and we had gotten it.
Speaker 3 (38:02):
Was two afternoon, it was only two often we made
it in two time.
Speaker 1 (38:05):
I think we made the bulk of it in one afternoon.
Speaker 2 (38:07):
I want to say, you made the vocals, yes, so fast.
I was like, I went to the bathroom and like,
she recorded in two minutes.
Speaker 1 (38:16):
Well, and this is always how my top lines come
to me. You saw this happen again yesterday twice on
the two things we did yesterday where I was just
kind of like, oh, I hear something and I'll just
write it down. And then you know, he was gone
in the bathroom and for two minutes, and I was
like yeah, you know, and I just did the whole
thing and then just bounced it. We cut it up
and then that was it.
Speaker 2 (38:36):
And when you release another truck together, it's coming on
my album actually.
Speaker 5 (38:40):
Like I'm repaying the favor, yeah, but we have another truck.
Speaker 1 (38:45):
I'm actually another track that we started yesterday. We were
so we had a session yesterday and we were so
efficient that we actually got one and a half tracks
done and so after this we're just going to go
finish the other one.
Speaker 3 (38:53):
If you could choose one collab, who would it be?
Speaker 1 (38:56):
Scrolls probably electronic collab, scroll Pop probably Gaga, Charlie XCX Gaga, Gaga.
Is you know ever I've done for her? I've done
a remix for Gaga. I'm she is the one who
sent me the stems personally, I've I'm waiting to get
a release date on it. But yeah, but yeah, that
(39:20):
would be a dream, would be to do some executive
production for Gaga. She's incredible. She's she was like she
was my first like big artist, you know what I
mean when I was a teenager and I was like,
oh my god, I didn't know you could be yourself
like that, you know what I mean.
Speaker 5 (39:35):
I was like, Wow, I didn't know.
Speaker 1 (39:37):
You could do that, you know, And so that she
was a huge one for me. So I would love
to work with her.
Speaker 5 (39:42):
Yeah, Yeah, I love Charlie. She's great.
Speaker 3 (39:44):
I prefer what like what she was doing by kind
the day for me.
Speaker 1 (39:48):
Yeah, I mean her music has been amazing For a while,
It's been interesting to see her evolved. I'm just really
happy she got to have huge cultural moment that she
did because that album was incredible.
Speaker 3 (39:58):
Were of time. I have one last question.
Speaker 2 (40:00):
I want to talk about, like your album which was
like a huge success, a Spiritual Drive by, Can you
explain what was the title about?
Speaker 3 (40:10):
And since I know you.
Speaker 2 (40:13):
Also like the gift you gave me for my birthday
and stuff like this, it's all about like there is
a spiritual.
Speaker 3 (40:19):
Thing, like a which thing, so many things. Can you
talk about that a bit more?
Speaker 1 (40:24):
The core of what we do, whether people realize it
or not. This is why I tend to avoid dark
and angry. Music is at its core energy work. We
are energy workers. You know, everything is frequency. Music is frequency.
You know, the vibes that you're putting out in the
frequencies of the song you're because of the size of
the speakers and everything. The crowd, especially if they're in
(40:44):
an open minded, altered state, you know, they're kind of
joining you on that frequency level, right, And you can
either move people up to the highest possible frequencies of
joy and love and excitement and euphoria and happiness, or
you can move them down into the lower ones of
like fear and like chaos and pain and jealousy and
(41:06):
all of those things. And so for me, as much
as I can, I always want to put myself and
then the people around me especially, it shows up on
the highest possible vibration and frequency level. And so for
me that means, you know, and again like I don't
play as harder industrial as I used to because I
want to play stuff that feels good and feels happy
and feels bephoric, even if it borders a little bit
(41:29):
more on pop stuff then people are used to hearing.
But I think it's worth it to take the flag
for that just to give people like a really amazing
euphoric experience. And so for me that's kind of a
driving factor with that, is to kind of create.
Speaker 3 (41:43):
Title.
Speaker 1 (41:44):
No, the meaning of the title was something different. The
Spiritual drive By started as a joke. I was in
the studio with Mike Dean and he stepped out for
something and I had his wife, who has an English accident,
come and kind of give me like a placeholder vocal
and I had her say something like cosmic and esoteric,
and her English accent shout out Louise and she's she
was amazing and she did it for me even though
(42:06):
she didn't want to be miked, and then I ended
up actually just putting my own vocal in. Later when
I was finishing the album and mixing everything down, but
I had made a joke about this. I was like, oh,
this is kind of like a spiritual drive by, just
kind of like oop, there it goes right on the past.
And then I was like, oh, that's funny. I'm write
the tone, and then that became the name of the track,
which then I was like, that's a cool album name.
Speaker 5 (42:25):
Let's just call it it is.
Speaker 1 (42:27):
So that's that's how that came to be.
Speaker 2 (42:29):
Okay, we we have to We weren't in after time now,
so we have to end the chat here. It was
a really nice moment with you, Super happy, super happy
to have you in this in this podcast, and I
hope to have you like in the next season too.
Speaker 1 (42:46):
I'm sure, I'm sure we'll find more to talk about.
Thanks for having me. This was super fun. But anyway, Yeah,
let's go finish our track now.
Speaker 3 (42:52):
Yeah, it's time back to the studio.
Speaker 1 (42:53):
Back to the studio, we go.
Speaker 3 (42:54):
Okay, bye, We're good.
It's my fault that you guys are dealing with Daddy
us over here, d still waiting for my check on them,
but I would never have it. And then you know,
he was gone in the bathroom and.
Speaker 2 (00:11):
For two minutes, and I was like, welcome, guys to
the last episode of first season of hit Shots, and
we are welcoming one of my best friends in this
industry and also really talented artists. Welcome Sarah.
Speaker 1 (00:26):
Thank you for having me. I'm super excited to yap
with you today.
Speaker 2 (00:29):
Yeah, we are too, We are too. You were like
one of the big names that come up all the time. Really, Yeah, yeah,
So I'm super glad you're here.
Speaker 1 (00:37):
Me too. This is actually my first long form podcast,
and I've really been wanting to do fun for a
long time, but I've wanted to save it for somebody
that I actually know and I'm friends with because I
think that just leads to a much more natural feeling conversation. Yeah,
no filter, no filter, And especially since we've collaborated so much,
I think there's so much that we'll be able to
talk about that the fans are really going to love.
(00:58):
So I'm super excited to be.
Speaker 3 (01:00):
Okay, So, first question, like what is sahab background?
Speaker 1 (01:03):
As you can hear, I am American. I was born
in the States. I was raised in California, Colorado, and Austin, Texas.
Spent some time in New York and fell in love
with the music scene, partially in Austin and partially in
New York. Really got into the electronics scene when I
was at university in New York.
Speaker 3 (01:20):
What did you study exactly?
Speaker 1 (01:22):
I went to NYU and I did. They have a
school there called Gallatin where you can do like a
custom major essentially, where you can pick things from all
of their different schools. And so my thesis was called
the Psychology of Capitalism. And I studied finance, psychology and
advertising essentially. So studied derivatives, studied like financial social theory, studied.
Speaker 2 (01:43):
Psychology, psychology. I can see you there like one hundred
percent hundred percent.
Speaker 4 (01:47):
Yeah.
Speaker 1 (01:47):
I like to bust that one out every so often,
so I don't feel like I wasted my money.
Speaker 2 (01:52):
So, okay, you're study. You were studying, then you discover
like partying in New York. What was the club that
was like ring?
Speaker 1 (02:00):
I mean one of the ones I used to go
to a lot that especially did a lot of like
more electronics stuff. Was a club in the Mewpacking district
called Marquee.
Speaker 5 (02:08):
It still exist, it does.
Speaker 1 (02:10):
I think they just closed it down for renovations. But
that was where like all when the EDM DJs first
kind of came through New York. Like I'm talking like
this was on like Martin Garrick's Animals went really big.
You know. This was when the Chainsmokers were resident DJs
at a club called Avenue on Tuesdays. But it was
like that sort of space for that sort of music,
and they kind of had more of like a classic production.
(02:32):
It's the same company. They have a lot of mega
clubs in Vegas. They have a Marquee in Singapore, which
interestingly I played together, played that one. Yeah, yeah, club insane.
Speaker 2 (02:41):
Class insane at the restaurant and everything. It's actually amazing
in Singapore. This is in Yeah, it's inside the hotel.
Speaker 1 (02:48):
Yeah, inside the Marina Bay Sands. Yeah, that insane. Like
that was kind of like the first wave that really
kind of popped through was that sort of sound. And
I found my way into the DJ booth and became
friends with the DJs, kind of saw what they were
doing on the CDJs and I was like, oh, that
looks way less complex than I thought it would be
as just a raver on the other side of the rail.
(03:08):
Like actually, because I'd been a raver for a long
time at that point, had attended a lot of festivals
and seen a lot of electronic music, and was always like,
how do they do this? What's happening? And had kind
of played around with Reason five.
Speaker 5 (03:19):
Actually, which I oh, wow, okay.
Speaker 1 (03:21):
Downloaded on LimeWire when I was like sixteen, and I
was super int a dubstep at that point because that
was kind of dubsteps always been kind of like American
electronic bread and butter until you know, more recently things
have changed, and I was like, I can do this,
And so I got like a Newmark controller off of
Amazon and started learning to mix like trance and deep
house and stuff like that, and was starting to get
(03:43):
into like early forms of techno and minimal and stuff
like that.
Speaker 2 (03:46):
Do you have artists that you want to name drop
about it, like, like what kind of artists you were
listening to back in the days?
Speaker 1 (03:51):
Actually, the I actually remember what kind of got me into,
you know, out of kind of like the more mainstream
stuff and kind of into the more underground stuff. Actually,
it was one of above and beyond like radio shows
that I was listening to at a retail job, group therapy,
and so I was They had played a song on
their radio show, which was normally like euphoric trance, which
(04:14):
I used to love and still do have a deep
left for, and it was a song called Excommunication by Erca,
I believe, and it was just this really vibey kind
of housetrack. It was a vibe and I remember hearing
that and I was like, this is really interesting, what's this?
And from there I kind of got into deep house
and techhouse and minimal and techno kind of just slowly
(04:35):
went down, darkness up and speed.
Speaker 2 (04:39):
Yeah, but I thought you were producing before what you
dj before producing?
Speaker 1 (04:45):
I started djaying in twenty fourteen, and I knew that
that was what I really really wanted to do with
my life.
Speaker 5 (04:50):
I fell in love with it, like right away.
Speaker 1 (04:52):
Yeah, and then I was kind of like, okay, like
what are the next steps for me?
Speaker 2 (04:56):
Since you started dj you were like, Okay, this is
what I want to do in life.
Speaker 1 (04:59):
Even and even before I started DJing, I remember when
I was first going to like electronic events, and festivals
in my teens and clubs and seeing like early dubstep
acts out like play and stuff. I was like, what
is this? I want to learn more about this. And
I had, like I said, when I was sixteen, I
want to say, I had downloaded Reason five and started
(05:21):
kind of playing around with Reason five and starting to
see playing around in garage band or logic and kind
of trying to figure stuff out. And it didn't really
stick at the time, I think because I had, you know,
I had to do school stuff and do everything like that.
And I think there was a part of me that
honestly that felt like because I didn't have like that
classic musical training background with like years and years of
(05:42):
lessons and music theory and learning lots of instruments. I
think kind of naively at that time, I almost thought
like it was too late for me to become a musician,
which discouraged me. But I still loved it so much.
And I remember being on the rail being like, God,
I want to.
Speaker 2 (05:55):
Do this so bad, and you start playing, you start
DJing like in the club.
Speaker 1 (05:59):
Or like no not then I was mostly doing I
was mostly learning to DJ at home, and then I
didn't really start to play out until I lived in Austin.
Speaker 3 (06:08):
Yeah, we went back to and this is where like
we started to talk.
Speaker 1 (06:11):
Yeah right, yeah, I think a couple of years after
I went back, eighteen or twenty sixteen or fifteen fifteen
years after back, so it was like two years after.
Speaker 3 (06:20):
Yeah, we know each other since like long time long
eighteen or twenty.
Speaker 5 (06:24):
Nineteen something like that.
Speaker 1 (06:25):
It's been a while.
Speaker 3 (06:26):
Yeah, she was sending me tracks and this is where
how we started talking.
Speaker 1 (06:30):
At Yeah, it was that was how we became friends.
I think was a shit talking online, which that's us tracks.
Speaker 2 (06:36):
Okay, so you you finished your study, you start like producing,
you started DJing club? When did you? When was your
first gig? Did when you did your first gig? Were
you producing ALREADYO or not?
Speaker 1 (06:47):
I was? I think my very very first gig I
played at a bar in New York called Boutique. This
would have been in twenty fifteen ish and I had
started producing in I want to say early twenty fifteen.
Speaker 3 (07:02):
Okay, how was then, Like, how was your first geek?
What happened?
Speaker 2 (07:06):
Like you did? You started with like mixing in club
in bar then club?
Speaker 1 (07:12):
Yeah, bars, like week nights during well, I had an
office job to rooms of like ten people for fifty
dollars maybe. And then there was a club in Austin,
Texas that was like a rooftop bar. It was called Ethics.
Speaker 3 (07:23):
You were already back in Texas.
Speaker 1 (07:25):
This would have been twenty sixteen or twenty seventeen ish,
and there was a rooftop bar there and I had
kind of started playing at that in that club at
that time.
Speaker 3 (07:35):
Resident.
Speaker 1 (07:36):
Yeah, I did get a residency. Actually, the residency was
on Saturdays. It was shared with another guy, and I
named the party Dirty Landry because his name, his DJ
name was Dirty Clean in mine obviously is Sarah Landry,
and so the party was called Dirty Landry and it
was marketing waste. Yeah. I started doing that and kind
of a I had a residency there on Saturdays and
(07:56):
was playing other clubs around town. And then there was
something that happened in Austin, I want to say in
twenty eighteen ish where there was some real estate takeover
and he bought the buildings that all the clubs were
in Kingdom and Ethics basically shut down all the clubs,
which kicked off a huge underground warehouse party scene in Austin, Texas.
And I was playing twenty eighteen ish and I was
(08:19):
playing for those parties for a while, and at this
point I was getting into like harder and deeper techno,
which nobody was really playing. Everybody was really playing house
music there at the time.
Speaker 3 (08:28):
You were already like on techno, I was, Yeah.
Speaker 1 (08:30):
I was already into techno and it was it was.
It was such a thing that with you know, like
the politics of the scene at the time and what
the promoters were booking and everything like that, there weren't
a lot of opportunities for me to actually play techno.
So I started just throwing my own parties myself.
Speaker 2 (08:44):
Yeah, that was my question, Like when and how did
you learn about heart Tachnoway, Well.
Speaker 1 (08:52):
So I had gotten really really into Ableton at that point,
and I had had I ended up taking i think
an intro to synthesis class at the local community college
because I had heard from people in the scene that
one of the greatest sound designers of our generation mister
Francis prev which is absolutely true. He is a genius.
He's the guy who designs a lot of presets and
(09:13):
patches that come stock with hardware. Since Ableton native instruments
serum Kila. Hearts everybody, every he's he's done sound design
work for basically everybody. And he taught some music production
classes at the local community college, and so I signed
up and took one of those, and he and I
became friends, and he became sort of like a mentor
for me at that point as I was getting into
(09:33):
sound design. And he is very, very big working with
Ableton and speaks every year at able to Loop, which
is like their conference for music makers and able to
users where they do workshops and talk about tech stuff.
It was online, no Berlin to able to throw as
a conference in Berlin. They did at this time, they
(09:55):
threw a conference in Berlin. That's basically like it's like they're.
Speaker 3 (09:58):
Like you went there, Oh, yeah, I did.
Speaker 1 (10:00):
It's like Apple's annual.
Speaker 3 (10:01):
But it was like when when was that twenty seventeen?
Speaker 1 (10:04):
November twenty seventeen, Okay, and I at that point I
had started to get really into techno and I had
heard a lot about berkhin of course and trustwork, and
so that was my excuse.
Speaker 3 (10:14):
Okay, so it was Berlin.
Speaker 1 (10:16):
Yeah, So that was which is why I initially moved
to Berlin. When I moved to Europe.
Speaker 3 (10:19):
Because you remember your my my opinion about.
Speaker 1 (10:21):
That, yes, and yeah, yeah.
Speaker 3 (10:23):
Yeah, he loved Berlin.
Speaker 1 (10:24):
So Berlin is wonderful airport.
Speaker 3 (10:26):
Though.
Speaker 5 (10:27):
I like Berlin.
Speaker 1 (10:28):
I always have a nice time there, But the airport
for me is a deal breaker. But that's a separate conversation.
Speaker 3 (10:33):
No, it's not only about that.
Speaker 2 (10:34):
I was like, I remember, like she was like, I'm
going to I'm going to move to Europe and she
was like, oh so nice. We're going to meet but
more often and she's like, I'm moving to Berlin. That
was like, yeah, no, don't do that. How long do
you stay in Berlin?
Speaker 1 (10:46):
Eight months?
Speaker 3 (10:47):
Yeah?
Speaker 1 (10:48):
The airport, it was the airport for me, that was
the primary. It was the airport, and then like vibe,
My vibe was not really a mash for yeah, that's
the city there. I liked it, but like, I don't know,
for me, it's like it just I didn't click with it.
Speaker 2 (11:03):
But I think that's because you're really like strictured and
really you like to control everything in your life.
Speaker 3 (11:09):
And that's also like why like billion doesn't much for you.
Speaker 1 (11:13):
Yeah, I don't know. I think it's just I had
a great time there and it was I have a
lot of love and respect for the scene and the
culture there, just because my first love from this sort
of techno came from when I went to Burghin and
Treasor in November twenty seventeen. And I actually still have
a voice note like recording on my phone because obviously
(11:34):
no photo, no video, bird kind of like length Acai
set that night of me just by myself, by myself,
you know, vibing.
Speaker 3 (11:43):
That's cool.
Speaker 2 (11:44):
You can get lost in Bergham, That's what's cool in
this amazing you can be alone and you get get lost, completely.
Speaker 1 (11:49):
Lost, and in it. It's amazing. Yeah, So I have
that and that and at the time I thought it
was the hardest thing I had ever heard. And it's
like one hundred and thirty four bpm, you know what
I mean, which is I know, I know, so different
and that was what eight years ago, So it's like
it's crazy how differently the perspectives changed, you know. Yeah,
it's interesting though, because I remember even actually back in
(12:10):
those days with like the industrial stuff, and then remember
when we first kind of came on of the scene.
It's it's so funny because at that time I was
making shrans like I was making one fifty bpm shrans
and style tracks, remember, oh yeah, twenty nineteen and twenty twenty,
I was kind of making stuff that was with the
(12:31):
Schanz percussion yea. And it's actually, it's actually so funny
because the technos, you know, the technosknobs who you know,
under the umbrella of hard techno. There's like six different
things right now that are considered hard techno. You know,
you have shans, you have kind of like the classic
hard techno and the you know, the Dutch sound that
borders on gabber. You have industrial, you have the hard
(12:52):
bounce and hard groove stuff. There is definitely a little
bit of the raw style type of element for me
that's not particularly my taste. And then you have the
stuff that I've been doing, which is kind of like
that side techno type stuff which I really like that
I think is also under that umbrella. But the cool
thing is, right now you can get away with playing
a lot of stuff that falls under the umbrella, which
is great. But it's so funny to me when the
(13:13):
techno bros try and give me shit for not playing
as much shrans anymore, when in reality I used to
make shrans and now I'm making a lot of the
side tecto stuff. And what's the difference. Instead of using
a pitch down conga to make a sixteenth note role basline,
I'm using a basynth. That's the fucking difference. It's the
(13:35):
same groove, it's the same.
Speaker 3 (13:37):
Yeah.
Speaker 2 (13:37):
But the thing is also there's a lot of like
I would say, like new techno snow they think that,
like they discover like the Fire was like, oh yeah,
I heard about Like I don't like hard techno. Now
I'm liking too a hot groove or like groovy techno.
That's the new shit, bro. We were playing that like
ten years ago.
Speaker 3 (13:56):
Yeah, what you don't like?
Speaker 1 (14:02):
No, I love shuns, I play, I still play. I've
been of shuns, and I have a lot of shuns.
For me, I think it's not that I don't necessarily
like it, because when it's well done, it can be awesome.
But for me, I'm not a huge fan of like
like I don't mind the raw style pre drop type
of transition effects that you hear in a lot of
(14:22):
tracks now I have heard about a million of them,
so I'm like, all right, come on. But the thing
that for me, I've never particularly loved is the raw
style and super hard style type stuff, just because for me,
I don't think it has any swing or groove, so
I get my brain, my ear gets bored of it quickly.
(14:44):
There's like no base, there's no base on it, so
it doesn't knock on the speakers, right, And like I
bought the ticket to go to the club, to go
to the festival, to get kicked in the chest by
their expensive sound system, you know. So for me, that's
kind of why it's not my favorite. But there's a
lot of people who do it well and I respect them.
Y'all have fun, stay safe.
Speaker 2 (15:02):
But you have produced what like a lot of people
doesn't know. Is that like you were in a Builton
certified right.
Speaker 1 (15:08):
Yeah, yeah, not. I didn't get the Ableton certification, but
I had become really good team like friends with their
artist relations team, and so they brought me on as
an early beta tester for Live eleven. And actually a
lot of my biggest tracks from those first releases, like
Queen of the Banshees and that raw EP, and then
the Possession EP and then some of that other stuff
(15:29):
was all stuff that I made while I was beta
testing Live eleven, which I was doing for about six
months before it ever was even announced, and so I
was like playing with all of these new features that
came out on eleven, like the Velocity automation and all
of the.
Speaker 3 (15:42):
New tools for Earth Is like Christmas.
Speaker 5 (15:44):
Huh Yeah, I loved it.
Speaker 1 (15:46):
Yeah, it was great.
Speaker 2 (15:47):
Okay, I want to switch about a topic that could
interest our audience. Is you decide to become a DJ
and to make career right?
Speaker 1 (15:56):
Yes?
Speaker 2 (15:57):
How what was the step for you, like, build a team?
How did you meet your team? And how how did
you when you decide to make it your life, your
professional life?
Speaker 3 (16:09):
What was the step? The different step?
Speaker 1 (16:12):
So, like a lot of people I like, like we
talked about, I started kind of by myself making DJ
mixes on my dining room table or kitchen table or
you know whatever. And then I from there I started
emailing people kind of in my local scene, sending the
mixes to see if I could get into the clubs.
And I did, and I built my name for myself
(16:33):
in the local scene there, made friends, you know again,
played the empty rooms, all that fun stuff and all
while at this time I was producing because I had
been given very very good advice early on, which was
you cannot at this point and this was almost this
was ten years ago, so it's even more true you can't.
At this point. It was like, you can't build a
touring DJ career to support your life if you don't
(16:54):
have music that you released.
Speaker 3 (16:57):
So how did you get noticed?
Speaker 2 (16:58):
I mean like in the you with market, not US market,
but by the US bookers and edgency.
Speaker 1 (17:05):
Well, I had started building all of my stuff in Austin, Texas,
which led to me starting to do my warehouse parties.
And at the time I was starting to release music
and starting to send my music out and get like
very early tracks that aren't even like really techno yet signed,
and so I started to get use those label affiliations
to like make friends and then you know, be on
(17:26):
like opening slots for DJs who would come to town.
And at that point I was throwing my warehouse parties,
which was which was great, and then I was about
to start touring when like I start doing like small
gigs outside of Texas when COVID hit and obviously none
of that happened, and so at that point I was
(17:46):
kind of like, all right, well, I'm bored of what
I'm making anyway, so I'm going to start focusing on
making like industrial and harder stuff. And as I was
doing the warehouse parties, they kind of had progressively started
to get harder and faster, which was great because they
were mine and nobody, no club promoter could tell me
what to pay for fifty bucks for an opening set
or whatever it was. And so I had started doing that,
(18:10):
and then I had made a lot of friends in
the production space in Austin because of just like being
in clubs a lot and playing in clubs, and all
of those guys were out of work obviously off tour.
One of them is actually now John Summit's production manager
and he I had known him, Yeah, I'd known him
(18:31):
from years and he was like, you know, a PM
and a TowIt director and everything like that in Texas
and him and a bunch of other guys, and that's
actually how I met Warren, who's now my tour director.
Speaker 5 (18:43):
Yeah, yeah, I didn't know that.
Speaker 4 (18:45):
Yeah, Warren's my twit director and has been for one
of the friends. That's no, his name's Warren, and he's
now my tour director. But I had met them and
actually my current VJ also because they had in a
production where they had built a full festival stage setup
and were starting to run streams on Twitch for extra income.
(19:07):
And so they all knew me and knew I was
a good DJ, and knew I was playing techno, and
they were like, Hey, why don't you come into this
room and we'll start throwing these live streams, And so
we did, and we put them online and they started
to get like a lot of attention and got pretty
successful during that time, and that got the attention of Insomniac,
who had me do like a guest one for Insomniac
(19:28):
in twenty twenty one.
Speaker 1 (19:29):
But at that point I had had like some releases
out that had done well and gotten some good attention,
and I had met Harry at Ade in twenty nineteen.
He had reached out to me. Harry's my manager, and
we took a meeting and then ended up working together
a few months later. And at that point, I think
I had maybe nine thousand or ten thousand followers, and
he was the first member of the team, was my manager.
Speaker 2 (19:51):
We're going to talk about the moment in your career
that you break everything. When was that you decide? What
was the moment you realized that, okay, you part of
like the big League.
Speaker 1 (20:07):
It's kind of hard because there were there were like
a couple, but I think one of the biggest ones
was obviously with Boiler Room. The Boilroom when that came
out in twenty twenty three, that kicked off like an
insane amount of growth for me, and then that kind
of led into I would say probably my biggest festival
(20:32):
moment last year in the US was when they had
to move me at at EDC. I heard about that
from Neon Garden two Circuit Rounds and there were seventy
thousand people at Circuit grounds for that set.
Speaker 3 (20:42):
That was a huge You had this change because like
on other.
Speaker 1 (20:47):
Festival, forty thousand people showed up to a five thousand
cap stage, So that was a big one. And then
obviously to Marland mainstage.
Speaker 3 (20:53):
Oh yeah last summer.
Speaker 5 (20:54):
Yeah, that's a.
Speaker 1 (20:55):
Really was a really really big moment. And then aside
from that, I would say like the start of the
Eternalism shows, that's Coachella with that Eternalism this year was
another really big one. I've been very lucky that we
they've at moments have kind of continued to get more amazing,
which is just very exciting.
Speaker 3 (21:12):
How do you deal with this pressure?
Speaker 1 (21:14):
It depends on what point in my female hormone cycle
I'm at, honestly, looking back at the data, it really
it really kind of depends because it's one of those
things where it's like, at the end of the day,
when you're putting yourself out there and putting yourself and
taking a risk creatively and putting yourself out there, you
(21:37):
know what I mean, you really have no control over
how people are going to respond to your art and
respond to who you are and your presence and all
of it. So it's one of those things where it's
it's been an exercise for me and being like, that's
none of my business. All I can really do is
do my best at any given time and enjoy myself
as much as possible and be as excited and grateful
(21:58):
as I am to have these opportunity news and experiences,
and I try and always stay in that energy and
operate from there, which keeps me feeling my happiest and
my best regardless of what's going on. Doud does that
slip when I haven't had any sleep sleep and have
to go listen to someone's kid cryan and our plane
absolutely absolutely.
Speaker 3 (22:18):
We have those kind of talk right well, all the.
Speaker 1 (22:20):
Time, all the time, but it's it's been a really
amazing journey, and it's an amazing.
Speaker 2 (22:25):
Yeah, it's a blessing. It's it's clearly a blessing. What
we're doing in life right now.
Speaker 1 (22:29):
It's absolutely incredible. Do I want to go to two
hundred to two undred and fifty airports a year? Not particularly,
but I didn't know about that until it was too late,
and so we've had to adjust. We have norse canceling headphones,
and it's it's the moments of being on stage and
the joy of like having a really good set and
(22:49):
really good adrenaline. All of that is so much fun
that it almost like no matter how I'm feeling or
what I'm going through, it makes me feel like a
million you know what I mean, of course, But of
course it's you know, like any like anything, you get tired,
you have moments where you're like, oh my gosh, I
just want to be at home, or your flight's de late,
or you know, there's always something I have a question.
Speaker 2 (23:11):
I think it's it's interesting, what would you change if
you had to like start your carrier now from what
you've done before, would you change anything?
Speaker 1 (23:20):
I wouldn't.
Speaker 5 (23:21):
Yeah, no, I wouldn't.
Speaker 3 (23:22):
But the market change, did you think?
Speaker 1 (23:25):
So?
Speaker 3 (23:25):
Like the market the full way of like getting.
Speaker 1 (23:29):
I mean, like, if I started now, what would I
do differently?
Speaker 3 (23:32):
Yes?
Speaker 1 (23:33):
See, I think that everything for me happened and exactly
the way it was supposed to in exactly the right timing,
And everything that happened was a result of like our
deliberate moves based on how the market was at the time.
And so that's why I'm in the right position. And
so I can't even answer that question because if I
(23:54):
had made a different decision at any point, there's no
idea what would be going on. And also the market
now is completely different. And so all I could really
do now if I was starting over, would be to
go through the process of building a really good, really
strong team again and trust the advice that they give
me for today's market as opposed to market five years ago.
Speaker 2 (24:13):
That's the best advice you would give, like to someone
who wants to start, like like be surmundered a great.
Speaker 1 (24:19):
Team and yeah, build a build a build a really
really great team.
Speaker 3 (24:22):
You can trust people who.
Speaker 1 (24:24):
Know what they're talking about, who you can trust and
don't give away percentage points or equity to somebody who
doesn't know what the fuck they're talking about.
Speaker 5 (24:31):
Agree very important, you know what I mean.
Speaker 1 (24:33):
And don't be in a rush just to get an
agent or a manager. The wrong agent or the wrong
manager is going to cause you way more of a
headache than just being patient and waiting for the right
person to come to you. I think there's so many
people that try to rush.
Speaker 2 (24:45):
Yeah, but this is also like the generation and the
market who wants that because like someone who doesn't who
were like who started last year, it can like reach
like big, big, big fistiva now.
Speaker 1 (24:55):
Yeah sure, but like that'll that'll work fine for maybe
a couple of years, four years, maybe maximum five. But
that's not how you have a thirty year career.
Speaker 3 (25:04):
Yeah, true, that's.
Speaker 1 (25:05):
Not how you never have to work again aside from
doing your music stuff. That's not how you become a
legacy act. Which has always been my goal was not
to be a flash in the pan or somebody who's
around for a moment, but to be able to build
a substantial career that I can I can you know,
live just off my art for the rest of my life.
Speaker 5 (25:23):
That's always all you always.
Speaker 3 (25:24):
Say that since we met.
Speaker 2 (25:26):
Yeah, yeah, like this is another topic that we can
we can start talking about.
Speaker 1 (25:29):
But like.
Speaker 2 (25:31):
You you're from America, right, You're from US. And I
felt that, like the US crowd really support US. I mean,
like the US market support US artists. I feel that
sometimes the US they want to do like if if
you reallya is like if there is like a good
French movie, they won't like you did under Cinema, they
(25:51):
will like and the are they will make a remake
and do like the the US version, you know, And
I feel that we saw it's like they found like
the chosen one, you know, like she's good, She's like
she's gathered really big crettybidity in Europe.
Speaker 3 (26:08):
And she's American.
Speaker 2 (26:09):
But like this is the hope I catch that push
them also that what do you think about that?
Speaker 1 (26:14):
I don't know if it's necessarily my americanness. I think
it's my understanding of the American listener, the market, and
American subculture in order to be able to, you know,
like make a flip of something that's culturally relevant, include
something in a set that's like a meme reference that's
(26:36):
local to the US, or things like that, and I
think I understand really well because I've grown up with it.
I understand exactly what an American festival crowd, especially given
the stage it's different for every stage is going to
want to hear. And I understand really the cultural politics
(26:56):
that exists behind that, so I can play for anything.
I just did an eight hour set at SPASED Miami. Yeah,
a week after I played Kinetic field edc Vegas main stage,
and those were two very different sets because they had
to be of course, you know. And so I think
they like me. I think obviously dealing with an American
(27:16):
like of course, there's I think everybody likes to work
with like friends and people that they understand that you
can make jokes and you know what I mean. I
think there's certainly an element of that. But I think
they like me because I'm versatile enough and I have
enough range. Yeah, I have enough range to be able
to play where they put.
Speaker 2 (27:34):
But still, in my opinion, I steel Field that there
is like you know, the US people like they're so
patriot like, they so like they like what is American?
Speaker 1 (27:44):
I think to a certain extent, yeah, I think a
lot of times people I think there's an American thing
where I think Americans like to be able to have
fun in an American way without getting judged for it
or being called taste lists on cultured tacks. By the way,
to answer your question about why they don't put foreign
(28:05):
French films and American cinema, it's because Americans don't are
too lazy to learn how to read subtitles. That's literally why.
Speaker 3 (28:11):
I think it's there. There isn't no.
Speaker 1 (28:15):
I think it's just there's a weird thing with Americans
and we.
Speaker 3 (28:18):
Don't we don't know, we don't want subtitle That's why.
Speaker 1 (28:21):
That's probably why anime dubs exist instead of subs. Think
about it. The dubs are always in English.
Speaker 5 (28:28):
Aren't they.
Speaker 3 (28:29):
Yeah? But still I think.
Speaker 1 (28:30):
Because Americans can't be bothered to read a subtitle during
during TV brain rot.
Speaker 3 (28:35):
Time, that's why can we talk about like the scene
in the US.
Speaker 1 (28:39):
Yeah.
Speaker 2 (28:39):
Okay, So what I felt lately is that since three
years two years more recently, I would say it became
way more herd techno, and they like they had like
a delay, they didn't.
Speaker 3 (28:57):
Compared to Europe. But I think that they catch up
to date.
Speaker 1 (29:01):
I agree. I think initially people who have been doing
that sound for a while. I think the delay was
because of the way that American festivals like Insomniac book talent,
which is on like they send you, like we talked
about this, like a yearly packaged deal. They don't book
you sending an offer per festival. This is why, like
you see in a year, you see a lot of
(29:22):
DJs that are on the same lineup multiple times. It's
because they'll send you a package to your agents that says, hey,
we want to book you at all of these festivals
and these Insomniac properties over the course of the next year.
Which ones do you want to do? Usually for something
like that, like they don't just go okay, we'll book
you for Vegas. You know, you have to kind of
prove yourself and of course, you know, prove that you're
somebody that can sell tickets that you know, yeah, sure
(29:44):
you may have a huge following, but like, can you
actually fill the room with bodies before we put you
on a really big stage.
Speaker 3 (29:51):
You know, once again, it's about ticket selling.
Speaker 1 (29:53):
You have to earn your way up. And so that
was something I did for a long time in the
US before I even got to the really, really big
festival stages. Was I is playing smaller shows in local markets,
and we did this kind of everywhere around the world
where I was doing. You know, it's called a solo headline.
You know, I was doing a solo headline, my name
at the top, and you know, showing how many tickets
I'm worth. Regardless of whatever viral moments or social media
(30:16):
presence or however many people are putting my face upon TikTok,
you still have to prove in order to earn your
spot in a headline slot or earn your spot high
up on these festivals.
Speaker 2 (30:26):
I'm sorry because you were talking about TikTok. What is
your opinion about TikTok and like what they call like
TikTok techno, what is your opinion about that.
Speaker 1 (30:33):
My thoughts on this are multi pronged because I'm somebody
where I think a lot of people discovered who I
was through social media, which is amazing and I'm super
grateful for because that's led me to the place that
I'm at now. I love TikTok. I think it's great.
I am a big doom scroller, no Tino Scheit. I
love it. You know, it's great. It's a fantastic. It's
(30:55):
a fantastic app for airports and which I spend a
lot of time and so love it for that. I also,
I think the algorithm's good. It pushes me a lot
of cool music. I've discovered a lot of up and
coming artists through TikTok, which is great. But I mean again,
I think it's it's so funny to see people try
and judge a DJ off of a thirty second TikTok
clip that's clipped by your team to make sure it
(31:16):
has engagement and is never a video of you doing
an actual transition because nobody's doing actual transitions on the
most important part of the song. They're letting them play
face to camera because that's how you.
Speaker 5 (31:27):
Can engage it.
Speaker 3 (31:27):
And they say like like press player DJ or something.
Speaker 1 (31:30):
They say all sorts of bullshit, and then I post
an eight hour space set and you know, where are
those guys?
Speaker 2 (31:36):
They do not watching them from this, Yeah.
Speaker 1 (31:40):
Of course, because I mean it's one of those things
like I work for so long, you know, eleven years
of my life, ten years of my life, and from
the beginning, I you know, when I first started, I
thought everybody at the tippy top of their game was
did the right thing and learned how to be an
engineer and was making all their own music. And then
I actually got there and I was like, oh, I'm
(32:00):
one of the few who actually does all my own
music myself. A lot of people hire ghost producers so
that they can be on tour. It's easy to find out. Yeah,
you can check the credits on Spotify or check the
credits on BMI. Go do it. If you don't believe me, right,
click dots show credits. It'll show you exactly who produced
everybody's music. Notice on mine, you'll see my name, or
(32:20):
if it's a clearly listed collab Sarah Andry Schlomo play
with me, you'll see our two names.
Speaker 5 (32:26):
And that's it.
Speaker 1 (32:26):
I mix all of it down myself. Nobody used to
mixing engineer. I master a lot of it myself.
Speaker 5 (32:30):
Like you felt that it was right, Yeah.
Speaker 1 (32:34):
I just thought everybody else was kind of going through
those steps. And I discovered later that that wasn't necessarily
the case. But I had already done the work and
had earned my spot, really earned my spot, and I felt,
especially since I moved to Europe, I was kind of
constantly having to prove that I deserve to be where
I was, and I really earned that. I think in
(32:54):
twenty twenty two when I was first in the club
scene there that started off this really big wave of
growth for me. Was kind of those sorts of touring
and every single set I approached every single set like
I had to earn and prove that I deserve to
be there, which is still what I do.
Speaker 3 (33:07):
But I witnessed that.
Speaker 2 (33:08):
I mean I really witnessed like how you were dedicated
to to to your job and to your career and
like to perform in a good way, to produce good tracks,
and and and sometimes I felt that it was really unfair,
you know some throughout throughout you that all the critiques
and like all the trash online. Oh yeah, do you
(33:30):
think it's because also, like it's it's more you have
more critiques and trash because you're you're a woman.
Speaker 1 (33:37):
Yeah. Absolutely, it's misogyny. It's misogyny. I get I get
dragged for I could track for everything, but I mean,
look how many of the DJs that are seeing show
up and take off their shirt and go stand on
the DJ booth And the only person who I want
to see on the DJ with is Nikum right now.
That's he's the only one that's a lot up there,
because I love that love does and when everybody else
(33:59):
does it, I'm like, get that. Yeah, you so, and
and you know, everybody's like, oh my god, this is
the coolest thing I've ever seen. But you know, I
just put on like my cue little outfit and I'm
just there waiting for my you know, groove in a
little bit while I wait to mix out into another track.
(34:19):
And people say the most heinous, awful ship and they
don't know what the fuck they're talking about. You don't
know what you're talking about. Of course, go watch my
eight hour spacet Go watch my master classes, go watch
any of it. The boiler room people were saying was fake,
and that was a prerecorded set. I'm like, dude, the
decks are right there. You can literally see what it's
right there. It's just because I'm a woman. They do
(34:40):
this to everybody, to the point that Charlotte normally had
to give me, both had to give me. Pep talks
about it. They're like, girls, stan out of the comments.
Ignore it. They do it to all of us. You're
going to get it no matter what.
Speaker 2 (34:48):
You're really strong mark and marketing wise, there's also something
like marketing related that I own you the credit.
Speaker 3 (34:56):
And nobody knows.
Speaker 1 (34:57):
Nobody knows this.
Speaker 3 (34:58):
The daddyus my my my nickname the daddy as is
coming from her.
Speaker 1 (35:02):
It is I sent him a meme. I sent him
a meme in when I was born, when my son
was born, and I sent him to congratulate him on
the birth of his son.
Speaker 3 (35:13):
Was this it was just this, yeah, yeah.
Speaker 1 (35:18):
On the screen, but send him this to congratulate him
on the birth of his son. And it became it
became obviously a very effective marketing tool. Still waiting for
my check on that, but.
Speaker 2 (35:29):
I would never have it loyalties. No, no, she's asking
all the time.
Speaker 1 (35:35):
Yet And so that's that's actually part of like the
inside joke behind uh the lyrics and play with me
funny enough is because like and I guess most people
didn't know this, but like obviously like there this has
been like a joke of ours for years. Is that
you know, it's my fault that you guys are dealing
with Daddy's over here. My bad, but hey, very effective
marketing on Webbart. So again that degree is not going
(35:57):
to waste. But yeah, that was that was part of
the inspiration why I was like, oh my god, I
have to include this like little inside.
Speaker 5 (36:04):
Joke and our attack.
Speaker 2 (36:05):
But he was talking about that like play with me.
It was the vocal is so nice.
Speaker 1 (36:09):
Thanks, you know what's so funny about that? And Sean,
we can dive into the way that we the way
that we work, which is kind of the same way
that I work with. Like all of my friends that
I worked with on the album, and like everybody I
worked with on Spiritual Drive By or almost everybody were
like close friends I've known for years. And it wasn't
something where I ever set out to make a collaborative album.
It was like, Okay, I'm really burned out and exhausted
(36:30):
from touring and making music is starting to feel like
less of a joyful thing for me to do and
more like an obligation or a chore, and I hate that,
So how do I make it fun again? And the
solution was to pick like a couple of my close
and favorite friends who we'd been wanting to get together
for a while and just hadn't been able to, and
just like, let's spend six hours together and just be
(36:52):
creative together and just see what happens.
Speaker 3 (36:54):
Percent agreed.
Speaker 2 (36:55):
This is exactly what I felt right now when I'm
like writing my album, right it's I feel exactly what
she said. Like sometimes like producing alone, you feel like
less like less joy, and at some point you're like, Okay,
let's spend some time with talent and friends who are
like friends that are talented artists. Yeah, and let's see
what happens, you know.
Speaker 1 (37:15):
And so the thing that I love about like working
with Sean, working with Nico, working with all Tae, working
with like all my collaborator Alex Ferrell, on my collaborators
that I work with is we always kind of work
in this way where we're trying to go as fast
as we possibly can and just get something down, but
then we switch off. Like one person starts with one
thing and then the other person does something else. So
like we'll always start with a kick or whatever, and
(37:37):
it's like, okay, kick is here, what's next? You at
a layer, you add something else to do it.
Speaker 3 (37:41):
It's not too us to like working on their laptop.
Speaker 1 (37:44):
It's like no, we like switch someone's driving and we
switch off. And then if somebody, like like yesterday, for example,
if either one of us gets a really good idea
while the other person's working on something, they'll be like,
oh wait, let me do this.
Speaker 5 (37:54):
And we'll switch off.
Speaker 1 (37:56):
And so that's what we had been doing for Play
with Me is we had been kind of going back
and forth, kind of switching off, and we had gotten it.
Speaker 3 (38:02):
Was two afternoon, it was only two often we made
it in two time.
Speaker 1 (38:05):
I think we made the bulk of it in one afternoon.
Speaker 2 (38:07):
I want to say, you made the vocals, yes, so fast.
I was like, I went to the bathroom and like,
she recorded in two minutes.
Speaker 1 (38:16):
Well, and this is always how my top lines come
to me. You saw this happen again yesterday twice on
the two things we did yesterday where I was just
kind of like, oh, I hear something and I'll just
write it down. And then you know, he was gone
in the bathroom and for two minutes, and I was
like yeah, you know, and I just did the whole
thing and then just bounced it. We cut it up
and then that was it.
Speaker 2 (38:36):
And when you release another truck together, it's coming on
my album actually.
Speaker 5 (38:40):
Like I'm repaying the favor, yeah, but we have another truck.
Speaker 1 (38:45):
I'm actually another track that we started yesterday. We were
so we had a session yesterday and we were so
efficient that we actually got one and a half tracks
done and so after this we're just going to go
finish the other one.
Speaker 3 (38:53):
If you could choose one collab, who would it be?
Speaker 1 (38:56):
Scrolls probably electronic collab, scroll Pop probably Gaga, Charlie XCX Gaga, Gaga.
Is you know ever I've done for her? I've done
a remix for Gaga. I'm she is the one who
sent me the stems personally, I've I'm waiting to get
a release date on it. But yeah, but yeah, that
(39:20):
would be a dream, would be to do some executive
production for Gaga. She's incredible. She's she was like she
was my first like big artist, you know what I
mean when I was a teenager and I was like,
oh my god, I didn't know you could be yourself
like that, you know what I mean.
Speaker 5 (39:35):
I was like, Wow, I didn't know.
Speaker 1 (39:37):
You could do that, you know, And so that she
was a huge one for me. So I would love
to work with her.
Speaker 5 (39:42):
Yeah, Yeah, I love Charlie. She's great.
Speaker 3 (39:44):
I prefer what like what she was doing by kind
the day for me.
Speaker 1 (39:48):
Yeah, I mean her music has been amazing For a while,
It's been interesting to see her evolved. I'm just really
happy she got to have huge cultural moment that she
did because that album was incredible.
Speaker 3 (39:58):
Were of time. I have one last question.
Speaker 2 (40:00):
I want to talk about, like your album which was
like a huge success, a Spiritual Drive by, Can you
explain what was the title about?
Speaker 3 (40:10):
And since I know you.
Speaker 2 (40:13):
Also like the gift you gave me for my birthday
and stuff like this, it's all about like there is
a spiritual.
Speaker 3 (40:19):
Thing, like a which thing, so many things. Can you
talk about that a bit more?
Speaker 1 (40:24):
The core of what we do, whether people realize it
or not. This is why I tend to avoid dark
and angry. Music is at its core energy work. We
are energy workers. You know, everything is frequency. Music is frequency.
You know, the vibes that you're putting out in the
frequencies of the song you're because of the size of
the speakers and everything. The crowd, especially if they're in
(40:44):
an open minded, altered state, you know, they're kind of
joining you on that frequency level, right, And you can
either move people up to the highest possible frequencies of
joy and love and excitement and euphoria and happiness, or
you can move them down into the lower ones of
like fear and like chaos and pain and jealousy and
(41:06):
all of those things. And so for me, as much
as I can, I always want to put myself and
then the people around me especially, it shows up on
the highest possible vibration and frequency level. And so for
me that means, you know, and again like I don't
play as harder industrial as I used to because I
want to play stuff that feels good and feels happy
and feels bephoric, even if it borders a little bit
(41:29):
more on pop stuff then people are used to hearing.
But I think it's worth it to take the flag
for that just to give people like a really amazing
euphoric experience. And so for me that's kind of a
driving factor with that, is to kind of create.
Speaker 3 (41:43):
Title.
Speaker 1 (41:44):
No, the meaning of the title was something different. The
Spiritual drive By started as a joke. I was in
the studio with Mike Dean and he stepped out for
something and I had his wife, who has an English accident,
come and kind of give me like a placeholder vocal
and I had her say something like cosmic and esoteric,
and her English accent shout out Louise and she's she
was amazing and she did it for me even though
(42:06):
she didn't want to be miked, and then I ended
up actually just putting my own vocal in. Later when
I was finishing the album and mixing everything down, but
I had made a joke about this. I was like, oh,
this is kind of like a spiritual drive by, just
kind of like oop, there it goes right on the past.
And then I was like, oh, that's funny. I'm write
the tone, and then that became the name of the track,
which then I was like, that's a cool album name.
Speaker 5 (42:25):
Let's just call it it is.
Speaker 1 (42:27):
So that's that's how that came to be.
Speaker 2 (42:29):
Okay, we we have to We weren't in after time now,
so we have to end the chat here. It was
a really nice moment with you, Super happy, super happy
to have you in this in this podcast, and I
hope to have you like in the next season too.
Speaker 1 (42:46):
I'm sure, I'm sure we'll find more to talk about.
Thanks for having me. This was super fun. But anyway, Yeah,
let's go finish our track now.
Speaker 3 (42:52):
Yeah, it's time back to the studio.
Speaker 1 (42:53):
Back to the studio, we go.
Speaker 3 (42:54):
Okay, bye, We're good.
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