I never intended to do anything more than just collect records and spin them at home and have friends over. I wasn’t trying to do it as a career. But after my first official club gig, it was like, ‘Wow. I love this. And this is what I want to do.’
My dad was really into the Beatles and Jimi Hendrix. My mom had a lot of funk and disco records, which I loved—funk and disco essentially being the precursors to today’s dance music. At a young age, I remember going to visit my cousins in Norway and first hearing electronic music. I was immediately drawn to it. As far as my musical training, it was in classical violin.
Prior to [Sunday night Dragon’s Den series] Church*, I was working with the Louisiana Dubstep crew. We were into dubstep before it was even really popular here; the only DJ that I knew that did it was Black Swan, who started the dubstep movement in Louisiana. It started in Lafayette and then Baton Rouge before coming here. I also happened to have, during this 2007–09 time frame, a KLSU show I co-hosted where we’d feature different DJs, promote the Dirty Disco parties, and generally try to educate people on the music.
New Orleans used to be this rave mecca, with the State Palace Theatre and everything. But with the Rave Act in 2002 and Katrina in 2005, it disappeared. Raves weren’t quite legal or accepted. You had a club night here or there, but it never became mainstream. But when dubstep came around, in 2009–2010, it exploded. So then we went from a small underground scene here to something, because of dubstep, that really took over.
Overall, New Orleans has gotten back on the map. When I got involved with Herb Christopher, people were traveling from New Orleans to Baton Rouge for this music. It’s come from that to now with Buku as a big annual event and Voodoo where what used to be the dance tent is now the second-largest stage.
On a simple level, I’d like the audience to get out of the music what I do. It makes me want to move. I get a weird sense of satisfaction every time I hear music. It’s fascinating to drop a track with one high-hat element and see the energy go up and people dance a step harder. That, to me, is interesting—to get people’s attention, get them locked in. To do a whole 6–8 hour set and have people go the distance with you because they just can’t stop dancing. I try to appeal to their energy level and find a track that matches the mood and vibe. Once you get that locked in, you can really take people anywhere.”
Sunday, October 29
12 p.m. (Le Plur)