Last Saturday, we were graced with the opportunity to speak with up and coming DJ and produer, Dyro, whom you've likely heard on "Leprechauns & Unicorns" on Hardwell On Air if you're an avid listener like we are. He's got a banging radio show called Daftastic Radio, where you can hear all of his personal favorites. But he also has collaborated with Hardwell to produce one of Summer 2013's hits, "Never Say Goodbye" (feat. Bright Lights). It is obvious how far he has come since just a few years ago, and that Dyro is making serious moves in the electronic dance music scene.
Is this your first time performing at Electric Zoo? If so, what are your expectations of this weekend’s festival?
Yeah! I was expecting an insane crowd that just came to party. It’s exactly as I thought it would be. Everything and more! We had a few technical difficulties unfortunately, but they didn’t stop me to try my best.
A few years ago not too many people knew who you were. But you managed to overcome that disconnect and now, people have traveled from all over the country to see you. Did you ever expect to be in such high demand?
I don’t know, I never really think about it that way. For me, I’m just some guy that makes music, you know? And the fact that people love me for it and travel for it to see me, it’s heartwarming. Because I’m just doing what I love to do. And if people love that as well, that’s the best feeling there is.
A lot of artists, including you, have their own radio shows. What message do you believe you can get across to fans through Daftastic Radio, that you can’t through a live set and vice versa?
You know, a radio show is like an extension of who you are. You can reach a lot of people, and a lot of people who can’t go to festivals or are staying home or whatever, can listen to the shows. All the tracks that I play on Daftastic, doesn’t mean that I’m playing them in my live sets. My live sets are specifically for me and for Daftastic Radio, I cannot do the same show every week. Not that I’m doing the same live show every week, but it has some key tracks that I’m usually playing, that people expect for me t play like “Never Say Goodbye” or “Leprechauns & Unicorns” or whatever. But I cant play that every week in my radio show. So, you choose new tracks you like but you’re not playing all of them live.
We noticed that Hardwell is extremely supportive of your work, and he often plays your tracks on Hardwell On Air. How did you guys meet and when did things fall into place?
It’s actually funny. Two years ago today, Hardwell played my song called “Metaphor.” It was the first time he heard my music a few hours before, and he played it at Ezoo for the first time. After that he sent me a message on Soundcloud, in English because he didn’t know I was from Holland as well—if I had more tracks, or what I wanted to do with my songs. And then we started talking, he started hooking me up with his management and his agents and his people. Ever since, it all came together. I’ve been working with his people and he is so supportive for my career. I owe a lot to him. He’s an amazing guy.
What’s unique about EDM is that you don’t necessarily need to be in the studio with another artist in order to create a track. “Grid,” for example, was done primarily virtually. Is this a common technique for producers? What was the communication process like with Bassjackers?
I mean, nowadays with the popularity of EDM, all of the DJs are everywhere around the world so it’s really hard to schedule an actual meeting to do a collaboration. And you don’t have to because you can do everything online. You can chat online about it. I mean, I think it’s just the evolution of technology, you know?
I think my management hooked me up with Ralph and I met him a couple of times. Super nice guys. He just sent me an ID he had lying around for I think over two years. And I was like, “I can do something with this.” I was so inspired by the setup he made that I finished the song in one day, well my part, of course. And then he called me asking how I was doing. I was like, “Oh, I already finished it. It’s gonna be cool.” He goes, “You already finished it? How?” So, I sent it to him and he said it was amazing. He did a few tweaks to the final version and then we just started playing it.
It must be complicated trying to find inspiration for a track, and making it sound different from what’s in the Beatport Top 20. What has been the most difficult track for you to produce so far?
That’s a hard one. “Leprechauns and Unicorns” was definitely a hard track. There’s a lot of technique in it, like more than I had ever used before that. I wasn’t experienced creating that track and I think the output is amazing. I think “Never Say Goodbye” was also a hard task because I knew we had to perform to create an amazing track. People have expectations of Hardwell as well, so it was like an extra pressure.
The DJ Mag Top 100 Poll has been a controversial subject for years. For some, the number is meaningful and for others, it really is just a number. What is your opinion on the contest, and how will you be celebrating if you are ranked this year?
I think it’s 50/50. It’s becoming more and more about marketing. If you market and play around with your audience, you can get higher than if you don’t. Some people think that’s not cool or whatever, but if you really want to be in DJ Mag you can do marketing. If you don’t care, you don’t. it really just depends how you look at it.
Think back to the first festival you’ve ever played. Which one was it, and in what ways have you grown as a person and as a DJ/producer since then?
Wow. My first actual big festival was EDC Vegas a few months ago. My first mainstage performance as well. You know it shows you how the major league is. It kind of is like a major league for me. everything is recorded and there are so many people in front of you that expect the most and the newest songs. So it really opened my mind to do more mashups, be more creative in sets, and perform better, of course.