Interview
Jon Billick Interview: Evolution of House Music And Connecting Past to Present
Shaped by formative years in New York City, Jon Billick’s path into House music was forged on the dance floor. A three-year residency at West Village staples Le Souk laid the foundation for a career rooted in groove and craft. Early exposure behind the scenes at Ministry of Sound and Hed Kandi America further sharpened his ear, giving him a front-row education in the evolving language of Electronic music.
Hi Jon! How are you?
Doing well! Thank you so much for this opportunity.
How did you first get into Electronic music, and was there a moment or track that made you realize this is what you wanted to pursue?
I had an interest in music from a very young age. I’d say the earliest memory I have of hearing and enjoying dance music was at a local roller-skating rink. Songs by Abba, Crystal Waters, C+C Music Factory, and Inner City, were all the soundtrack to some of the best times of my youth. Fast forwarding to my early teen years, I started to play live instruments in different bands with friends but eventually found artists like Daft Punk who totally changed my world. Once I began digging deeper into Electronic music consciously, discovering Trance, Deep House, Electro and so on, I was hooked and started on the never-ending search for the perfect track. More than anything, electronic music made me feel happy and connected to the world in a way that other music I was into at the time, did not.
Who were some of your earliest influences, and how have they shaped your approach to producing and DJing?
I was living in New York City when I started to educate myself more on the labels and artists making house music at the time. I interned at the Ministry of Sound / Hed Kandi offices for a few years when they had a North American office and record label. It was a perfect storm of learning about past and present producers and DJs. Once I was able to go out to the clubs, I loved seeing Louie Vega, Danny Krivit, Todd Terry, and other great New York artists. I also really loved the sounds coming from Amsterdam and Paris at the time, labels like My Love Is Underground, Tomorrow is Now Kid!, and earlier Slapfunk releases. When I first started DJing out at events and parties in New York, I was playing more lounge and happy hour sets. I developed a love for Deep House through those years and building sets early in the night as a DJ. I loved the Bargrooves, Café Del Mar, and Hed Kandi: Served Chilled compilations. They were massive inspirations for my sets back then and definitely have a lasting influence on what I make and play out now. I love the combination of soulful and groovy, alongside raw and driving rhythms; it’s the sweet spot.
How would you describe your music to someone hearing it for the first time?
House music inspired by the classics of yesterday with a contemporary finish.
Walk us through your typical production process; do you start with rhythms, samples, chords, or something else entirely?
Every track has its own way of finding itself. Sometimes I’m asked by labels for a specific style they might be looking for; whether that is a vocal driven tune or a more experimental arrangement. When I am starting original projects without this prompt, the inspiration can come from anywhere. Often it’s a quick clip from an old sample or a specific drum sound that gets the project in motion and guides the final outcome. Typically, my goal is to get the drums and bass locked in early on. If those elements work effortlessly and the groove is locked in, then the rest of the track can start to build on top.
While I’m still very much an ‘in the box’, digital-first producer with limited studio space, a lot of my sound is inspired by classic House. It’s almost necessary for me to use those same sounds in my tracks. Mainly I’m using digital plug-ins. The Roland Cloud, for example, helps me sonically combine yesterday and today. The SH-101 or Jupiter-8 are places I like to start with for simple melodies and bass lines that feel more ‘authentic’ and rooted in the beginnings of house music’s sonic shape. Next to danceability, it’s important that there is some kind of connection to past and present within my projects. I generally work with a ‘less is more’ mentality and know my project is finished when there is nothing more I can remove that will dramatically affect the overall feeling or flow of the track.
You’ve played in clubs around the world — how does performing live shape the way you write music back in the studio?
I am always grateful for the experience of playing somewhere new. Those opportunities present a fresh perspective on what people are listening to and gets them dancing. Playing out internationally over the years has been an incredible privilege and 100% inspires what I write when I get return. More often than not, it’s the occasions where tracks that I love are also resonating with the crowd that I find the most motivating. That connection to strangers who live thousands of miles away is the core of what fascinates me and keeps me participating as a DJ / Producer. Testing out some of my own productions that may or may not already be released, is another factor to playing out that helps guide my time in the studio. I don’t always have the time or place to test out my final mixes on club systems or larger monitors, so there’s always an element of hearing my tracks out for the first time and experiencing a crowd’s positive reaction that feels magical.
How do you curate your sets? Do you plan every transition, or do you let the crowd guide you?
When preparing sets for a live audience, I like to have a variety of playlists and transitions that I know work well, ready to go. However, the venue, energy, and crowd will usually dictate where the music goes, so not everything is planned. Sometimes as an opening DJ, you’ll need to get the crowd going and that’s always the funniest slot for me. That can be achieved in a variety of ways that aren’t always obvious after you play the first few tracks of the night. There’s always a level of pre-preparation that takes place and I know the vibe (generally) of what I will play before the set. I really enjoy having great playlists and transitions on cue, while at the same time allowing the crowd to dictate where and when those will take place during my set. Over the years of building my sound behind the booth, there are several tracks and transitions that I feel are essential to my sound and are whoppers when mixed anywhere, anytime. Again, I try to blend past and present so there’s always an aspect of recycling but in new and interesting ways that happen in the moment.
How do you balance staying true to your artistic vision with evolving trends in electronic music?
I appreciate the classics; they were once an evolving trend in their respected years. I believe all creative mediums are cyclical yet evolving at the same time. They culturally mirror the times in which they were created but always take inspiration from years before; just like in fashion, art, music, etc. Both in my DJ sets and productions, I feel it’s important to balance both old and new influences. Sticking to core past inspirations grounds my sound in a way and then adding inspiration from current trends helps to evolve my projects. I believe an artist changing their sound over the lifetime of their career is a positive thing and shows awareness of one’s own personal changes and external shifts in society.
What do you want listeners to feel or take away when they hear your music live or on streaming platforms?
The most important thing is that the music makes listeners feel something. It could be an emotion or the simple nod of the head and tap of the foot. I always try to convey some kind of emotion in my tracks. Sometimes it’s more obvious, like a vocalist singing a clear emotion or story. Other times it’s more conceptual and quieter. The emotion is there and the mood is set, but more ambiguous and up to the listener to translate in their own way. A lot of House music and Jazz is attractive to me because there isn’t really an emphasis on vocals or ‘storytelling’ in some sense. The instruments make up the energy and convert a feeling that is more introspective and can have a variety of meaning to different people. I think that’s really interesting and something I think about when I’m sitting down to produce or preparing a DJ set.
If you could sum up your artistic mission in one sentence right now, what would it be?
Make people happy through House music.
What’s next for you in 2026? New music, shows, or artistic experiments?
I have a few releases coming out in 2026 that I am looking forward to it. The first one is out in February with a return EP on theBasement Discos. I had the chance to play in 4 different countries this year, and I’d love to be able to continue to grow my touring opportunities in the next one. I will for sure be back in Amsterdam, at ADE for the conference and to play our annual, Amsterdam Dennis Event at Café de Gaeper. Of course, I’m always evolving my production sound, so there will be a variety of new flavors in upcoming releases. I’m also working on a batch of fresh collabs with some friends and colleagues that we started later in 2025. Self-releasing is something I’ve never done, but next year could be the right time to launch another label focused on growing my creative potential and taking more risks. In any case, the main resolution will be to keep having fun!
From releases on labels such as theBasement Discos, ESUOH, GLB DOM, and Rhythm Vibe to support from heavyweights like Kerri Chandler and Cinthie, Jon Billick’s work continues to resonate far beyond his hometown. Whether opening the floor or closing the night in cities like Berlin, Paris, or New York, his approach remains consistent: House music built for connection, movement, and longevity on the dance floor.
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Federico Scavo interview as he marks his 35th year of global touring, ‘The Glory’ EP on dance music royalty Roger Sanchez’s Stealth Records, and more.
Federico Scavo is an Italian DJ and Producer who has spent the last 3 decades putting out highly sought after house music on a number of esteemed labels like Toolroom, Stealth Records, Cr2 Records, and AREA 94, whilst also travelling the world playing some of the biggest clubs and festivals there are. We caught up with Federico Scavo for an interview recently to discuss his plans for 2026, which happens to be his 35th year of touring, and his most recent EP ‘The Glory’ coming out on Stealth Records.
Hey Federico, great to chat! How has 2026 started for you so far?
2026 started really strong! I have great feelings, I’m sure this year will be cool for me.
What was the initial spark or idea behind your upcoming EP “The Glory”? How did it all begin?
Roger Sanchez asked me for a track for his label and I immediately started thinking about what he plays in his sets but faithful to my style. The Glory contains these powerful gospel choirs and combined with a tribal groove makes this track unique. Then Chakra, which completes the EP, has a very particular Indian voice inside.
Can you walk us through your production process on this EP? Do you start with drums, melody, or a concept?
My productions always start from a solid idea and then everything is developed around it, from the groove to the bass and the other parts. Starting point is a concept.
How does this project differ from your previous work, and did you push yourself in new ways?
The sound is still my unmistakable one but the Glory EP has some ideas inside that are needed in today’s production.
It’s of course released on the legendary Stealth Records – ran by dance music royalty Roger Sanchez. You guys have known each other a while am I correct? How did you first meet?
I’m a huge Roger fan. I used to bring him my promo CDs to Miami conferences in the early 2000s. I owe him a lot because I really admired his style, both as a producer and a DJ. He inspired me a lot! Now it almost seems unreal to me that I’m his friend. It’s an honor for me.
Do you have a favourite track on the EP, and can you tell us why it stands out for you personally?
The Glory is the EP’s lead track and I think it will get the most attention. It’s the sound of the moment, while still maintaining my style.
How do you feel your music connects with your fans, and does that influence how you make new tracks?
Music is joy, freedom, a combination of positive emotions that I hope to always convey to my followers. Likewise, receiving so much affection from my audience, both during my performances and through messages and comments on my social media channels, inspires me to make beautiful music for them.
This year you’re celebrating 35 years as a touring dj, what have been the biggest challenges along the way, and also, what have been some of your standout highlights?
35 years of DJing around the world has been fantastic. I have so many memories, the first time I played at Pacha Ibiza is one of the greatest. I can’t put into words what I felt. I’d love to count how many people I’ve made dance all over the world. When I think about it, it’s amazing.
What 5 records never leave your bag?
Definitely my iconic tracks that I never leave out of my sets are Strump, Pra nao dizer que nao falei das flores, Funky Nassau, Balada and Bug. To name only 5 cause there are many, many more of course.
What else do you have planned for the rest of 2026, and the 35th anniversary?
I have DJ sets and parties planned in exclusive locations around the world throughout 2026 but I can’t spoil anything, they will be super events. I want to thank the people who have been following me for so long! I have also a release per month so lots of new music for the whole year, it’ll be great, follow me to discover more 🙂
Thanks for speaking with us in this interview Federico Scavo!
Thanks for having me, I’m really pleased to be here, grazie ciao 🙂
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MikeR interview on how he transitioned from management consulting to performing across Europe. Learn about his style, turning point, and more.
MikeR is a DJ and Producer focused on Progressive House and Melodic Techno with emotion and forward motion. His music is designed to lift people up while staying firmly locked to the dance floor, turning real-life moments into melody. Having played venues across Europe, MikeR’s sound balances melodic intensity with driving energy.
Hi MikeR! How are you doing today?
I’m doing very well, thank you. There’s a lot happening at the moment, so it’s an exciting time overall.
To start off, what is your earliest memory of music, and how did that lead you to the electronic scene?
My earliest musical memories go back to the 80s, when I was a kid. Some of the first records I ever bought were by Orchestral Manoeuvres in the Dark, including their hit “Joan of Arc,” as well as Depeche Mode’s “Everything Counts” and New Order’s “Blue Monday,” a track I still play in remixed form in my sets today. That early exposure to Electronic sounds laid the foundation for discovering House, Techno, and Trance in the late 80s and early 90s.
Was there a specific moment when you realized music was your true calling?
Yes, that moment came in 2017 when I watched Armin van Buuren’s Tomorrowland set. I loved the opening with “I Live for that Energy,” which instantly took me back to my clubbing, party, and DJing days as a student. Shortly after, Armin released an online masterclass on Electronic music production. I watched it, bought a new laptop, a DAW, and plugins, and got completely hooked. I started producing and picked up DJing again so I could share my own music.
One defining moment was a gig I played in Barcelona in late 2018. The crowd was fully engaged, hands in the air, and the intro track to my set, “Digital Era,” which I had produced only days before in late night sessions, set the tone perfectly. That was when I realised that music was more than a hobby for me.
Initially, I produced and DJed alongside a full-time career as a senior partner in a management consulting firm, but over time I devoted more of my free time to music because of the energy it gave me.
How did your upbringing or the city you grew up in influence the rhythm and vibe of your music?
I grew up in Cologne and studied in Aachen, close to the borders of the Netherlands and Belgium. During that time in the late 80s and early 90s, House, Techno, and Trance were emerging, and I was clubbing in places like Warehouse Cologne or Königsburg in Krefeld.
I was especially drawn to early Trance tracks with mystical melodies and airy vocals, such as “The Age of Love” (Jam & Spoon Remix), “Love Stimulation” by Humate in the Paul van Dyk Remix, and “For an Angel.” Those influences still shape my melodic approach today and led me to DJ at student parties in the early 90s.
How do you balance staying true to your style while experimenting with evolving trends in electronic music?
I would describe my style as uplifting, melodic, and energetic music that puts people in a good mood. That’s the core I try to bring into every track. My focus is mainstage Progressive House, but I enjoy blending in Trance elements, as in my recent track “All Good Things.”
I’m also inspired by elements of modern melodic techno and have explored that sound in tracks like “Blue Zone” and “Head in the Sky,” always through a melodic and uplifting lens. I’ve even experimented with Afro House for warm up sets, although my main artistic direction remains clearly Progressive House.
How do you know when a track is finally finished? Is it a feeling or a technical checklist?
While I do have standard production routines, I don’t follow a strict technical checklist. It’s very much a feeling. Does the track make me vibe? Does it create emotion and energy on the dance floor?
I listen to it on different systems, from studio monitors to club systems, headphones, and the car. I check loudness levels and compare it with reference tracks, but ultimately, it’s about how the track feels.
What is the best piece of advice you’ve ever received from a fellow producer?
Make sure your drums and bassline are strong for a dance track, because that’s what ultimately moves the crowd. Sometimes it even helps to start with the groove rather than the melody. That advice was very valuable for me, as I naturally tend to focus heavily on melodies and vocals.
Are there any dream collaborations you’re hoping to make happen in the next couple of years?
In Progressive House, I’d love to collaborate with emerging artists like Matt Pridgyn or Amel. Working with established acts such as DubVision, Third Party, or Martin Garrix would be a dream.
On the vocal side, collaborating with artists like Sarah de Warren or Jex would be amazing.
Looking back at your journey so far, what has been the most significant turning point for your career?
Attending ADE for the first time in 2025 was a major turning point. It made me realise that growing as an artist means putting yourself out there, connecting with people, and working with those who understand the industry better than I do.
Are there any non-musical sources of inspiration that find their way into your tracks?
Yes, definitely! Nature and landscapes inspire many of my tracks, such as the Nicoya Peninsula in Costa Rica for “Blue Zone” or the Dubai desert for “Desert Gate.”
I’m also inspired by personal life experiences and transitions, which often influence the theme and emotional tone of my music.
Finally, what is the ultimate goal or legacy you want to leave behind in the world of music?
My goal is to leave behind timeless, uplifting music that helps people forget their worries for a moment and connects listeners around the world. At the heart of it, my focus remains uplifting Progressive House that works emotionally as well as on big stages.
If I can also show that it’s never too late to start producing music and sharing it on stage, that would mean a lot. Playing a major festival stage one day would be the ultimate dream.
As he continues to release new music and push his sound forward, MikeR remains focused on one thing above all else: creating music that connects emotionally while driving the dance floor.
MikeR Online
Marco Weber interview goes in depth about his new single ‘Dance With Me’ in collaboration with Dirty Den.
Every track has a story, and Marco Weber’s latest release, ‘Dance With Me’, is no exception. In this interview, he pulls back the curtain to reveal the creative process, inspirations, and late-night studio sessions that brought the high-energy track to life.
Hi Marco! How are you?
Amazing, thank you!
How did the initial concept for “Dance With Me” first come?
The song came together in a very organic way. While jamming on the synthesizer, I found the melodic idea that became the heart of the track. From there, I built everything around that moment and finished it with Dirty Den’s vocals.
How do you believe this song stands out compared to your previous releases?
One big difference is that, as with some of my previous productions, the vocals were recorded in the studio – but this time, the process was far more collaborative and shaped closely together with Dirty Den. On top of that, the synth line really stands out and gives the song a hook that stays with you.
What was the first layer of the track that you worked on in the studio?
As mentioned earlier, the synth hook was the very first layer I worked on. After that, the process flowed quite naturally.
Did you face any particular challenges while making this track?
There weren’t any major challenges, but working with clean recorded vocals on a House track is always a bit tricky. Even when the vocals are spoken rather than sung, it still takes a lot of processing and fine-tuning to make them sit right in the mix.
How do you define the “signature sound”?
I think my signature sound is all about catchy synth hooks, a solid groove, and a clean, striped-back production that works both emotionally and on the dance floor.
In what way do you believe “Dance With Me” pushes the boundaries of the genre?
I wouldn’t say it’s pushing boundaries – it’s not that rebellious. It just doesn’t behave particularly well when it comes to sticking to one genre.
Could you share a favorite memory from the studio sessions for this project?
One of my favorite memories was taking the almost finished track to New York to record vocals with Dirty Den at the legendary Quad Studios back in December 2024.
We originally went in to work on a completely different song, which is still in the pipeline. In the end, we had about an hour left, so we decided to quickly try something for “Dance With Me”. She just threw in a few dirty spoken lines, but they fit the track perfectly and ended up being exactly what it needed.
What was the most time-consuming part of the production process for you?
Definitely the vocals. Editing them, chopping everything up, putting it back together and processing it properly took by far the most time.
How many different versions of the track did you create before reaching the final master?
I actually kept track this time – it landed around version 19 before it finally felt right. I’ve definitely had more versions on other productions.
How has the completion of this song influenced your future production style?
It didn’t really change my sound, but it confirmed my style. What I do want to do more going forward is recording vocals with real people in the studio – it makes the process more exciting and enjoyable.
From early sketches to the final mix, ‘Dance With Me’ reflects Marco Weber’s dedication and vision. As listeners hit play, they’re not just hearing a track, they’re experiencing the journey behind it, one beat at a time.
Marco Weber Online
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