Dainjazone on his latest collaboration with Redfoo: “Long Live Party Rock”
By: Laury Verdoux
Since the reopening of clubs, Dainjazone has established himself as one of the most dependable and relied upon DJs in the country. His unique ability to assess the crowd and adjust his music accordingly is unmatched. With an extensive repertoire that spans across different genres such as house, hip-hop, pop, and classics, he ensures that every person on the dance floor or at a table has a fantastic experience. Some of the largest venues have continued to entrust their dance floors to Dainjazone, and he maintains residencies at prominent locations like The Grand (Boston), Memoire (Boston), HQ (Atlantic City), and Shrine (Connecticut), among others. He got LMFAO member Redfoo to jump back into the studio after a 6-year hiatus to lend his voice on Dainjazone-produced single, “Long Live Party Rock,” ending a silent streak and kick-starting the momentum of an epic return to the public eye.
777 Collective: Can you tell us more about your experience as a DJ/producer and how it has prepared you for guiding and mentoring other DJs on Patreon around the world on the science of crowd control through live DJ performance?
Dainjzazone: Over the last 17 years of DJ’ing domestically and around the world I've caught on to behavioral patterns. Things happen in waves. Not every crowd is the same. I've learned each song has its place in a DJ’s set and not every set is the same. What I've done in Paris can't be duplicated in Auburn, Alabama so preparation is key. I've learned no matter how packed the floor is or great you DJ'd if the bar sales are down then it's not exactly a win. Everybody wins if you can rotate people from the dance floor to the bar and vice versa.
How do you approach reading the crowd and sensing the energy in the room during a live DJ performance? Can you share some specific techniques or strategies you use to effectively gauge the mood and preferences of the audience?
D: Generally when a DJ gets on he/she will squeeze out about 10-15 min of energy out of the crowd if they do it right. I'm talking level 10, jumping around, hands in the air, energy. Naturally, the crowd gets tired and needs a drink or a moment to relax and then they'll pick that energy up in about another 15 min or so. So I wouldn't play my hottest songs while they're taking a break. It's a waste. Also, before I drop my first song I need to understand what kind of crowd I'm getting tonight. Some crowds like to stand around and talk so you won't get them to level 10. the most you'll get out of them is a 7 and if you can accomplish that then it's a success. You can't force level 10 energy on them. Some crowds like to lounge and do absolutely nothing so it's more about setting the right vibe than making them dance. Then you have the crowd with the best energy in the world. They're willing to give you 10 all night but you have to be careful because they will burn themselves out early causing them to leave early or lack energy during the 2nd half of your set. Therefore you have to spread your het out and kinda hold their hand through the night.
Can you tell us about any challenges you have faced while mentoring DJs from around the world, and how you have overcome them? How do you ensure effective communication and guidance despite language or cultural barriers?
D: I haven't had to deal with language barriers yet. But it gets tricky in certain regions of America. Not every city has big room clubs. Most small city club owners don't think like big city club owners. A lot of regions have bars so that could make for a different set and a different convo. Seems like most of the DJs I mentor want to travel more and it's tough when you're a DJ in a small city. The bigger markets can be a little judgmental towards those DJs and that's unfortunate because the bigger markets sometimes miss out on some real talent.
Transitioning into different genres and bootlegs can be challenging during a live DJ performance. Can you explain your approach to selecting the right moment to make these transitions, and how you ensure a smooth flow in your sets while catering to the preferences of the audience?
D: It always goes back to trusting your instincts, awareness and having the right tools to seamlessly transition to different genres. Sometimes I'll change genres every 5-10 minutes. Especially early in the night. This way I can figure out what works and what doesn't work. I think transition songs or tools can be the most important pieces to an open format DJs set. I think an overlooked tool is when the DJ echoes out and talks on the mic to transition to another genre. It's simple and effective. Also, another key ingredient to a successful genre transition is the energy of the next song to match the song you're currently playing. This is something I preach to my subscribers. There will instantly be an awkward, noticeable drop in energy if you can't match the energy of “Dancing Queen”.
Can you tell us more about the inspiration behind “Long Live Party Rock” and how the collaboration between you and Redfoo came to be after Redfoo’s 6-year hiatus?
D: Long version is Sak Noel reposted my “Party Rock Anthem” remix and my response to that was “Long Live Party Rock”. I thought that was catchy and cool. The beat I produced wasn't originally for Redfoo but after saying that line and pairing it up with the drop of the best song I had in my vault I thought it all lined up. I wrote some of the raps and recorded it. Sent it to Foo and asked if he'd have any interest in it. He instantly loved it. But before we got to that point though, he liked and cosigned my remix of “Party Rock Anthem” that was released back in January. He immediately recognized my improvement in my production. We lived with each other in Spain for a whole summer in back 2017. He said he remembered me working on my production everyday so he knows the work that I've been putting in. Between the remix and LLPR (“Long Live Party Rock”) he knew I was up to something and I was locked in. He's the type of person who won't do something if he doesn't have a connection with it. He's turned down features with multi-platinum artists over the last 6 years. He doesn't care about the look or the money. This wasn't a favor. If he didn't care for it he would have passed on it.
How would you describe the evolution of the “party rock”/electro pop sound since LMFAO’s heyday in 2011, and how does “Long Live Party Rock” capture that spirit?
D: Kind of hard to explain. Redfoo knew it when he heard it. I realized it after I finalized the production. There's special energy in the way the bass and the synths connect. It's in your face. Aggressive. Unapologetic. Party Rock never really followed the rules and norms of the moment. It always separated itself and I feel that's exactly what's going on in today's climate with LLPR.
Was it a smooth process to get Redfoo to lay down vocals on a new track? Why did you choose him over another artist?
D: It was the easiest thing I've accomplished this year so far. There was nothing to think about. As I sat with the track I realized it was meant for him and nobody else. So I sent it. He loved it and in 2 days he sent it back. He added more lyrics and it just made the song full.
The lyrics of “Long Live Party Rock” convey a message about taking risks and living life to the fullest. Can you elaborate on the underlying meaning of the song and how it aligns with the party-driven vibe of the lyrics?
D: Party Rock has always been about having fun. Letting go of your worries, concerns and just having a good time. If you look back at all the characters of the glory days you'll see a wild bunch of misfits who were there to have a blast. It didn't matter who you were or what you looked like.
You’ve worked with Redfoo on this track and have been an influential DJ in the club scene. Can you share your insights on the current trends in the electronic music scene and how “Long Live Party Rock” fits into the current landscape?
D: I think LLPR is one of a kind right now. Most of the house/electro hits today are remakes. The bootlegs DJs use the most are classic acapellas with a modern drop. Everything about LLPR is original and modern. Maybe even ahead of its time even though it's a formula from a decade ago. We also don't have a new original party song from lyrics to beat. This song checks off every box.
You’ve had extensive experience performing at top clubs in the USA and touring internationally. How does your background as a DJ and producer influence your approach to creating music, and what unique elements do you bring to your collaborations, such as with Redfoo on “Long Live Party Rock”?
D: Before I began releasing my remixes and LLPR I took note of what songs and sounds connected with the crowd the best. Even though tech house is popular I noticed the electro house songs got a better reaction and made for better club energy. I needed updated versions of the hits such as 'Clarity' and 'Stay The Night'. So I began making my own electro house remixes and originals. Most are unreleased as of now and they work like a charm. They'll slowly get released on my Patreon.
On Instagram you wrote about Redfoo: “Rumor has it if the song gets enough streams he’ll come back to do a few shows." Does this also mean that he might be back to the music scene and hopefully release new music soon?
D: This is a day to day thing. haha. He just had a baby so his little girl will be his focus for the next few months but I can see him performing here and there. He explained to me "it just has to be fun." I think the minute it doesn't feel like it's fun and it's something he has to do he'll step back. Everybody wants him to do a show but it has to be on his terms. This is a big part of why he's working with me. He knows me. He trusts me. He loves the song. He's not expected to carry the weight of the roll out. We've been having fun putting all this together in the last month.
What are your future plans following the release of “Long Live Party Rock”? Can we expect more collaborations or projects from you in the near future, and what can fans look forward to?
D: The sky's the limit with LLPR. I can see us doing a small run of shows. The collabs will have to come up organically. I'll continue to release more originals for my EP Evolution in Progress Vol.1 and 2. Expect a new song by the end of May for this project. I'll also continue to release remixes twice a month on my Patreon.