Interview

Avi Dahan On EDM Artist Development, Contracts, And Coachella

Published

4 months ago

May 21, 2026

Avi Dahan On EDM Artist Development, Contracts, And Coachella as he breaks down the business behind lasting artist careers

Avi Dahan entered the music business before his career in law, first through DJing, producing, promoting events, and later through internships at Columbia Records, Live Nation, and WME. That early experience gave him a working view of the label, live, and agency sides of the industry before he went on to become a music attorney and founder of Dahan Law Group. Today, his work spans both Dahan Law Group and Funkshway, connecting legal strategy with artist development through rights, contracts, team structure, visual identity, collaborations, and long-term career planning. Speaking to EDM House Network, Avi Dahan breaks down what emerging EDM artists need before a breakthrough moment, how bookings like Coachella often come from years of smaller decisions, and why contracts, royalties, content rights, and label choices can affect an artist’s career as much as the music itself.

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How did you first get your start in the music industry, and what was the path that led you to run both Dahan Law Group and Funkshway?

I started in music long before I became a lawyer. I was DJing, producing, and promoting events, so my first connection to the industry was very hands-on. I understood what it felt like to create music, build a scene, get people in a room, and try to create moments around records and live experiences.

When I was in college, I interned across different parts of the music business, including Columbia Records, Live Nation, and WME. That gave me exposure to the label side, the live side, and the agency side of the industry. It was a huge education because I got to see how many different pieces have to work together to build an artist’s career. Eventually, I decided to go to law school because I realized that the people who understood the contracts, rights, leverage, and business structure had a major impact on what happened to artists. I did not become a lawyer because I was outside of music looking in. I became a lawyer because I was already in music and wanted to understand the business at the highest level.

Practicing as a music attorney, and eventually starting Dahan Law Group, came before Funkshway. I had been practicing music law for about seven years before I decided to start the label. During that time, I helped artists, producers, managers, and labels structure deals, build their businesses, protect their rights, and make strategic decisions. Funkshway became a natural extension of that experience. I was able to take the knowledge I had gained helping artists and labels build their careers and apply it to creating something special of my own. To me, Dahan Law Group and Funkshway are connected by the same mission: helping artists and music entrepreneurs build real, lasting careers.

Working as both a music attorney and a label founder gives you two very different views of an artist’s career. How has that changed the way you approach artist development and long-term decision-making?

It has made me much more holistic in how I think about artist careers. As a music attorney, I am not only looking at risk. I am helping artists protect their rights, put together the right team, secure foundational deals, understand their leverage, and make strategic decisions from both a legal and business perspective.

As a label founder, I am thinking deeply about artist development: the artist’s sound, identity, vision, audience, visuals, collaborations, and overall positioning. Because of my years DJing and being around dance music, I have developed an instinct for what a dance record should sound and feel like. And because I represent artists, writers, producers, and creative companies as a lawyer, I am able to plug developing DJs and artists into a broader creative community and help create meaningful collaborations.

Once the music is right, we can connect artists to DSP editors, marketing experts, DJs, platforms, and other partners who can help build exposure. Then, as the sound develops, we also help the artist sharpen their vision and visual aesthetic so the brand matches the music and identity. The legal background gives me a strong foundation, but the creative and label side allows me to apply those skills in a more active way. I am not just advising from the outside. I am helping build.

AYYBO and RØZ both recently made their Coachella debuts, with AYYBO connected to Funkshway and RØZ represented by Dahan Law Group. What did those moments show you about the work that happens before an emerging artist reaches a stage like that?

Those moments were really meaningful because they showed how much work happens before the public sees the breakthrough. When an artist gets to a stage like Coachella, people see the set, the crowd, the photos, the videos, and the celebration. What they do not always see are the years of developing the music, refining the brand, building the team, and making strategic decisions before that moment arrives.

With AYYBO, we took a lot of time before his first breakout records making sure the music felt massive and that his sound, visual identity, and overall brand were properly developed. From there, we continued building momentum through strategic collaborations and tasteful looks that elevated his identity, helped him attract the right agent, and allowed him to start building a real live community.

As the sound and identity continued to develop, the show and overall experience developed too. He kept building the brand step by step until it was ready for stages like Coachella. I have seen a similar process with RØZ from the legal and advisory side. The music matters, but so does the foundation around it: the team, the business, the live show, the identity, the relationships, and the ability to keep developing until the opportunity and preparation meet. Coachella is not just a booking. It is often the result of many smaller creative, strategic, and business decisions compounding over time.

When you look at artists you have worked with from their early stages, what are some of the habits, decisions, or business moves that helped them grow into more established names?

The artists who grow usually treat their careers seriously before the outside world validates them. They are consistent, they communicate well, they keep improving, and they take the time to understand who they are. That authenticity matters. The strongest artists are not just trying to sound or look like whoever is popular at the moment. They are building from a real identity.

Creatively, they continue to level up: musically, visually, and operationally. They work with better collaborators, better producers, better designers, better creative directors, and better team members as they grow. They understand that each stage of the career requires a higher level of execution. On the business side, they enter into smart deals, understand their rights and obligations, and honor those obligations. They operate with honesty and integrity. That sounds basic, but it matters. This business is relationship-driven, and the artists who last usually understand that reputation is part of the career.

For emerging EDM artists trying to build sustainable careers, what advice would you give beyond the usual focus on making music, playing shows, and posting online?

My biggest advice is to build infrastructure around the art. Making great music is the foundation, but it is not the whole career. You need a team, a vision, and a professional approach.

That means finding the right manager, label, agent, lawyer, and other partners when the time is right, and making sure everyone is aligned on the vision. It also means treating the art like a job. Show up every day, create, follow through, and be a professional.

Artists should have contracts with the people they work with, understand their rights, and get proper counsel from a music lawyer before signing important agreements like recording deals, management agreements, producer agreements, publishing deals, or major collaboration agreements. They also need to be in the scene. Network with DJs, label A&Rs, agents, promoters, managers, and other artists. Go to shows. Build real relationships. Get backstage when you can and connect with the people who actually move the needle. A career is built through music, but it is also built through community.

What are some of the biggest mistakes you see emerging artists make when they start gaining attention but do not yet have proper contracts, legal support, or a business structure in place?

The biggest mistake is assuming everything can be cleaned up later. Sometimes it can. Sometimes it cannot. Artists often release records without confirmed splits, collaborate without written agreements, use vocals or samples without proper rights, or sign documents they do not really understand because they are excited that someone is interested. Then, when the record starts working, people suddenly remember the deal differently.

I have also seen situations where collaborators make claims to rights they do not really have, but because there is no contract clearly proving otherwise, the artist is stuck dealing with that claim. That can create leverage against the artist even when the claim is weak.

Another major issue is clearance. If a song uses an uncleared sample, vocal, flip, or interpolation, it can lead to infringement claims or takedown notices after the song is already gaining momentum. That can kill a record at the exact moment it is starting to work. The irony is that these problems usually show up when things are going well. The earlier an artist builds the foundation, the easier it is to move quickly when real opportunities come.

When an artist is securing a performance deal for a major festival like Coachella, what are some behind-the-scenes elements people outside the industry may not realize are involved before the booking is finalized?

One thing people may not realize is that the fee an artist receives is not always going directly into the artist’s pocket. Early in an artist’s career, a major festival can be a brand-building opportunity, so the artist may reinvest a large portion of the fee into production, visuals, camera crews, set design, rehearsals, special guests, performers, travel, and other costs.

By the time the artist covers the crew, production team, creative team, travel, lodging, and everything else needed to make the moment feel elevated, there may be very little left, or sometimes nothing left, after expenses. But that investment can be worth it if the performance helps move the artist’s career forward.

There is also a lot of preparation behind the scenes. The artist has to prepare the set, make sure the visuals fit the brand, coordinate with lighting, performers, camera crews, production staff, and the festival team. A major festival performance is not just about showing up and playing records. It is about creating a moment that represents the artist at the highest level.

Which contractual details matter most in high-profile festival agreements, especially around billing, radius clauses, exclusivity, cancellation terms, travel, payment schedules, and content rights?

All of those details matter because each one can affect the artist’s money, flexibility, and career strategy. Billing matters because it affects how the artist is presented publicly. Radius clauses and exclusivity can impact the artist’s ability to play other shows in important markets before or after the festival. Cancellation terms are critical because festivals can be affected by weather, production issues, force majeure events, illness, travel problems, or other circumstances outside the artist’s control.

Payment schedules should be clear: deposit, balance, reimbursements, taxes, and timing. Travel and hospitality also need to be addressed carefully. For high-profile festivals, it is important to make sure there is enough budget to cover production, crew, travel, lodging, and related costs so the artist does not end up losing money on the show.

Content rights are increasingly important too. Festivals often want the right to film, livestream, photograph, post, or otherwise use the artist’s performance. Artists need to understand where that content can be used, for how long, whether sponsors can use it, whether it can be monetized, and whether the artist has any approval rights.

EDM artists often work as DJs, producers, songwriters, remixers, performers, and brand collaborators at the same time. How does that change the way you structure agreements for them compared with more traditional artist deals?

In the dance and DJ world, the structure is often very different from the traditional artist world. DJs are not always signing long-term label deals with one company. Many are releasing with multiple tastemaker dance labels, building relationships across the scene, and prioritizing the growth of their live DJ career.

That can be a great strategy because it allows artists to stay culturally relevant and reach different audiences. But the downside is that if an artist is jumping from label to label, they may not have a consistent team, vision, or long-term development plan. So the key is balance. You want to affiliate with tastemaker labels and platforms that keep you relevant in the scene, but you also need a broader artist development strategy. Someone has to be thinking about the artist’s identity, sound, visuals, live show, fanbase, and long-term business.

From a deal perspective, you also have to be precise because the same artist may be acting as a DJ, producer, remixer, songwriter, performer, and brand partner. Each role has different rights, obligations, and revenue streams, so the agreements need to clearly separate master rights, publishing rights, producer royalties, remix fees, performance fees, name and likeness rights, content rights, approvals, credits, and backend participation.

Collaborations in electronic music can move quickly between producers, vocalists, writers, and featured artists. What should be confirmed before a track is released so ownership, splits, credits, and royalties are handled properly?

Before a track is released, everyone should confirm master ownership, publishing splits, producer royalties, featured artist terms, vocalist rights, credits, royalty payment process, approval rights, and who has the authority to distribute or license the track.

In dance music, there are also a lot of flips, samples, interpolations, loops, acapellas, and other third-party materials being used. Those rights need to be cleared before release. If a DJ flips or samples an existing track, that can require negotiating with the original rights holders over ownership, royalties, publishing, approvals, and other terms. Those negotiations can affect every collaborator on the new track.

Artists also need to understand the label terms before committing everyone’s rights. What is the label taking out of royalties? How are they accounting? What rights do they control? Are there deductions, distribution fees, marketing costs, or recoupable expenses? Those terms impact all of the creatives involved. The best practice is simple: handle the business before the release, not after the record starts gaining traction.

Streaming has changed the way artists earn money, but many artists still struggle to understand how royalties move. From your view as both a label founder and music attorney, where do you see the biggest confusion or risk?

The biggest confusion is that artists hear the word “royalties” and think it means one thing. In reality, there are multiple royalty streams and multiple ways royalties can be calculated. There are master royalties, publishing royalties, performance royalties, mechanical royalties, producer royalties, neighboring rights in some territories, YouTube and UGC income, SoundExchange-type income for certain uses, and direct license income in some cases.

Even on the master side, the calculation can vary dramatically. A royalty may be based on PPD, gross receipts, net receipts, net profits, or a net artist royalty. There is the artist share versus the label share. There may be a distribution fee taken off the top. There may be recoupable costs. There may be different accounting rules depending on the artist’s deal with the record company.

That is where things can become extremely complicated and convoluted. Two deals may both say the artist gets a royalty, but the actual calculation can produce very different results. Understanding the royalty chain and the accounting language is essential if an artist wants to know what they are really earning.

A label deal that works for one artist may be completely wrong for another. How do you evaluate whether an artist should sign a traditional label deal, choose distribution, or stay independent at a specific point in their career?

It depends on the artist’s team, leverage, resources, goals, and what services they actually need. A distribution deal usually means the artist keeps more control and often more economics, but it also means fewer services. The artist and their team may need to spend more money, do more work, and take on more responsibility around marketing, content, strategy, rollout, and operations.

A fuller label deal may require a bigger commitment from the artist, but the right label with the right team can sometimes deliver much stronger results. If the artist needs brand development, global growth, marketing support, creative strategy, playlisting, radio, content, or a team that can really help build the vision, then a deeper label relationship may make sense. The team matters a lot. Who at the label is actually working on the project? Do they understand the artist’s vision? Do they have the relationships, taste, and resources to execute? Are they thinking long term or just chasing one record?

For an artist who wants to build a global brand and develop a real identity, it may be better to build a longer-term relationship with one label that truly understands the artist and is willing to invest resources into that vision. For another artist with a strong internal team, distribution may be enough. The best deal is not always the biggest check or the highest royalty. It is the deal that matches what the artist needs at that specific stage and gives them the best chance to build the career they actually want.

For emerging artists, the main lesson from Avi Dahan is that EDM artist development has to go beyond music releases, shows, and online visibility. The strongest careers usually have structure behind them: contracts that protect the artist, teams that understand the vision, royalty terms that are properly understood, and label or distribution choices that fit the stage of the career. Through his work with Dahan Law Group and Funkshway, Dahan points to a simple but important reality in dance music: the business side matters most when the music starts working, and artists who prepare early are in a stronger position when bigger opportunities arrive.

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Interview

Reefer and Remixes: Wuki talks Sabrina Carpenter, Los Angeles vs. Denver and more at North Coast Music Festival 2026

Published

1 day ago

September 10, 2026

Dylan Smith

Ask anybody for an EDM remix of an all-time classic and there’s a good chance they pull out a Wuki tune, EDM House Network catches up with him.

Co-signed by Skrillex, Diplo, Valentino Khan, and more, Wuki has become one of the forerunners of viral dance music remixes, blending genres in the trap, house music, and electro scenes. Now, EDMHouseNetwork sat down with the electronic music icon after his headline show at North Coast Music Festival, to talk his love for weed, his early inspirations and more. Check out the full interview below:

Q: How does North Coast – just kind of the atmosphere – compare to some of the other festivals that you played at, and how does that kind of change your set list and plan as you go through?

A: Man, that’s a good question. So I never really know if I should go like houseier or bassier, bass year in Chicago. I feel like they like everything. So, really, at the end of the day, I just do me. I don’t really like think about it too much. I don’t even plan my sets these days. I just go up and I just like I have a bunch of shit to go to and I like I play. I don’t know, but um, I mean the vibe in North Coast is awesome. Like, it’s uh like it seems like it just keeps growing every year, and like people just I could tell people love it, and like yeah, it’s just it’s probably one of the dopest festivals in America.

Q: You’ve put your own touch on a lot of iconic records. “Ain’t it fun,” “Sunshine,” and now “Eye of the Tiger.” How is the creative process different from touching an iconic record like that and creating your own original track? And what’s kind of enriching about each?

A: I mean, I try to always like stay true to the song when I remix, and like keep the song intact. Like a lot of remixers, they’ll like take the like you could take a sample and just totally flip it so it doesn’t even sound like the song, right? Basically what I try to do is make a dance floor ready version of the song, and so I like to keep parts of it intact and like try and use the parts that are like most iconic and like use them in a way that is ready for the dance floor. That’s my goal when I remix. So yeah, I mean, and when it when it hits right, and I hit one that works really well, it’s hard to describe it. It’s just a really great feeling when I get the approval from the original artist, I get all the labels on board. I get all the writers on board. Fucking Smokey Robinson shouting me out for sunshine, like that’s crazy, you know. So yeah, it’s super cool, super rewarding, and I love that I just get to be like created this own path for myself, basically.

Q: Going from Denver to Los Angeles, what’s kind of different about those two EDM scenes? And do you think the change in scenery has kind of changed your sound or style at all, based on the environment in each city?

A: Not really. I do, I just do my thing now. I mean, I think, I think obviously Denver is more bassy, more heady, more. You know, I mean, I don’t even want to say that because like House is really big in Denver too. Like Dom Dolla did Red Rocks, Chris Lake did Red Rocks, I think. And so, I mean, obviously, dubstep’s probably bigger there. Like, I’m sure Subtronics could do seven nights at Red Rocks if you wanted to. But I don’t know. I think I kind of just stick to my own thing anyway. I’m not too influenced. I mean, these days I just really like being in the sunshine and enjoying the sun. So I tend to make like brighter music when I’m in the West Coast stuff like that.

Q: I know you started off with your electronic rock band in the early 2010s. How do you kind of take that sound and blend that into the artist that you are now?

A: I don’t know. I mean, I guess I always liked like energetic music. Like even when I was like before I was in the band, I was in like rock, like heavy rock bands, like like metal and stuff like that. So I always like stuff that like pump me up, and I think that has kind of been the common thread with everything. I don’t make, I do make some chill music, but for the most part, it’s all pretty energetic.

Q: Which record of yours would you say you kind of stepped outside of your comfort zone with most, and what about it particularly was challenging for you?

A: Man, that’s a good question. Oh, I got it. I just did a remix for Majid Jordan. I don’t know if you know who they are. They just had like a new album right now, and I I know Jordan. I know the one guy, and so he sent me the stems, and it’s definitely way different than something I usually do. But I love them so much that I wanted to make it work, so I ended up making this kind of like deep tech thing that is like usually not something I make, but so that came out pretty cool though. I think.

Q: I know R&B is kind of one of your early passions, some of the inspiration. Majid Jordan specifically. Have you taken any of those elements from non EDM artists and blended it into your music and if so, how?

A: I mean, I think I’m a pop music junkie. Like, I love pop music, so I’m always looking for like earworms and like, like, kind of like things that will…

Q: Any particular artists?

A: I love Katy Perry. I know she gets a lot of hate now, but I love Katy Perry, and I love, I really like Sabrina Carpenter too. I think she’s great. And so I don’t know. I think I’m always, the way I kind of produce music is I’m trying to make a hook. Like I’m always trying to find like a good hook to use. And to me, like it’s not all about the sound design and stuff. Like it just has to hit and like fill that role really well, but it’s got to have a good hook, no matter what.

Q: Also, from Denver to LA, I gotta ask, who’s got the better weed?

A: Oh man, dude, it’s all so good now. Honestly, I’m at the point where I need I need meds again. Yeah, all the weed is too good. So I don’t know. It’s I think Denver though, because, this is the real reason why Denver weed is better, is because it’s drier. So you get more bang for your buck, and you get it like you get it, and it like all like breaks up, and then like I like that, and then you like pack a bowl and it like rips really hard.

Q: Pick four DJs: dream blunt rotation.

A: Tiesto, Carl Cox, Sara Landry, and Subtronics.

Q: Any records that people should be watching out for coming out?

A: It’s actually going to be me a collab with Notorious BIG, which is fucking nuts. I did a remix of “Big Papa,” and it got really big online, so they’re we’re putting that out. Officially cleared. Should be in like the next two months. And then I also have a remix for Starship’s “Nothing’s Gonna Stop Us Now.” That’s coming out like literally next month.

Be sure to stay up to date here on EDM House Network as we continue to bring you the latest news on new releases and artist interviews from festivals around the world.

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Interview

Danny Eviza Talks New Single ‘Good, Bad, Ok’

Published

3 weeks ago

August 23, 2026

Dylan Smith

Danny Eviza sitting on a wall with a laptop in front of the illuminated Colosseum at night

Danny Eviza’s latest release “Good, Bad, Ok” arrived almost by accident, built entirely around a chance discovery of Sam Welch’s voice.

Danny Eviza‘s latest release “Good, Bad, Ok” arrived almost by accident. What began as a chance discovery of Sam Welch’s voice turned into a full collaboration, with Eviza building the entire instrumental around Welch’s melodic demo rather than the other way round. The result is a deep, UK Garage-tinged production that leans further into the more melodic, emotionally driven sound he’s been developing across his recent work, out now via More Than A Feeling and Lilyera. We caught up with Danny Eviza to talk through the making of the track, his first-time collaboration with Sam Welch, and where his sound is headed next.

“Good, Bad, Ok” is a very sentimental track. Was there a specific moment or emotion that inspired the production behind the song?

The track actually started in a very spontaneous way. There wasn’t a specific moment or story behind the production at first. I was looking for a particular emotional atmosphere, and the whole idea developed naturally from Sam’s vocal. Once I heard his voice, I immediately felt there was something special there, and I wanted to build a production around that emotion.

Is this the first time you’ve worked with Sam Welch?

Yes, it is. The collaboration actually happened almost by chance. I came across some of Sam’s music and immediately really liked his voice. I decided to contact him, and he sent me a melodic demo. I connected with it straight away and started building the entire instrumental around his vocal. That’s how “Good, Bad, Ok” was born.

How do you feel Sam’s vocals complete the production?

Sam’s voice was actually the starting point of the production, so in a way the instrumental was built around him rather than the other way around. His vocal already had a strong emotional character, and my goal was to create a production that supported it without taking away from that feeling. I think that’s what gives the track its atmosphere.

The track has been released on More Than A Feeling / Lilyera. What makes the label the right home for “Good, Bad, Ok”?

I’m really happy to be releasing “Good, Bad, Ok” with More Than A Feeling and Lilyera. I feel that the track fits very naturally with the sound and direction of the label. It’s always important to me that a song finds the right home, and I think this release is a great match.

Talk us through the creative process behind “Good, Bad, Ok”. Did the track evolve significantly from the initial idea to the final version?

The creative process was quite different from how I usually work. Instead of starting with an instrumental idea, I started with Sam’s melodic demo. I listened to it and immediately heard the potential, so I began building the instrumental around his melody and vocal. From there, the track evolved through the production, arrangement and sound design until we reached the final version. The original vocal idea was always the heart of the track.

Throughout your career, you’ve explored a variety of dance music subgenres. However, your three most recent releases share a similar deep house sound to “Good, Bad, Ok”. How does this track fit into where you want to take your sound next?

With this track, I moved a little closer to a UK Garage-inspired deep sound, mainly because I felt it suited Sam’s vocal better and helped me create the right groove around it. However, I still see myself staying within a chill and deep house style. In the future, I could also see myself releasing tracks with a darker sound, perhaps moving more towards Tech House. But for now, Deep House remains the style that inspires me the most and feels the most natural to me.

Do you see this more melodic sound as a potential part of your sonic identity going forward, or do you still want to keep experimenting with different styles?

I definitely want to keep experimenting. I don’t think having a recognizable sound means limiting yourself to one genre. For me, it’s more about developing an emotional identity while still being able to explore different sounds, tempos and styles. The melodic side is definitely something I want to continue developing, while keeping that chill and deep feeling that represents me.

Is there a specific message that you’d like listeners to take away from “Good, Bad, Ok”?

I think the main message is that it’s okay to simply be okay. We don’t always have to be extremely happy or completely sad. Sometimes we’re somewhere in the middle, and that’s perfectly normal. I hope listeners can connect with that feeling and find their own meaning in the song.

Is there a particular element of the production that you’re especially proud of?

I’m particularly proud of the way the instrumental was built around Sam’s vocal. Because the vocal was the starting point, I wanted every element of the production to support it and enhance its emotion. I think the balance between the melody, groove and vocal is one of the strongest aspects of the track.

Looking ahead, what can fans expect from Danny Eviza following “Good, Bad, Ok”?

There is definitely more music coming. I’m continuing to work on new productions and collaborations, and I’m exploring this deeper and more melodic side of my sound even further. At the same time, I don’t want to limit myself, so in the future there could also be some darker and more Tech House-oriented releases. For now, though, Deep House remains my strongest source of inspiration.

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Interview

Ørjan Nilsen Talks New DJ MEETCH Collab ‘Body On Me’

Published

3 weeks ago

August 21, 2026

Dylan Smith

Ahead of his new single with DJ MEETCH, ‘Body On Me’, Ørjan Nilsen sits down with EDM House Network to talk collaboration and staying fresh.

Rising US producer DJ MEETCH kicks off the first in a run of major new music releases with hot new single ‘Body On Me’, a collaboration with everyone’s favourite Norwegian dance superstar Ørjan Nilsen, dropping August 21st on Robotic Rumbling Records.

The track, which sees the pair unite in the studio for the very first time, is a high octane slice of bouncing electro peppered with vocal stabs and swaggering, jacking synth lines that gradually build up to a rushing, euphoria-tinged drop. It’s an emotive dance floor banger that perfectly encapsulates the production values of both artists, as DJ MEETCH explained:

“I have always had a vision of what I want my music to sound like and what my brand would be about. ‘Body On Me’ is the perfect reflection of that – it’s energetic, yet emotional, it allows for people to see the dancefloor as their safe haven, it’s groovy, it’s fun, it’s just a song for the people. I am everyone’s favourite robot, I am a man of the people and I want to bring groove, joy and happiness on the dancefloor.”

Speaking about the experience of working with Nilsen, whose 20 year career has established him as one of the biggest influences from the North European electronic circuit, MEETCH said: “Working with Ørjan was such an amazing experience – he brings so much legacy and knowledge, and I think together we managed to bring a perfect balance between melodic house and peak groove energy. I can’t wait to see how people connect with it!”

As ‘Body On Me’ finally lands on the dance floor and global DSPs, EDM House Network got the chance to sit down with MEETCH’s collaborator – and all round clubbing legend – Ørjan Nilsen to get his take on the single, working with the young US producer, and how he still keeps things fresh in the studio and on the dance floor after 2 decades in the business…

Hi Ørjan, welcome to EDM House Network! Where are you in the world right now and what are you doing?

Ø: Hi guys and thank you! Right now I’m at home, just came back from Street Parade in Zürich and getting ready for Park Beats Festival in Poland this coming weekend.

Congrats on the new single with MEETCH, Body On Me. What was it like working together on the track?

Ø: Thank you! Oh it was so much fun, it’s always good stepping out of your comfort zone and working with new talented people, and Meetch is such a nice guy it just flowed.

You’ve said that MEETCH “reminds you why you fell in love with music in the first place.” How did he do that, and why had you forgotten?

Ø: Just the joy he has for it and the pure happiness it creates starting up. I’ve been doing this for 20+ years and even tho I haven’t forgotten, travelling for so long and working so much sometimes mean that you kinda forget how lucky you are in the end, being able to do this. The love for music and playing it tho? Will never be forgotten or go away.

You’ve had a long career, and you don’t seem like you’re going to stop any time soon. How do you stay fresh and relevant?

Ø: Not a chance!! I love this too much. Learning new techniques and dabbling with other genres creates a lot of inspiration and creativity. I think if you stop and refuse to embrace other genres or even changes in your own you’re doomed to stagnate. So far, I just love the journey of finding out new things.

It looks like you have a lot of fun making videos for your socials – are you as friendly and crazy in real life?? Is there an Ørjan Nilsen the performer, and a private Ørjan Nilsen, or is what we see what we get?

Ø: sometimes when I look at the videoes I reeeaally really wish it was a made up persona (cause God that guy can be a bit embarrassing haha) but unfortunately, I can’t even blame that… So I guess what you see, is what you get.

How was it remixing Darude’s Feel The Beat? Is it true that he performed at your school when you were a kid?

Ø: It was like a full circle kind of moment, and that track was actually my favorite of his. Yes not Sandstorm! Haha he did perform at an elementary school up here in Kirkenes, not mine tho! Was already out of elementary school at that time. Was so surreal!

Do you think trance music will ever be as dominant as it was back in the 2000s? Would you like to see it come back or do you think there are new genres of music that are more interesting these days?

Ø: I think the borders between genres are getting more and more blurred, for better or for worse. And yes, the share melodic aspect of trance means it’ll never lose potency within music, there will always be trance. Whether it’s gonna be as big as that era I have no idea, but I do think it’ll still be a major part of festivals and the clubscene for maaany years to come, in some shape or form.

We heard there’s more new music coming up from you and MEETCH, can you tell us more about that?

Ø: That is true!!! Can’t disclose too much yet, except it’ll be released on my label «In My Opinion» and cannot WAIT for it to be released!!