A forerunner in the new wave of progressive house and techno, Spencer Brown has already won critical and popular acclaim, and his latest single “20ms” promises to be another feather in his cap. Teaming up with Japanese-American producer QRION, the track is part of his much-anticipated upcoming album “Equanimity.” Set to be released on his own Divine imprint, the album is the latest in highly praised works, following his 2018 release “Illusion of Perfection” and 2020’s “Stream of Consciousness.”
But what sets Spencer Brown apart is not just his distinctive sound or his unwavering commitment to artistic evolution; it’s his authentic relationship with his audience. Anyone attending a Spencer Brown DJ set can expect a unique experience, as he prides himself on spontaneous performances that differ every night. Ahead of his North American tour, which kicked off this August and will extend into early 2024, we sat down with Spencer Brown for an exclusive interview. Here, he dives into his creative process, how he keeps his sets spontaneous, and his advice for aspiring DJs who wish to deviate from the norm. Read on to get a behind-the-scenes look into the mind of a modern electronic music maestro.
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How do you manage to keep every set 100% spontaneous?
I say this without judgment to anyone else, but I fail to understand how a set can NOT be spontaneous unless it’s more of a live performance like a concert or live set. To me, the whole purpose of a DJ set is a musical feedback loop. Give energy to the crowd, they give it back. Push, pull, push, pull. How can I tell the right story without internalizing the collective energy?
If the crowd is reacting a certain way, but the set is planned to go somewhere else, I’d be screwed. Focus on the overall movement of the room. Once they are locked in, shake them up a bit. That’s when the magic happens.
I’ve played spontaneously since I started DJing (10 or 11 years old), so it feels natural. It also keeps DJing fun. If I knew what I would do every night, I’d get bored and probably deliver a worse set. A diverse taste is a blessing and a curse. I’ve learned to embrace it, rather than box myself as a [fill in the blank] DJ. Taste is taste. Trust yours. I find it doesn’t matter what style it is as long as your heart is in it and it’s blended with class.
I switch up my preparation process, but every single set has unique folders for the night. Shorter sets may have “Deeper” “Bangers” and “Closers.” Longer sets may have more categorization. I prepared for Burning Man differently, which then changed my approach moving forward. On longer sets, I’ll now have crates like “Steady” “Groovy and Funky” “Banging” “Vocals and Savers” “Percussive” “Weird” “Closing Tracks” “SB Tracks” “Newness” etc. I switch it up depending on the venue/time/etc.
You’ve been described as knowing every track “backward and forwards.” How do you approach learning and internalizing your music to such a degree?
I live and breathe music. I’m just living my life constantly with music as the soundtrack. Not because I have to—I’m just obsessed and can’t help it.
I try to play a balance of my music and others’ stuff I enjoy, too. I think a balance is healthy. I love to support other artists whose stuff inspires me. It keeps our scene healthy. I was only playing my stuff for a while, but I missed that feeling of digging. After COVID, I made a conscious decision to play a mixture again. It’s been paying off for me, as the crowd connection has never improved. It feels like telepathy when everything goes right.
My biggest mistake generally stems from not knowing a track well enough, playing it at the wrong time of the night, or mixing it with the bad vibe. Or perhaps the track is not good enough. I can think of 3 instances since COVID when I chose the wrong track because I didn’t know it well enough. Luckily, it’s infrequent enough that I can remember these mistakes. But these mistakes caused growth and strengthened my abilities.
Playing something too energetic too early can harm a longer set. Even more so than playing something too chilled when the room needs a banger. You can ramp up the energy on the next track with the latter. The former is dangerous because it can take ages to reset once you hit a certain energy level. The greatest risk is people getting tired and leaving.
Instead of thinking linearly, I like to think in terms of waves. When I’m in the flow and the crowd is great, I think about 3-4 tracks ahead of where I am.
Want to avoid common DJ pitfalls? Dive into ‘Time-Wasting Traps All DJs Eventually Learn to Avoid: Reconsidering Your Off-Deck Hours’ – learn valuable tips here.
Walk us through the “build” part of your sets. How do you craft this rise in energy and excitement without pre-planning?
I’d rephrase the question and ask how COULD one pre-plan a rise in energy and excitement? My connection with the crowd is a feedback loop, as I said. I give energy, the crowd gives back. Repeat. Every night provides a different story to tell. Every crowd is unique. The people, the room’s vibe, my energy, their energy, how sober/wasted the crowd is, how the DJ before me is playing. These are all factors.
Building the night is an intuition. It’s not about playing the biggest banger after the biggest banger. Often a track is the most powerful if you can “set it up.” I’m conscious (but not religious) of mixing in key, so I’ll sometimes set up a big moment by mixing in the same key to something higher energy. Alternatively, you can create a big moment by making a key change after a few in the same key. Creating contrasts while maintaining flow is the key to a great set.
Intrigued by how introverts excel in DJing? Read ‘An Introvert’s Guide to DJing: Advice on Stage Presence for the Shy Selector’ – gain unique insights here.
What’s the best advice you’ve ever gotten from DJing that you think more people should hear?
It’s hard to pinpoint one piece of advice, but I can think of a few things that have helped me.
- Do not have a preconceived notion of how the night (or a moment, say sunrise) should be. Focus on the dancefloor, and focus on the energy of the crowd. Preconceived notions fail me. I’d thank Patrice Bäumel for this tip.
- If the crowd isn’t responding, don’t panic. Sometimes, something beautiful and melodic can unite the room. Sometimes, something more driving and percussive can do the same. Most of all: don’t panic. Negative or stressed energy can kill a dancefloor, just as positive energy can unite the room.
- Be kind to your body. When I was younger, say 22 years old, I was getting wasted while DJing every weekend. I could still perform well, but being hungover in airports every weekend was wearing me out. At 29, I am not much of a drinker. I like 1 seltzer or light beer before I play, and maybe 1 during the set. Most of all, choose your big nights. It’s ok to let loose occasionally if you choose to. The key: once in a while. Figure out a balance that works for you.
Curious about festival prep for DJs? Dive into ‘How DJs Prepare for Festivals: Four Acts Share How They Get Ready for the Same Gig’ – get the insider perspective here.
What advice would you give to aspiring DJs who want to take a more spontaneous approach to their performances?
- Be extremely organized. Know your tracks inside and out. Everyone organizes differently; figure out what works for you. I like to organize my folders by vibe—and within the folders by key (with the Camelot Wheel and Mixed in Key). I can then select while I’m playing in a total flow state.
- Practice playing long sets to your friends at home in the living room. You learn a lot by trying to control a room of minimal people.
- If a track (you don’t make that) is in the charts or trending, avoid putting it in your crates. Put in the time to find hot stuff off the beaten path. It keeps you unique. It also takes more effort.
- Remember that DJing to people is a privilege. With this mindset, you can connect with the crowd on the deepest level.
Looking for unique tracks for your DJ sets? Discover ‘Finding Eclectic Music for Your DJ Sets: Where Duke Boara Does His Crate Digging’ – unearth hidden gems here.
Will Vance is a professional music producer who has been involved in the industry for the better part of a decade and has been the managing editor at Magnetic Magazine since mid-2022. In that time period, he has published thousands of articles on music production, industry think pieces and educational articles about the music industry. Over the last decade as a professional music producer, Will Vance has also ran multiple successful and highly respected record labels in the industry, including Where The Heart Is Records as well as having launched a new label with a focus on community through Magnetic Magazine. When not running these labels or producing his own music, Vance is likely writing for other top industry sites like Waves or the Hyperbits Masterclass or working on his upcoming book on mindfulness in music production. On the rare chance he's not thinking about music production, he's probably running a game of Dungeons and Dragons with his friends which he has been the dungeon master for for many years.
