It just so happens that this past weekend was Cosmic Gate and Emma Hewitt's debut at Governors Island, and to celebrate we wanted to surprise our readers with something a little special! Not only did we catch Bossi mid-shave as we knocked on his hotel door to bombard him with an interview, but we were also fortunate enough to bring along one of DC's coolest, most talented videographers. Yes, that's right, we have some raw footage of Sunday's show just in case you missed it, or want a little recap because the photos on your phone aren't enough. Check out Bossi's thoughts below on how their show would be at Governors Island, and compare them to how it actually was!
Footage courtesy of Anna Pineapple. She is the official videographer at Club Glow and at Echostage (ranked 38th Best Club in the world by DJ Mag) in Washington, DC. To find more of her work, click here.
One of the exciting aspects about your shows is that you often bring Emma Hewitt along to sing live. Because trance is more about emotion and sensation, how does this live singing enhance the crowd’s experience?
Well at first, Emma can’t only sing, she’s sunriding, she’s gorgeous, she’s got an amazing stage performance, so with her it’s like, bringing a really nice extra to the show. And we’re going to see tonight again— the people love her and it’s funny for us to be standing there playing the songs, to watch her after these two years of doing this together. Every show is so much fun. We’ve been playing DJ shows for twenty years or something, and when you have the chance, when you have these super talents working with you, we were thinking, “How can we bring them out?” And that’s why we branded “Wake Your Mind” In Concert, bringing different singers. JES was on tour with us on quite some shows and Cary Brothers. He’s always amazing. So just to give the people the feeling that you have on CDs, to see these people on stage together. To add something on to a regular DJ show.
Personally, I think ‘Crushed’ embodies the classic Cosmic Gate sound and is one of your best productions. How would you describe your signature sound?
It’s hard to say. It’s always hard to talk about music. Music is a feeling. And to put feeling into words is very hard, but the words you were using, like emotions and stuff, we want to feel music. We don’t always want to *makes partying hand gestures.* You know, everything that’s going on right now is just to go totally wild. We want our music to touch people. And even instrumentals like “Crushed”—there are still harmony changes and stuff that hopefully touch people. And that’s what we want. But to say that this is our signature sound or so, when you listen to these fifteen years, meanwhile our tracks have always been kind of different. Sure we have our handwriting, but we want people to feel our tracks. That’s what we hope.
You’ve once said that ten years ago, trance and house were distinct from each other. How has your sound evolved since 1999 to keep up with the constant evolution of dance music?
Yeah, 1999 say—everything was like 138, 140 beats. Now it’s dropped down to 128. 130 or so. And you can’t stay on the faster beats and still be on the pulse of things. So this is something of course when the average speed goes down, that even as an independent artist that is not following trance or “hypes,” you slower automatically then speed down. But for the rest, we try to stay unique, do our own thing, and just have fun and enjoy when we are in the studio. Whatever comes out, comes out. The next single that we just finished, we’re clearing the samples at the moment. It’s something people will never expect; it’s something totally different. And that’s what we want. To surprise the people and enjoy it and have fun.
Having just played at TomorrowLand a few weeks back, what do you think about TomorrowWorld coming to Atlanta this year?
Tomorrowland is like, since the last two, three years—maybe the most talked about show because this venue is simply very special. It’s smaller than EDC Las Vegas but it’s like a coliseum, like you’re on grass and it’s going up. It’s not like people are straight in front of you. They go off to the sides. This special atmosphere makes Tomorrowland super unique. It’s outstanding and whoever saw last year’s stage was blown away. So they were setting new standards. Absolutely new standards. We’re gonna see what Atlanta will be like so I’m sure they’re gonna bring some new ideas over. And it’s good, it’s competition for all the production companies in the U.S. U.S. companies go over to Europe, so it’s good. It’s competition, and competition is always good.
As one of the biggest party cities in the US, what are your expectations for tonight’s show on Governors Island?
Well, we heard the venue is really, really nice. We’re not so fortunate with the weather but it’s not raining so that’s the most important. We’re just hyped and pumped for a good show. The first two nights of this weekend already were really incredible. And tonight, we’re sure it’s going to be super fun.
So this is going to be your first time at Governors Island?
First time at Governors Island! We played actually at Pacha and EDC and some festivals in town. But this is our bigger, first concert show in New York.
A few weeks ago Paul Van Dyk told us that he sees electronic music as an art form that cannot be compared from one artist to another. What do you think?
People always try to compare. They like to separate things, like “This is trance. This is house.” Everything is mixed up and certain artists maybe sound like this or are closer to other artists but that’s right, we all do our own thing but we’re also in the same boat. And using the same interests. So maybe you can compare a little bit, I can see where he’s coming from.
When you’re going into the studio to do a remix or produce a track, what do you look to for inspiration? Do you ever produce a track that parallels how you feel in that exact moment?
It’s always like this. If you have no inspiration—there are days you’d be in the studio and you’d just go and nothing happens while one of our first albums, like “Exploration of Space” and two, three other tracks, we were writing in barely 15 minutes. It was like, just playing the keyboards, coming up with some melodies, recorded, next, like, “Ah, this is great, too!” So we wrote like, two or three of the biggest tracks of the album within 15 minutes. That was magical. And so always how we feel gets reflected in the music we produce. Every producer- if someone is in a bad mood, nothing will happen.
What order do you write your tracks in? As in, does Emma write the lyrics after the song is already produced or does she come up with an idea/melody with lyrics and then you build around it?
Both. We actually always write our music first—the chords, the harmonies, without giving it a finished production. That’s how our first tracks worked. But for “Be Your Sound,” she just had harmony and was singing, and we built the whole track after. We actually restructured and stuff so we really work in both ways.