Audio Paak ‘Dallas Dance’ Interview And Afro House Shift Explained Through Real-Life Inspiration And Production Process

Marking a clear shift in direction, Audio Paak’s ‘Dallas Dance’ sees the Ghana-born, UK-based artist move deeper into Afro House territory – drawing on his roots in Afrobeats while refining a more groove-led, culturally grounded sound. For Audio Paak, ‘Dallas Dance’ comes from a moment that feels personal and specific, and that carries through both the way it was made and how he explains it now. The track did not come from a fixed concept or a planned direction. It started from a real scene he witnessed and followed that feeling through the production, which gives the release a clear sense of identity without feeling forced.

The Moment Behind ‘Dallas Dance’

The starting point for ‘Dallas Dance’ came while Audio Paak was passing through DFW Airport, where a small detail ended up shaping the entire track. Reflecting on that moment, he said, “It was at the DFW airport when I noticed a woman in a simple white dress, wearing headphones and carrying a backpack, dancing to the music only she could hear.” What stayed with him was how natural it felt. It was not exaggerated or staged, just someone completely absorbed in their own music, and that feeling became the reference point for the record.

When he later sat down to make the track, there was no structured idea guiding the session. He explained, “I didn’t have a specific idea; I just wanted to make something that felt as fun and alive as she looked dancing.” That intention carries through clearly, with the rhythm and pacing tied closely to movement rather than overworked detail. The environment around him also played a part in shaping the record. Looking out from his apartment in Dallas, he could see the highway lights stretching across the city, and he noted, “The apartment view definitely influenced it. I could see the Dallas highway from the window, the lights were mesmerizing, and it created this perfect club-like atmosphere to make music.” That detail connects the title, the original moment, and the late-night feel present throughout the track.

How The Production Came Together

From a production standpoint, ‘Dallas Dance’ stayed close to its original version, which is not always the case with tracks made while travelling. After sharing it with Blvck Navy, the only real adjustment came through a simple suggestion. As he put it, “To be honest, I sent it to my friend Blvck Navy, and he suggested adding more drums. So that’s really the only change from the first draft.” That shows the core of the track was already clear early on, with the added drums helping to reinforce the groove without shifting the direction.

The setup behind the record was also relatively minimal. Since he was on holiday, he worked with a compact setup instead of a full studio environment, relying on what he had available. He explained, “I was working with limited tools since I was on holiday, and I only had my mini-PC and portable gear with me. But FL Studio had everything I needed in terms of tools and presets.” Within that process, certain elements stood out, particularly on the low end. He noted, “I’d say Analog Bass 1 TE from the GMS Basses program was my favourite. It really locked in the groove, together with the claps and snares.” At the same time, the chords required more attention, as he explained, “I needed the chords to carry that spiritual energy while still feeling club ready, with the drums complementing them to achieve that balance.”

Where ‘Dallas Dance’ Fits Now

Beyond the production itself, ‘Dallas Dance’ gives a clearer idea of where Audio Paak is heading next. He described the release as part of the early stages of a wider move into Afro House, saying, “I’m just at the beginning of my Afro House journey, but the response has shown me this could really be what I’m meant to do.” That perspective places the track within a longer trajectory rather than treating it as a standalone release, especially as he continues to refine that direction.

The response to the track has also played a role in shaping that confidence. He shared, “Getting messages from respected artists congratulating me has meant a lot,” which adds another layer to how the release has been received. Looking ahead, he is already building on this with more music in progress. He said, “I’m wrapping up two more singles, and then I’ll be putting together an EP to release on my birthday.” That makes ‘Dallas Dance’ feel like the starting point of a larger run of releases.

There is also a sense of how he measures a finished record through his own circle. When asked how he decides when a track is done, he answered, “For me, it’s when I send it to Blvck Navy and he goes, ‘YOH, did you make that?’ that’s when I know it’s ready!” It is a simple answer, but it reflects a process guided by instinct and reaction, keeping the original idea intact without overworking it.

Claude VonStroke interview about ‘Wrong Number’, his forthcoming album, stepping away from Dirtybird, and why making music entirely on his own terms feels like the right move.

Claude VonStroke has never been particularly interested in doing things the easy way, and ‘Wrong Number’, his forthcoming album, makes that clearer than ever. More than two decades into his career, the Dirtybird founder is stepping away from the label, stripping things back, and making exactly the kind of music he wants to make: patient, detailed, and completely unbothered by what’s trending. We sat down with him to talk about the album, the family members who voiced it, and why turning down big paydays right now feels like the right call.

When you started writing Wrong Number after the Dirtybird chapter ended, what direction did you want the album to take compared with the music you had been releasing in recent years?

I was able to drop expectations because I took year off from all house music. This album is not so much weirder or so drastically different, but just for example there was a massive banger on the album and I actually took it off because it didn’t feel right. In the past that would have probably been single AA1.  

While working on Wrong Number, which producers or labels from the early minimal and house scenes did you find yourself returning to?

I kept going back to labels like Playhouse, Poker Flat, Planet E—stuff that felt like it had space and identity. Records that weren’t trying too hard. There’s a confidence in that era the records don’t always go left when they are supposed to go left. Sometimes they go right or up or down, and that mindset definitely crept into this album. A the same time I’m not a guy who makes grasshoppers on tinfoil – my records are easy to dance to. 

“Static In The Deep End” is the first single from Wrong Number, so what about that track made you feel it was the right introduction to the album?

It sets the tone without over-explaining anything. It’s restrained, a little hypnotic, a little uneasy. It doesn’t try to win you over immediately, which is kind of the point of the whole project. I led with a deep cut on purpose just to let the fans know where Im headed. I dont need 1000 bro-tastic commercial tech house fans showing up and being disappointed on my tour dates because I didn’t play 15 drum roll breakdowns and a bunch of bongos at 132bpm. I’m trying to tip my hand early. 

Nearly all the vocals on Wrong Number come from inside your own family, especially your son Jasper, so what made you decide to keep the vocal side of the album completely within the VonStroke household?

The whole project is more personal, so it made sense that the voices were too. Both Jasper and Ella are incredible musicians and singer songwriters. They know more about music theory than I ever will. For example Ella and I created an entire choral section with just our two voices and she directed all of it herself. Jasper came in and just riffed magical R&B vibes all of the place. They are just so talented I am a proud Dad. 

Jasper appears across several tracks on Wrong Number while studying pop vocals at USC, so how did the two of you actually work together when recording those parts?

It was pretty loose. I made most of the record then he came in and just riffed on top of it. Then I would spend tons of hours chopping and effecting things. At one point Jasper and Ella made the track Two Line Groove with me which is them singing in the round.  It was tough to record becuase I couldn’t get them in at the same time but I think this is one of the coolest records on the album. They go back and forth until it resolves in a giant harmony moment. 

Since the music on Wrong Number was written with club spaces in mind, what made you decide this tour should focus on smaller venues like Vent in Tokyo or Panorama Bar in Berlin?

Because that’s where this music actually works. These tracks are built on detail and patience—you need a room where people are really listening with a nice sound system that isnt all muffled and massive. Smaller spaces, better systems –  It’s less about spectacle and more about immersion. That environment lets the music breathe the way it’s supposed to.  I’m also adding some free open air events I think that is also a space where this music can work. 

After spending years building Dirtybird and helping launch artists like Fisher and Eats Everything, how has completing Wrong Number changed the way you think about your place in dance music today?

I used to actually worry about things like this which in my opinion is a waste of time. Now, if you are lucky enough to book me, you will get something that isnt generic that has been crafted and honed and is fucking dope. That’s all I can offer. Before, there was a responsibility to a sound and a whole ecosystem. Now I can follow ideas that don’t make sense commercially or strategically. I’m making a ton of terrible business decisions and it’s awesome. 

When people listen through Wrong Number from beginning to end, what do you hope they understand about where you are creatively today?

I’m not trying to be the loudest voice in the room. If the record feels a little unexpected, a little more human, then it’s doing its job. I mixed and mastered this record myself for the very first time I didn’t ship it off to get finalized in some expensive mastering suite – so you are getting this straight from my home studio warts and all. This is what I do now. 

Stream the first single ‘Static In The Deep End’ from this album below.

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High Beam discusses being personally selected by Moby to remix ‘When It’s Cold I’d Like To Die’, following his 30 million stream breakthrough ‘Just What I Said’.

Rising producer High Beam has just landed one of the more meaningful co-signs in electronic music, with Moby personally selecting him to remix ‘When It’s Cold I’d Like To Die’, the iconic track that found a whole new audience after featuring in Netflix‘s Stranger Things. Coming off the back of his breakthrough hit ‘Just What I Said (Everything In Its Right Place)’, which surpassed 30 million streams and charted virally across 25 countries, High Beam brings his signature melodic sensibility to one of Moby‘s most beloved records. We caught up with him to talk about the remix process, his influences, and what’s coming next.

To start with congratulations on the remix. You’ve said that Moby has been an inspiration to you so getting to remix one of his songs must be incredibly exciting. How did all this come about?

Thanks! Moby is such an inspiration to me and an artist I’ve admired for years. Honestly, I thought my managers were joking when they told me about the opportunity. 

The fact that he personally selected me to reinterpret the track made it incredibly meaningful. Getting the chance to rework a record from someone who’s had such a lasting impact on electronic music was really special.

Moby is of course a hugely experienced and incredibly talented producer. Did he give you any advice going into this and if not what’s the biggest thing you’ve learnt from his music?

We went back and forth on a few production notes, and one of the biggest things I’ve taken from his music is that electronic music doesn’t always have to be built for a club or fit into a specific box. His more subtle production and use of sampling really stands out to me, especially compared to a lot of other electronic artists from his era.

I imagine taking on the challenge of remixing a song as iconic as ‘When It’s Cold I’d Like To Die’ was quite nerve racking. How did you approach the process of honouring the original while also showing off your own style?

It definitely was, and I started several different versions of the remix before landing on the final one. The song is quite sad and weary, and has such a beautiful vocal, so I wanted to keep that front and center while still honouring the overall feel of the track. I built out the harmonic and melodic elements first in a way that felt appropriate to the emotion of the original, and then added the drums and rhythmic elements to give it some lift and make it feel like my own interpretation.

Every artist has their own process when to comes to producing or remixing a song. With ‘When It’s Cold I’d Like To Die’ did you know what you wanted the track to sound like and where did you start with it?

I usually come into a project with an idea of the overall emotion and vibe I’m trying to capture, but try to keep the details open-ended. I don’t like forcing an exact vision too early, and try to experiment with what feels right as the track develops. I often start out with something super simple like a drone, sustained note, or background effect and building a progression around it, and that’s pretty much how this one started as well. 

This remix comes off the back of your huge hit ‘Just What I Said (Everything In Its Right Place)’ which was a massive breakthrough for you. How did it feel to get that breakthrough and really launch your name forwards?

When I released the track I didn’t have any expectations that the track would perform nearly as well as it did. I’m super grateful that so many people have connected with it, and that I had the right team around me to help clear the Radiohead sample. It all still feels a bit surreal!

‘Just What I Said (Everything In Its Right Place)’ brought in a lot of fans for you. For the new wave of fans that will be discovering you from this remix, how would you describe your style of music?

I think I draw the most inspiration from the melodic house and indie dance world – I’m definitely a sucker for sad, nostalgic-leaning music. I’ve always liked electronic music with a balance between something that could work on the dancefloor and something you would throw on while driving or hanging out and I think that comes through in my production.

As an artist there’s obviously plenty of people you will have taken inspiration from with Moby being one of them. Who would you say have been some of the most formative artists for you in helping you find your sound?

There are so many great artists out there right now. When I first got into producing, Flume was having his come up and really got me into electronic production and sound design. Some other artists I’ve listened to a ton over the years and have definitely shaped the way I make music in different ways are Jamie xx, Tourist, Lane 8, and Caribou. 

You’ve kicked off this year incredibly well with this remix. Have you got any other exciting projects on the horizon?

I’ve been spending a lot of time in the studio working on new music and some collaborations that I’m really excited about, which will start rolling out this year. I’ve also been exploring how the project can evolve into a live experience. Between the Moby remix and “Just What I Said,” there’s been some great early momentum, so I’m looking forward to building on that with this next chapter of releases and shows.