Hip-hop artist Sophiegrophy likes to follow her own rules. In her music, she does just that. Hailing from Nigeria, she grew up in New Zealand and is currently based in Australia, so she has definitely followed her own unique path. Her versatility is reflected in her new EP, BOLD, which premiered this May. Fans of Bazzi, Glass Animals, and Cardi B will vibe with her EP (I said she was versatile!), which makes the perfect carefree soundtrack for hanging by the pool or cruising around town.
On Sophiegrophy’s six-song EP, each song represents a different genre and music style. Her first single, “Shake,” is all about “loosening, turning up, because sometimes life can be so serious that we forget to have fun. Even if it’s by yourself, even if it’s with your friends, as long as you’re turning up that’s all that matters.” Now that’s a mantra we can all get behind, am I right? “Shake” has already been featured on radio personality Ebro’s show on Beats, and Sophiegrophy can also be found on the future-forward tracks “My Own Thang” by Walker and Royce and “Bounce Back” by J. Worra & Codes, as well as Spotify’s “Starting Point” and “A1 Live” playlists.
On her EP, Sophiegrophy showcases her dedication to doing her own thing as she mixes hip-hop and R&B with a splash of electronic beats. She opened up to Betches about how she stays confident and ~bold~, telling us “Our decisions must be executed with confidence and we must always have faith in ourselves while not giving energy to the naysayers” (full interview below).
We chatted with Sophiegrophy about her diverse background, musical influences, mental health, and more below.
How does your Nigerian background & growing up in New Zealand influence your music and style?
My Nigerian background influences my music by allowing me into a world full of culture where music is the driving force for jubilance, dance, and unity. This background has really helped me with exploring afro beats, which are a part of my “BOLD” EP, and were really something that came naturally when I was writing. As a Nigerian we have a saying that “Naija no dey carry last,” which means we are always in the frontline. My style represents my background because I dress to be comfortable even if it means doing the most, and as a Nigerian we are known to go far and beyond when it comes to style because we love to look good and we love to stand out. I spent my late childhood and teenage years in New Zealand, where I discovered my identity and my sense of belonging that have made me the person I am today. All that I have discovered and learnt during my developmental stages has really helped me with writing and telling my story. New Zealand was where I realised I was different due to many bullying experiences I encountered, and it didn’t change me for the worse nor did it make me change who I was.
Who are some of your musical influences?
My musical influences are Lucky Dube & Jon Bellion.
Who are some of your inspirations right now? (Musical and otherwise)
My biggest inspiration is my mother. She inspires me to strive to be my best and to keep persevering. Everything she has encountered in her life gives me motivation to keep working hard, because she is where she is today because she never gave up and never stopped trying. No matter how hard it got, she made sure she finished what she started and she never left things halfway. This has motivated me a lot, because life is a roller coaster and there are going to be a lot of good and bad days. We tend to only appreciate the good days and give up when the bad days knock on our door. Every negative thing is a catalyst for something positive.
What’s keeping you upbeat right now?
Music and writing. I’ve been spending a lot of late nights with music, exploring what my next song or EP would be. Music brings a lot of happiness out of me and that’s really what’s kept me upbeat.
What’s your go-to pump-up song/album?
My go-to pump-up song and album would be “PMW” by A$AP Rocky/SchoolboyQ and Fan of a Fan by Chris Brown & Tyga. These choices are songs that bring back a lot of wonderful nostalgia of a night out with friends.
Your EP is called “BOLD.” Can you tell us why?
My EP BOLD signifies standing out and being as vibrant as possible. Each song on my EP is distinctively different because they each represent different genres and styles. I wanted to showcase my diversity when it comes to music—I don’t discriminate and I don’t like to place myself in a box. I love expanding myself as an artist and pushing the boundaries. I don’t want to do something because that’s what the majority are doing, I want to do things because I want to do it, even if it means being the odd one out.
What’s your advice to other women to be bold?
My advice to other women to be bold is to remember that as women we are dimes. Our aura is naturally bold, but to really exude it we must walk with confidence in ourselves. Our decisions must be executed with confidence and we must always have faith in ourselves while not giving energy to the naysayers.
Who would be your dream collab?
My dream collaboration would be Jon Bellion—he is absolutely amazing—or Skepta.
What are you up to in quarantine?
The first time we went into lockdown, I loved it because I had a lot of time to get things done, such as doing more writing, listening to old songs, and loving my space, so it was really a tranquil time for me. Now that we are back in lockdown once again for another six weeks, I really miss performing, being on a stage, and meeting different people along the way. So to keep myself busy, I’ve been trying to learn Spanish online which is a nice challenge, and I also have some videos coming up which is very exciting.
What are your goals, musically and otherwise?
One of my goals musically is to become very successful in my music while staying true to who I am, in regard to my style and personality. I really want to use my platform to start a mental health foundation that helps not only up-and-coming artists, but also young adults who are dealing with mental disorders but aren’t seeking help because of the stigma or because they are struggling to cope. I also want to help the young kids and families in Nigeria who are homeless and struggling to meet their daily needs. There’s so much I want to do, and that’s why I need to keep working hard.
Canadian-born, Los Angeles-based DJ Cray is a one-woman show, or so she told me when I interviewed her at a music festival in Atlanta—just us, no publicist, no manager. That’s very rare in the music world from what I’ve encountered, but it fits right in with Cray’s laid-back, completely unpretentious vibe. “I’m kind of get in, get out,” she explains. “I’m pretty independent. I’m a one-woman show!”
Speaking of, being a woman in show business was a huge topic of conversation. I didn’t mince any words; I just jumped straight into it and asked how she dealt with working in a historically sexist industry. “I think there’s a ton of judgment against women,” she admits. When they see a woman in music, people question, “if she’s doing what she is doing for real, if she’s too pretty,” and on and on. (Not that it matters, but Cray is gorgeous and looks like an e-girl-meets-Instagram model.) I express incredulity that people would actually count attractiveness against a woman (because who among us has not been called an ugly bitch who isn’t talented by our haters). Then again, how could I ever underestimate the hypocrisy of men? Cray assures me that, yes, it happens. “I get a lot of like, you’re too pretty to make music,” she confesses. But she questions, “Like, if I was ugly, would it be chill?”
She continues, “You would never tell a man, ‘oh you’re too hot to be doing what you’re doing’… but I’m being told those comments.” And while it seems like a no-brainer to say, it’s apparently not: she asserts, “I’d rather you look at my talent and not my face.” But think about it: has anybody ever said Justin Bieber was too attractive to sing? Or, if you think that’s a more objective skill than being able to produce music and DJ: have you ever taken a look at Calvin Harris, or Martin Garrix, and thought they were unqualified? I’ll wait. “If someone’s making art, and giving art to you, it’s a pretty vulnerable thing,” she asserts. “So just respect their art. If you don’t like it, don’t listen—you don’t need to make mean comments or judgmental things like that.”
But the music industry isn’t the only space where Cray is on the receiving end of sexist comments and doubt. She’s also a big gamer with over 40,000 followers and 500,000 streams on Twitch. Anyone who paid attention to #gamergate in 2014 knows the gaming world as a whole is not exactly welcoming to women (understatement of the decade). I pose this question to Cray, and she seems like she’s thought about this a lot. “So I’m basically in the middle of two industries that have issues with equality of women,” she says without missing a beat. While she admits, “music and gaming are very different,” she finds, “the issues they have are the same.” She again cites the skepticism she has encountered that women are gaming “for the right reasons” (right, because women only pursue hobbies for the approval of men) and, again, the doubts about her sincerity and skill because of her looks. And yet I hate to think of the types of vitriol Cray might get if she weren’t conventionally beautiful. It’s a lose-lose.
It wasn’t always this way—getting metaphorically beaten down for being too pretty. “In high school I was so insecure, and thought I was so ugly all the time,” she admits. You’d never know it by looking at her Instagram, where practically every photo she posts is envy-inducing. It looks effortless, but the reality? Far from it. After being frustrated and insecure in high school, she says, “I took a selfie, every frickin’ day for literally ever.” At some point, she recalls, you just start figuring out your angles. “So now,” when she poses, she says, “it’s like clockwork.”
But taking good pictures on Instagram can blur the line of reality, and even though Cray plays into this to an extent, she also acknowledges the danger. “What happens when you see someone in real life?” she asks rhetorically. “The more we edit and the more we try to post those unrealistic expectations, the sh*ttier we feel inside.” She admits, “I see some photos and I’m like, ‘oh my god why can’t I have that body?’ And I go to the gym and I’m like, can I have this body? And like, ‘that’s not f*cking real’. So it’s unrealistic and makes you feel like sh*t.”
And she insists that the camera-ready version you see of her on Instagram is not her reality. “I have so many days like that where I’m like, I can’t even fake it,” she confesses. On those days, it can be hard to show your face to over 190,000 followers, but she does it even if it’s uncomfortable. “I make sure to show people me with no makeup, no editing,” she assures me. “I want to make sure that young women who follow me don’t see it as an unrealistic beauty expectation. I want people to realize we all have insecurities. I want people to understand that even the most beautiful people have insecurities, it’s just something we live with as people.”
So even though she’s still being discredited because of her looks, and even though the music industry is far from equal, Cray admits there are “strides being taken.” She recalls, “I started in this industry 5 years ago when I couldn’t even tell you how many women were on the lineup—maybe two or three—so now the fact that we have more is great, but still have a long way to go.” On the one hand, she acknowledges that “women treated equally is hard in a male-dominated industry, and it’s hard to change something that’s always been the same, it’s kind of hard to go against the grain.” But she does give props to a number of women in the industry who are uplifting each other, like Anna Lunoe, Whipped Cream, and Kitten. “All these women are just fucking killing it, and we all respect each other, and I wish that respect was everywhere,” she says wistfully.
Obviously, the problems facing women in the music industry were not created by women, though, and it’s not solely on their shoulders to fix it. It’s on everybody. When I ask what we can all do to make the music industry better for female artists, she rattles off a laundry list of solutions: “Just honestly more men becoming allies, more fans understanding equality on how to treat women in the industry, more agents and managers picking up female clients, more people just honestly researching too.” To that last point, she elaborates, “there are so many women out there making such amazing music, and if you just take the time to check it out, it’s out there.”
Being modest, she doesn’t explicitly include herself in that list, but she should not be counted out. This October, she dropped her newest EP, seasons change and so do i, via Ultra Records. “The debut single, “idontwannatalkaboutlove,” has a total dark-pop vibe and exudes themes of female empowerment and authenticity. “This EP is my heart on my sleeve,” she admits. “It’s honest and real and I just want to connect with people.” And even though she admits that the EP is very vulnerable and there’s apprehension in that, she says ultimately, “I’m excited to show that side of me to the world, and finally put it live for everyone to see.” Because with her music, as with her Instagram, interviews, etc., she wants to get across to people that, “we all go through changes and heartbreaks. You aren’t alone.”
Images: Ashley Osborn
Looking at her Instagram, you might think Alison Wonderland is a Gen-Z influencer and not a veteran DJ who’s played festivals like Coachella (where she is the highest-billed female DJ in the festival’s history) and Electric Zoo, where she’s headlining Sunday night. With her ever-changing hair (that seems to be hovering around lavender right now), signature oversize T-shirts, and blasé expression, she seems to have that cool girl DGAF vibe. And with a Facebook bio that simply reads “I spin at places you want to hang out at, making you shake your ass like Beyoncé on crack” and a link to her new single “Church”; a pretty bare-bones website that simply lists tour dates, Instagram photos, and reads “F*ck me up on a spiritual level”; it’s easy to surmise that she doesn’t actually give a f*ck.
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That assumption could not be further from the truth, though. The classical cellist-turned-celebrated DJ won the 2018 Billboard Dance Breakout Artist Award, and her sophomore album debuted at number 1 on the Billboard Dance/Electronic charts. Wonderland has sold out two dates at the iconic Red Rocks Amphitheater—she’s one of just two Australian artists to accomplish that—and recently released a new club track, “TIME”, with New Zealand electronic/trap artist, Quix. That comes on the heels of her acoustic remix of “Peace”, which features her vocals. And her album, Awake, has racked up over 150 million Spotify streams since its April 2018 release. In short, none of these accomplishments are those of someone who does not care.
In fact, for someone who just appears to be so effortlessly cool, she gives a lot of f*cks. Back in June, she posted on her Instagram a declaration that she’ll be playing 90% of her own music at festivals from now on. That should be a no-brainer, but in today’s festival scene, where people just go to hear remixes of the same five songs, such an assertion was nerve-wracking for Alison.
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No disrespect to old town rd just using it as an example. Love u all. See u at the next show
“I was really nervous to post that, but I didn’t want to let fear get in the way again,” she told Betches. The gamble ended up paying off in the end, though, because as she says, “It was one of the best things I have done. I feel it has been so positively received and I have gotten so much support for it. It has genuinely taken me to a new level as an artist.”
In addition to being well-known for her music, Alison often shares her struggles with mental health with her fans and speaks about the importance of mental health awareness. In fact, just last week she made the difficult decision to cancel some of her European tour dates due to “mental and physical exhaustion.”
im sorry to anyone coming to my shows this weekend in Europe. Please read pic.twitter.com/brcCc9vZMf
— ALISON WONDERLAND (@awonderland) August 21, 2019
But Alison is poised for a triumphant return to the festival scene, telling Betches, “I’m excited for that New York energy!” at Electric Zoo this Labor Day weekend on Randall’s Island. She has a lot of upcoming projects in the works, but tells us coyly, “I don’t want to ruin the surprise but there is a lot.”
While we’ll have to wait to find out what else she’s up to, for now you can listen to Awake and check out this Labor Day playlist Alison made just for Betches readers.
Images: Gilbert Sanchez; alisonwonderland / Instagram (2); awonderland / Twitter
Planning for festivals is a lot of work, and nobody likes work. Sure, you could read through 16 different Reddit threads to figure out what to wear, how to get there, if it’s worth it to splurge for VIP, and whatever else you need to know, or you could just check out the Betches festival guide.
At this point, I figured I would do something useful with my knowledge of music festivals, so I decided to start a series of guides. You are welcome. I’m starting off our festival guide series with one of my favorite festivals, and one that I go to yearly even though I am, as they say, pushing 30: Electric Zoo, Ezoo for the
lazy initiated. Taking place during Labor Day weekend on Randall’s Island, this electronic festival is a fun send-off to the summer that’s easy to get to and even easier to navigate. *Looks to the camera* *Waves to the viewers* Let’s go.
How To Get There
If you don’t live in New York and haven’t figured out how you’re getting to Ezoo yet, god help you. Assuming you’re not within driving distance, which will take care of things, you’ll want to fly to LaGuardia because
I’m biased it’s probably easier to get to the areas you’ll want to be staying. But if you cop a deal out of JFK or Newark, then do you. As far as actually getting to the festival, you are likely going to be walking there over the RFK bridge. You can also Uber/Lyft to the festival (highly recommend so you can save your engery/feet), but you can’t Uber out. Ubers literally will not pick up from Randall’s Island (or at least, they didn’t last year), so you’re going to be either walking back or taking one of the shuttles Ezoo has. Plan accordingly!
Where To Stay
Ezoo is not a camping festival and does not offer the option, so you’ll need to reserve some sort of accommodations in advance. Remember all your friends in Harlem and/or Queens who you made fun of for being broke? Yep, it will be time to hit those people up for a couch or half their full-size mattress! That’s becaues Ezoo is on Randall’s Island, an Island between Queens, and uptown Manhattan/Harlem that is within walking distance from both those locations. (As long as you are a little loose on your definition of “walking distance.”) If you don’t have friends with a free place to stay, you could try to Airbnb in one of those areas I mentioned, or just stay literally anywhere in any hotel you find. The subway system is extensive and you’ll be able to get uptown from wherever you are, but sticking to the east side will be easier because getting crosstown, especially on weekends, is a huge bitch.
What To Wear
Ezoo is electronic music, which means this is the weekend to bust out your full raver girl attire. The great thing about this is that you can wear literally anything in the world you want and nobody is going to look at you sideways and you won’t feel out of place. You could wear a bra, a thong, and fishnets. You could just wear pasties. It truly does not matter, just bring some glitter and throw on some fun makeup. Unlike other festivals, nobody cares what you’re wearing.
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See? Pretty normal summer attire.
Above all, though, wear something COMFORTABLE. You’re likely going to be walking 20-30 minutes across a bridge to get to the festival, so this is not the time to wear your giant platform boots with the heel (not like any festival would be the time for that, but this one especially). Also, New York weather circa Labor Day is a fickle bitch, so plan appropriately. It could be 90 degrees and sunny af. It could pour on you. Both things happened to me last year alone. Whatever your outfit is, make sure it incorporates good walking shoes, and bring a poncho just in case.
What Ticket To Buy
At this point, a 3-day GA ticket costs $300, and a VIP ticket costs literally double that. According to the website, VIP gets you admission (duh), plus a faster-moving VIP line at check-in. You’ll also get “Premium views, private VIP flush toilets, shaded chill out area with seating, full VIP cash liquor bars, complimentary cell phone recharge stations, and complimentary passed hors d’oeuvres.” Now, is it worth it? Maybe. I’ve personally never had a huge issue with the non-VIP port-a-potties, however, seating is a real issue. There’s basically one small hill where you can park your butt without getting stepped on, and that’s it. There are other areas where you can charge your phone for free, like the T-mobile activation. Also, it’s 2019, buy a mobile charger.
There’s also a “Platinum VIP” option, which gets you more of the same, plus “Exclusive Platinum Only Premium views,” whatever that means. That option costs $949, and there’s no mention of any cash bar. If I’m dropping close to a grand on a festival, you better give me as much free Casamigos as I can legally drink, and you better make that known in advance.
Personally? Unless you are very picky regarding crowds and bathrooms, I would just rock with GA. You’re literally spending double the price for basically some passed hors d’oeuvres that they are probably going to run out of in the first hour after the festival doors open.
“Ew, Ezoo? Isn’t that for 16-year-olds?” everyone says to me when I tell them I’m going there. I’ve been 3 times so far, and frankly, no. The crowd is actually older than you’d expect. I have never once looked around at my fellow festivalgoers and said, either aloud or to myself, “Ugh. The children.” You know where I have said that? Gov Ball, Coachella, The Meadows (RIP). Also? The vibe is way more chill than that of other festivals. Think less pushing and overall dickishness. People tend to respect other people and their space. Sure, if you’re trying to get to the front at Bassnectar 10 minutes after he already started, you are going to get some pushback. But as far as festivals go, the people here are generally pretty nice and chill.
Regarding the crowds… yeah. Friday is typically a dream and you can walk around freely. Saturday, you’ll see a noticeable increase in festivalgoers. By Sunday, it will be nearly impossible to move from stage to stage. Enjoy Friday as much as you can, and be sure to budget enough time in between sets to navigate through the crowds. And get there early because there WILL be a line to get in.
It honestly varies from year to year. The year the theme of the festival was The 6th Boro, everything was animal themed (why? don’t ask…) and the main stage was a giant elephant. That was really f*cking cool. The year before that, it was a cobra. Last year, for the 10th anniversary, it was just… a big sound wave, sort of. That was a bit of a letdown tbh. Truthfully, the theme of Ezoo every year should be animals, and I’m hoping they bring back the animal stages. Last year, Sunday School Grove also sponsored a jungle themed stage, which I never made it to but it looked awesome.
Okay, literally as I was writing this, Ezoo released a photo of this year’s main stage, which looks sick.
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Sneak peek for next week ? This is our tallest & widest mainstage ever — an evolved, futuristic, 3-D, fire-shooting New York City skyline stage set to tower over Randall’s Island ? If you still weren’t sure about coming next weekend, checkmate. ? → electriczoo.com/tickets
Who To See
The 2019 lineup boasts big names like Eric Prydz, Diplo, Kaskade, Above & Beyond, Zedd, Armin Van Buuren, Alison Wonderland, Skrillex & Boys Noize, and a f*ckton more. Here are a few of my other personal recommendations:
Excision: If you’re into some harder sh*t with more music/noises than words
NGHTMRE B2B Slander; 4B; Getter: If you want to hear your favorite music on the radio right now, but like, trappy.
Boogie T b2b Squnto: If you want some fun groovy music that will make you want to dance
Flux Pavilion: If you want dubstep
Seven Lions: If you want trance/melodic dubstep/if you don’t know what that means, it’s a little more chill than most of the other stuff I’ve listed above.
GTA: If you want house/trap/hip-hop
Don’t want to listen to me? That’s fine, Ezoo made a Spotify playlist with songs from the 2019 artists.
Other Things To Do
While there are a few art installations and activations, there’s not a whole lot to do other than see acts. Space on Randall’s Island is kind of limited, so there’s room for the stages and tents, plus food and drinks, and a few pieces of art. Last year they had a fun makeup/glitter station, and apparently giant Jenga. Like, there’s stuff to do if you’re looking for it, but people are mostly there for the music and not the Instagrams.
That being said, they have afterparties and, while I’ve never been to one because I’ve been too tired, the lineups are sick. Acts include Borgore and Shaq (among others, and YES, that Shaq), Eric Prydz, R3HAB, and a lot more. It’s worth staying up for.
Overall, Ezoo is the best/only? electronic festival in New York, and it’s one of the more manageable festivals that exist. If electronic music is your sh*t, you should consider going. If you hate that stuff, don’t go. You won’t like it.
Images: electriczoo / Instagram; aLIVE Coverage (4)
Galantis is probably one of those names you’re seeing everywhere nowadays. Between 150 live shows a year, numerous festival appearances, and two new hits, to say they have a lot going on is an understatement. Thankfully, they made the time to sit down with us at Shaky Beats festival in Atlanta over the weekend to talk about what it’s like touring together, how the duo Galantis formed, and a few of their new songs. Check out the interview below.
What did you guys do yesterday?
Show, at Syracuse.
What did you think?
It was a good show! Really good energy.
How are college crowds versus music festival crowds?
I didn’t know it was going to be such a great crowd. We actually talked about that, we should do it more. 100% of the crowd went haywire. They were happy we were there.
So you guys tour together a lot.
150 shows a year.
How do you keep up the energy to do that many shows?
It’s like, you press a button, you know, you’ve got to reset. And then you have to be as off as you can between the shows, but once you go onstage it’s like a switch in your head, and it just goes.
What was the moment that you were like, ‘I’m going to link up with this guy and we’re going to make music, and we’re going to do this?’
I actually know where I was in Stockholm when I called you that time. It was Old Town. Just so you know… I remember I was walking from a lunch or something and I had the idea. I started to think of names for the band before I actually joined.
What were some of the other names?
Well, we had some of the worst names ever. I’m not gonna say them, but it took a very long time to find the right name, actually. And when we found it, someone else gave it to us.
What is the significance of it to you?
The name now? I don’t know. Then it was the perfect mirror for the music we did, but now it’s life, you know? And now we figure it’s too late to change it.
You recently came out with “Emoji”. What was the idea behind the song?
I think a lot of people didn’t realize that there are a lot of deep, serious thoughts behind it, and thought it was kind of lightweight but it’s not. It’s kind of like, sad in one way, that you do start to only communicate through emojis, but also something beautiful with it, depends on what it is. Like, we’re away from family all the time, and you don’t even have words anymore sometimes, you just send a heart, you know, and that’s useful. I think we all know those words, but you sending that emoji means something either way.
And that kind of started the thought, how something simple like an emoji can change how people have a conversation. Because putting an emoji, words, it’s not the same thing. It actually added to the way you can communicate. So that’s where it came from, the idea.
Do you guys have a favorite emoji?
I like the crying laughing one.
That’s very good actually! You can’t put that into words either!
How did your new song “Bones” with One Republic happen?
It’s kind of a long and wacky story. There was like a seed of this original that came across us, and then we wanted to work on it, and then it was already taken by OneRepublic. And I kinda knew Ryan Tedder from the past, so I found out where he lives and I went to his place. And said, “you don’t have the correct idea, I have it.” No, I didn’t say that, but I did say I think we can do an amazing version together, how about that. And I think he liked the way we came really strong, and said that we could take this song somewhere great for both. And I think, yeah, it was such an easy quick thing after that. We were thinking the same thing about the song, and they already started a lot of cool stuff on it, so we took it from there and made it what it is today. But I think they’re great, I think Ryan Tedder is one of the best songwriters, I think his vocals are amazing, unbelievable.
So, what do you guys have in the works music-wise? You just released a new song, are we getting a new album?
We got a lot of music really close to coming out. It’s kind of a race which one will come out first.
Images: Jimmy Fontaine
I’ve conducted a few artist interviews in my day. Most of them are formal—you set up a time to meet in the designated press area at a festival, or (if you’re lucky) you’ll get escorted back to the artist’s trailer or tour bus. You get anywhere from five to 15 minutes, and you’re on the clock while a publicist times you like a hawk. You’re ushered in, you do the interview, maybe snap a few pictures if you have time, and then you’re whisked away just as quickly as you came.
My interview with DJ and producer Ookay (real name Abe Laguna) was not like most interviews. When I caught up with him during weekend one of Coachella, I met him and his almost exclusively female entourage (“my biggest inspirations right now are all women,” he says) inside the rose garden, where we sat down on the grass and sipped rosé and chatted casually. While most interviews are intimidating, with Ookay, I honestly felt like I was talking to a friend. We laughed and joked; I even called him a troll at one point. Despite the 350,000-plus Instagram followers and the fact that his songs have personally put me deep in my feelings (due to one memorable Ezoo experience when I was cracked out and listening to his song “Thief” on repeat until 5am), I felt completely at ease. I didn’t feel like I needed to impress him with well-thought-out questions, and in fact, I learned more about him from the ones that popped up off the cuff. Ookay’s publicist told me in advance that he’s “super light hearted and full of personality,” but even still, I was taken aback by how much that characterization rang true.
It was not most interviews, in part because Ookay is not most artists. The San Diego-born DJ and producer plays drums, trombone, piano, bass, guitar, harmonica, as well as some instruments I’ve never heard of. “The melodica, keytar, SPD, which is like a drumming apparatus,” he ticks off his fingers. I ask how many instruments he can play. “I think 6 now?” he responds, not even completely sure. He credits his musical prowess to his father, a bassist who introduced him to “very complex jazz early on, like, 13 or 12 years old.” He says, “It’s all thanks to my father, I wouldn’t even be here right now if it wasn’t for him.”
And in an age where being a DJ can mean anything from “getting paid to hit play on a premade playlist” to “arranges all their own music,” Ookay sets himself apart from the pack, especially with his live shows. He’s been performing live on the festival circuit for a few years, but revamped the format for Coachella, where he plays multiple instruments and sings. He’s also upped the visuals. “It’s funny,” Ookay remarks, “it’s called dance music but there’s no dancers.” So he added dancers onstage. “Problem number one, fixed.”
It was important to switch up his live set for Coachella because it is a special place for him. (He will also be playing weekend 2 at the Sahara Tent at 2:45pm.) “I had a lot of realizations here, in good ways. The first time I came here , I figured out I want to be an artist that gets to this kind of level to play this kind of festival.”
It feels oddly poetic, then, five years later, he’s taking the stage with this original set format, performing as not simply a DJ, but a bonafide artist. “It’s kind of full circle,” he admits, “very wholesome.” He reflects that every year at Coachella he’s learned something different. This year? “I think it was more of a reflection of how far I’ve come to get to this point,” he decies. “My blood, sweat, and tears, the traveling, being exhausted, working my ass off, being in a warehouse for two months straight… it’s worth it, everything we’ve been going through led to something special.”
He gushes, “And for everyone that I’m involved with—as far as like, my team, and crew, and all of my fans even—it’s awesome to see it just progress and keep going. And a lot of new fans, even just walking around people have been like straight-up, ‘yo, never heard of you before but checked out your set because we walked in and we heard people just like jumping around and it’s awesome to see you doing all this stuff on stage—’”
I shit you not, on cue, our interview is interrupted.
“Are you Ookay?” asks a girl who came up to us with a male friend in tow. I look to Ookay to see how he’s going to handle this.
“I am,” he answers calmly. She visibly starts freaking out.
“I love your songs so much,” she tells him.
“Can I give you a hug? Is that okay?”
He stands up, gives her a hug, takes a picture. The whole interaction is too perfect, and timed too well, to make up. But I can tell this isn’t out of the ordinary for him—not the getting recognized part, but the “being genuinely grateful someone likes his music enough to tell him personally and engaging that person even though he’s clearly busy” part. After making this fan’s day, we sit back down and resume the interview, picking up at what makes Coachella so special to him. Yes, there’s the fact that Ookay credits it as “one of the first festivals I paid for,” but it’s also where he got the inspiration for his breakout hit “Thief,” which boasts over 56 million Spotify streams to date and has been remixed by the likes of Slushii and Flux Pavilion.
He wrote it after that first visit to Indio, where he was inspired to, as he puts it, “make a song that matters in two seconds… something so spectacular that you get excited.”
So that’s how the musical aspect of his smash hit came to be, but the lyrics?
“Oh, it’s definitely about my ex-girlfriend. That’s what most of the big songs are written about.” That’s not a bad claim to fame. “Yeah, well, I’m forever thankful,” he says without a hint of irony. Given just how big the song has gotten, there is plenty to be thankful for.
He credits the success of “Thief” in part to its snappy and immediately recognizable intro, plus the memorable sax riff, but what I suspect most of all, the vulnerable lyrics, which are a breath of fresh air in the realm of dance music. “ the first time I ever put my voice out there like that, one of the first songs I sang/wrote, period.” His approach to writing that song, more or less, went as follows: “I’m going to take what you would consider a journal or a diary and throw it out there.”
As far as other muses, he credits a lot of women. Piggybacking off his comments about his female-led entourage, he says, “I’m a huge fan of what Rezz and Alison Wonderland and what all these women are doing.”
Women run the world foreal.
— OOKAY (@Ookay) April 11, 2019
He adds, “it’s really cool to see women set the bar on so much shit. On top of that, the black hole thing that happened was discovered by a woman. It’s amazing. I think most things have been women-driven. We got 10 more years before—”
“Before we figure out how to get rid of you guys?” I chime in (I’m sorry, I can’t help it).
“Oh my god, please get rid of us, we suck,” he agrees.
Ladies, he’s single.
When, naturally, I ask Ookay where his dating life stands now, he seems surprised by the question.
“It’s nonexistent,” he answers plainly. “I think I’m at the point where if you were like, ‘text a girl right now’, I couldn’t do it.” I clarify: because he has no girls to text? “Pretty much,” he replies with a shrug. Seems surprising for a young musician who’s playing stages like Coachella and Electric Zoo.
“When it happens, it happens,” he answers nonchalantly. “I’m not looking, I’ve been finally single for a year. And I’ve been working hard, so music has been my girlfriend.” He expresses that when he’s ready, he’ll go out there and find someone—or perhaps someone will come to him. He jokes about maybe even finding the love of his life at Coachella. Then he and I in turn joke about doing an interview a few years from now about that. “Who knows,” he guesses. “When I’m married! Or dead—just kidding, hopefully not.”
I inquire if he sees himself ever getting married. He quickly answers no. When I press him on why, he says, “I don’t know. A ring costs a lot of money.” After a pause, he elaborates, “Marriage is interesting, it’s like the weirdest tradition. It’s traditional, you know what I mean? It’s conventional. No one’s like yes, marriage is going to be beneficial”—except for maybe the tax benefits, which launches us into another side tangent about people who get married for healthcare benefits. He sees it often, being from San Diego where there’s a huge military base, where people often rush to get married.
And just like that, I find myself falling into a predictable pattern of jest that I would with my close friends, making a wisecrack about rolling up to a military base to find a boyfriend. Ookay doesn’t think I’m being desperate or weird (or, to put it plainly, that I’m being serious); he gets it, as if we’ve known each other for more than the 15 minutes or so we’ve been sitting on the grass.
All joking aside, he asserts, “I’m focused on my work right now, I’m very happy. I just wrote a song about that actually; it’s called ‘Better Off’,” as in, better off alone.
He doesn’t mean it in an antisocial way, either, but rather, more on the side of self contentment. “I’ve gotten used to dinner with my phone,” he cites as an example.”I really don’t mind being alone. And that’s fine! And I think that’s where I’m at right now, I think right now I’m just like focusing on being the best version of me for someone who comes along, whenever that happens I’m cool with it.”
For now, Ookay is working on his relationship with his music, with an album in sights—his first comically accurately named album, Wow! Cool Album!, came out a little over a year ago. He pledges to return to his roots and make more EDM, because, he explains, “those are the people who gave me the platform to do this ”. After a few shows in Vegas, he’ll take a break from performing, return to the studio, and come back with another new live show. He’d like to do shows in cities that don’t often have electronic artists come through, perform overseas, but above all, stay creative and keep pushing.
He puts it simply: “I’m just going to keep making good music for good people and try to reach an audience.”
If you’re any sort of EDM fan, you’re probably well aware of Alesso’s music. For the past decade, he’s been one of the top dance music DJs and producers, headlining festivals and clubs around the world. His songs are iconic, but who is the Swedish DJ behind the music? We caught up with Alesso at Electric Zoo 2018, and asked him some of our most hard-hitting questions about his creative process, his new single “Remedy”, and life in general.
Betches: I really like your new single “Remedy.” What was your inspiration behind it?
Alesso: When I make music, I don’t have like, crazy ideas going on. I just start working on ideas and sometimes you get sent ideas. In this case, I was sent this idea, like a very rough demo of “Remedy.” I listened to it, and that rarely happens that someone sends me something and I like it. I’ve never worked with these guys before, and I was just like, “wait, I think I can do something great with this.” I was working on it in Mykonos. The more I worked on it, the more I felt like it was the right song for me to put out next. ‘Cause I’ve been working on so many songs the last six months, going back and forth which one would be my next single, and when I finished this one, which was literally like a month ago, I was like “wait, this is the one.” It’s a very melodic, melancholic song… I’ve been saying that it feels like a song you listen to when the summer is ending. Like, you had a great summer, but you’re sad about it too.
I feel like a lot of DJs nowadays are sort of anonymous, they hide behind a mask or a helmet, but it doesn’t seem like you’ve ever really chosen to hide your identity. Why?
Well personally, I just feel like they do that for branding. Maybe some are uncomfortable showing their face. But I don’t really have that much to say… It’s a brand.
I wanted to talk a little bit about your planning process when you start a song.
It’s different every time. Like I said, sometimes it’s just me playing around with a laptop and keyboard, and sometimes I have an idea and I walk into the studio, and sometimes I write with these songwriters and they have certain style; it’s different every time. I always try to keep it focused.
I think it’s really interesting that you’ve been around for like, forever, but you’ve only released one full album. What’s the decision behind that?
I think releasing albums is important, but you don’t have to necessarily do that to show people what you represent. I’m working on an album right now, so hopefully it will be released, but after my first album, I was kind of deciding where I wanted to go with my music, because I don’t want to repeat myself. I need to keep things interesting or I’ll get bored. My team and I, we said we all agree I have an album, but anything could happen. Sometimes you get cold feet… but I think what’s important for my next album is that it’s a project, not just a bunch of songs that are put together.
How do you see it being different from your previous work?
I think that the difference is going to be not necessarily festival music, because my last album was very based on what’s happening on the stage. I feel like now the older I get, the more relationships I have with people, I feel like the music is inspiring me and coming out in another way. And I want people when they hear my music to think “this is different,” but hopefully in a good way. Still dance music, but I want to evolve.
Finally, you have great hair. I really want to know what hair products you use.
The secret is genetic. Both my mom and dad have great hair, so I think I was blessed with that. I think there’s a few tricks. Like when it’s this humid, I can’t wear my hair out, it will get crazy. I use this brand called Maria Nila, it’s all like, vegan stuff, like no bad chemicals or anything like that. And coconut oil, I use that too.
Check out Alesso’s new single, “Remedy” on Spotify.
Image: Harrison Boyce
What’s up, betches and bros. It’s your favorite (and only) Betches music correspondent, Sgt. Olivia Betchson, here. Now, I hate to disappoint you, but I won’t be doing a new music roundup today because I will be getting
drunk responsibly inebriated at Ezoo. However, that doesn’t mean I am leaving you high and dry without any cool jams on this most important of Fridays. Instead of me telling you what to listen to this weekend, I’ve enlisted my close personal friend and accomplished DJ, Jauz, to make a Labor Day playlist for you all. YES, Jauz. (No, we are not really close personal friends… yet.)
Who’s Jauz? Well, he’s a 24-year-old (f*ck, I need to be doing more with my life) DJ who’s played at festivals like Hard Summer, Ultra, and now Electric Zoo. Some of his most popular hits include “Magic” with Marshmello and “Feel The Volume”. Even if you don’t know either of those songs by name (which I venture would apply to many of us), you’ve definitely heard them before. So, given that we are about to enter a three-day weekend full of partying and electronic music, who better to curate a Labor Day playlist than an accomplished and talented electronic DJ and producer? Nobody—I answered my own question. It was rhetorical.
So yeah, I asked Jauz to curate a special Labor Day playlist for us. This awesome playlist has many names you’ll recognize, like Kiiara, Krewella, Marshmello, Diplo, and a hell of a lot more. Listen to it below. You can follow Jauz on Instagram at @jauzofficial, and be sure to check out his new album, The Wise And The Wicked, out now! And follow Betches on Spotify for more curated playlists, all my new music picks, and more. And follow me on Instagram @sarafcarter for all my Electric Zoo debauchery. IDK, I just felt like if everybody’s getting a follow shout-out, I might as well give myself one. But anyway, listen to the playlist. You’ll like it, it’s sweet.