The essential component of being a DJ is setting the mood; it’s playing to the context. So that if you’re not able to adapt from one context to another, then you’re not a DJ.
I think one of the biggest things that’s changed in terms of the rapport with the crowd is that now crowds come to hear our songs. We’re getting closer and closer to an artist performance.
My ears are open to all sorts of stuff. I appreciate some of the big electro house guys.I love their music but I also like a lot of the stuff coming out of the U.K. Future garage stuff. A lot of stuff like that.
One thing that I learned in recent years from working more with other people is this idea that part of a producer’s job is to make people comfortable and confident.
I’ve been doing it since I was prepubescent when I loved to scratch records and play good music. As it happens, you know I sort of fell into the mix. I really feel like I played a role in bringing dance music to America years ago.
Right now it feels like we’re playing a role, like me and a couple of my friends, in where popular culture is going. That’s a very rare thing in a person’s life to be able to be a part of that. It’s a responsibility I take seriously.
At the end of the day, Fool’s Gold is a label that, when I hear something I like, I try to grab it for the label. There’s a ton of great music coming out.
That’s what a DJ is at the end of the day – someone who leads where the music goes. The only thing that’s changed is that in America, people have woken up in the last few years and realized it.
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