B
eing a 21-year-old global DJ/producer superstar can’t be easy for Alesso. The last few months have seen him juggling opening for Swedish House Mafia’s last ever show at Ultra Music Festival, shaking off the excitement from his latest Beatport chart
topping remix of One Republic’s 'If I Lose Myself' and taking the time to chat with us after stepping off the stage in Chicago. Alessandro Lindblad takes it all in stride though. The Swedish charmer hardly breaks a sweat during his hour and a half long set composed of a plethora of progressive house bangers by the likes of Ivan Gough, Steve Mink and Steve Bleas, plus his own productions, 'Years', 'Clash' and 'City of Dreams'. Playing to a very excited sold out crowd of 3,500 fans,it almost feel like the 87-year old historic Congress Theater will begin to collapse, the crowd not ceasing to rage and jump for even a second. All is well; however, and the shy Swede, surrounded by an entourage of fellow countrymen friends, is as cool as ever and unphased by the craziness around him. Having to stick to a tight touring schedule, we skip the small talk and got right down to business.
I read this quote where Laidback Luke mentioned the rise from the studio to the DJ booth of young producers, and referenced a short conversation you guys had in Brazil in front of 50,000 people, how have you evolved as a DJ since then? "I’ve learned a lot of stuff on the road when it comes to everything, from DJing to producing to sleeping. It’s been going really quick but you learn a lot when you’re on the road for two years back and forth. I’ve learned a lot more stuff, how to bring a show, how to connect with the fans, how to talk on the microphone. When it comes to music, I feel like I’m still learning a lot of stuff but I feel like I have a little more control on it now."
While developing as a DJ and performer have you developed any pre-set rituals that help you shake the nerves; any good luck charms? "Well, as you can see, I smoke cigarettes. That kind of calms me down sometimes. Maybe I can do a shot or two, but I’m never drunk while I’m on stage. Breathe and relax, and remember that when you’re doing a show like tonight they’re [the crowd] are all here to see you. Have that in mind, do your thing, and have fun."
Do you think that DJ skills are essential, or should people try to get into the scene starting out strictly producing? "Well, DJing, producing and doing a show, everything goes hand in hand. You can’t just produce and think that you’re going to walk up on stage and know exactly what to do. It’s something that you learn for years, I think. DJ-wise, I learn new stuff every day but I feel a lot more secure and confident as a DJ today. I know more what to do and when to play my songs. Like tonight, I finished with my new song, 'If I Lose Myself', and there’s a reason I finished with it. I didn’t finish with it because it’s my latest song, I did it because it’s a song I think that you want to hear at the end. It’s not something you can learn unless you’re out there. You also need to watch other DJs and get inspired. See other performers, not just DJ’. See how they present their show, how they start, how they end and get inspired from people that have been around for years."
By the way, I think 'If I Lose Myself 'entered at number one on the Beatport Top 100 Tuesday? "Yeah, it went straight to number one. That’s amazing. That happened like two or three times before. Once it was Swedish House Mafia, then it was an Eric Prydz's song and then me, which is a huge honor for me,
something that I didn’t expect at all." How did that collaboration come about? "I got the demo of 'If I Lose Myself' a few weeks before it was going to be released. It was still a demo, it wasn’t finished, but I just heard it and I was like, ‘Wow this is One Republic’s best song since 'Apologize', their next big thing.’ I just felt like there was something I could do with it. I can put my sound into it and make a good collaboration. It doesn’t really feel like a remix, it feels more like a collaboration. I talked to the label and before they released the original I sent them my version. They said, ‘Wow, this is great. We’re going to release the original first, but we think that your version is going to be big too, maybe bigger!’ So they said ‘Let’s give it a try and see.’ So, it’s doing great, it’s doing really well in the States."
We've heard a few rumors about you, Sebastian Ingrosso and Otto Knows combining into a new Swedish superpower trio. Is there any truth to this? "(Laughs) No, we’re not. We’re not going to form any kind of DJ group or anything like that. We’re just under the same label, the Refune label, which is a really cool, still underground. It’s not a big label, it’s big in dance music but not big for the commercial market, so we’re not forming anything. We just happen to be really good friends, push each other’s music and work together. That’s it."
Why do you think there are so many successful artists and producers in Sweden? Is there something in the water? "I think it’s because the Swedish people inspire each other a lot and we’ve kind of built this Swedish ‘thing,’ it’s a unique sound, you can almost hear it. You can hear when it’s a Swedish producer. It kind of has this melancholy emotional feeling, still strong, and it has a message all the time; I think it’s because of that. It’s because of hard work as well. It’s boring as fuck sometimes in Stockholm, especially in the winter. It’s dark, basically, eight months a year so I lock myself in the studio those months when I’m not on the road. I’m also working with Otto Knows. He comes to my studio and I show him things and he plays his records for me. We inspire each other and help each other out, same thing with Avicii. I know Tim really well. Before he became big I heard his stuff and got inspired by his music. Maybe Sweden has a really good feel for good music, I don’t know."
It started with Abba, then Ace of Base… "Yes, Abba, Robyn, Roxette, Lykke Li, there’s a lot of Swedish artists and producers. Now there’s a new group called Icona Pop… they’re amazing."
There is so much hype right now about Daft Punk. How do you think their nu-disco sounds will impact the scene, which is skewed towards progressive and electro house right now? "Well, I just hope that people will understand it. I think that people will, but I really don’t know what’s going to happen. If I knew, that would be awesome, but I think it’s going to do really well since they’re Daft Punk. It’s impossible for them to make a bad record. They’re amazing producers and always have been. I’m a huge fan and I think that everybody in the electronic dance music scene is a huge fan of them. I don’t really know what’s going to happen. Even if America doesn’t really understand it, I think it’s still going to be in that category of winning Grammys; that’s the least that’s going to happen. When that album comes out it’s going to be different from everything else in a really good way, and it’s disco too which is awesome."
Your set at Ultra was pretty epic. Tell us about the pressure (no pun intended) of playing before the last ever performance of the Mafia. That must have been an incredible feeling. What was the crowd’s
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energy like? "It was definitely one of the best shows I’ve ever played. There was a lot of pressure since it was right before their final show. There were a lot of people there to see everything and it was a big thing. I think it went really well and I’m really happy about it. It was a lot of pressure but it was still so much fun and I was just enjoying it the entire time."
Since the dance music scene has become more commercial, DJs are drawing a lot more attention for having pre-recorded sets. How important is it that you and other DJs have a keen ability to read the crowd? What is that one track you throw down that is guaranteed to get the crowd hype? "It’s very important to read the crowd. Even though I had a show here tonight and all these people were here to see me, I still analyze everything when I come in to the venue. I start with the records I planned to start with and I go from there. I pretty much know what I’m going to play. Nothing is ever prerecorded for me. I haven’t done that, hopefully never will. But yeah, that’s what I do, just analyze and see what the crowd is into. It’s easier depending on different situations, like at Ultra. I was analyzing a lot there, because there were a lot of people there to see me, but they were also there to see other DJs because it’s a festival and a lot of big DJ names were there. I understand what to play after ten minutes, I feel like I do."
You were recently announced as a headliner for EDC London and Electric Zoo. With the most anticipated festival season in history on the horizon, are there any you are excited about in particular? How do you make each performance/set different and special? "I always try to bring something new, whether it’s a new song or a new mash-up or a new way of mixing. Whatever it is, I try to always bring something new to the table that people haven’t really heard. They’re still going to appreciate it, but maybe they’ll be like, ‘Oh wow, he did that this time.’ When I come to festivals like Electric Zoo in New York, I’m prepared. I’m prepared, because I kind of know what to do. I feel like I know what to do because at festivals like Ultra or the Electric Zoo you only have, like, one hour and fifteen minutes [to play]. I can’t just go out there and wing it, just play a record or whatever. I’m not that kind of DJ. I want to go in there and know exactly what to do because when I leave the stage I want to know that I gave a 100%. To do that, for every show, I think that you should always bring something new."
After witnessing his high-energy set, perhaps the most impressive thing is how much Alsso has improved, and how far he has come, after starting only a little over three years ago. Yes, it can be argued that he has had a lot of help from his fellow countrymen superstars, and his mentor Sebastian Ingrosso, but talent is talent and that’s something one cannot deny about Alesso. During the final minutes of his show, when he drops an excellent mash-up of his hit 'Calling (Lose My Mind)' and 'Don’t You Worry Child' by Swedish House Mafia, he reaches a perfect point where audience participation is at its highest and so is his ability to move them. He proceeds to close his set with 'If I Lose Myself'. With the entire room singing along, we are reminded of the epicness of this record and realize that Alesso has fully come into his own, a talented producer turned DJ who can now command a crowd with masterful precision.
JAMES KABAT
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