SONOS CLUB : LOLA:DE
INTERVIEW
Can you tell us about your musical journey and how your cultural background has influenced your sound?
LOLA:DE: As a child, most of my access to music was through what I came across on TV and in my opinion, chart music from the 90s to the mid 00s was far more diverse than it is now. I found myself enjoying all the different music channels available, from metal on Kerrang to grime on Channel U, R&B on MTV Base, trance on The Box and the poppiest of pop on Smash Hits. I loved it all! As I hit my teenage years as a Black girl in South East London, there was a lot of social pressure to restrict my music taste to a small box. I refused to accept this and rebelliously widened my music taste even further, using the internet to dig deeper for more niche genres as the years went by. This eventually led to my love for techno which I would say is central to my sound as a DJ now, but just as I did as a child, I continue to explore and incorporate a diverse range of music in what I play and listen to.
What are some early memories of music from your upbringing that shaped your taste today?
LOLA:DE: My mum enjoyed listening to all kinds of music. She was a huge party girl during her teenage years in Nigeria and Togo while I was more of a homebody at that age, but I definitely got the music bug from her.
When she got home from work, everybody on our street would know as she would be blasting loud music from her car as she parked up, and it would be anything from 50 cent to Aerosmith. I was sometimes embarrassed of it as a child, especially when she played her old skool 80s and Naija music (afrobeats weren't trendy yet!) while dropping me off at school.
Funnily enough I’ve come to really love both those genres. The synthy, electro infused soul music of the the 80s and the percussive rhythms of Yoruba fuji both have a strong influence on my taste now.
How do you integrate your heritage or identity into your DJ sets or productions?
LOLA:DE: As an adult I’ve grown very fond of Juju and Fuji music. These are quintessential sounds you’ll hear at Yoruba parties - what we call an ‘owambe’. In Ijebu-Ode, where my family is from and where Wasiu - one of the most successful fuji artists resides, you’ll hear Fuji everywhere you go. My sets tend to be very percussive, with the bells and rhythms you’ll find in this genre.
Are there any specific artists or genres from your background that have been particularly influential to your craft?
LOLA:DE: I draw inspiration from many areas. In particular I’m drawn to all music of the 00s, it’s when I grew up and I love how fun, quirky and eclectic the music of that decade is.
As for DJs, some of my biggest inspirations are Jeff Mills and Ben Sims. I am obsessed with their style of mixing and track selection; I listen to Ben Sims’ monthly radio show RUN IT RED religiously.
When you’re crafting a DJ set, do you have a particular story or vibe you aim to convey? How do you build it?
LOLA:DE: I always aim for my sets to feel like a journey, with the energy fluctuating throughout. I like for them to evoke a certain atmosphere, it could be warmth for one set, a bit more coolness and breeze for another.
What’s your process for discovering and selecting new music? Any go-to sources or methods?
LOLA:DE: I mainly buy my music from bandcamp. I try to find hidden gems, this means digging through labels and going through all their releases. Sometimes I will click the profile of someone who has bought an unusual track and see the other labels they have purchased from. It’s a fun rabbit hole to go down! I also like listening to old mixes and tracking down the IDs from there. Sometimes I’ll also go to record stores, listen to records and find labels there.
Also, I am constantly shamazing when I travel abroad as I often hear music on the radio, in bars and in shops that I haven’t come across before.
Can you talk about a track or mix you’ve created that holds a special meaning to you? What’s the story behind it?
LOLA:DE: I recently did a mix for the radio show Love Will Save The Day FM. It was intended to be a celebration of Black dance music from across the world. I played a lot of the tracks at Bliss, an event I organised this summer and it just represents a very happy moment in my life!
As a DJ from a BIPOC background, what are some challenges you’ve faced in the industry, and how have you overcome them?
LOLA:DE: In my opinion, the London music/nightlife scene is extremely segregated, particularly with the millennial generation. There are no signs on the wall that state it, but it’s quite obvious when you’re in a white or black space. As a black DJ who plays and enjoys music that is generally relegated to the “white” side of nightlife, I feel like I’m at a crossroads at times. I would love to play for more Black crowds, but in London there aren’t many spaces for that. Eventually I decided to create my own event, with the aim of creating a space for Black people who like (or are curious) about techno to come and enjoy it and meet like minded people. Of course I would simply prefer if spaces simply weren’t segregated, but things aren’t quite there yet.
How important is representation and visibility for you in the electronic music scene?
LOLA:DE: It’s very important to me for the reasons mentioned above. I think a lot of the reasons people see techno as ‘white music’, despite its Black origins, is because you don’t see that many Black techno DJs on lineups, you also don’t see many POC in the crowd. And it’s like a self perpetuating cycle because most of us are not interested in being the only Black person in the room. Once we have more visibility, more diversity will follow. I think social media helps with that - I’m already noticing a bit of a shift
Have there been moments where you’ve felt your identity helped you stand out or connect with your audience in unexpected ways?
LOLA:DE: Yes, after the event I threw this summer, I had a lot of positive feedback from people who attended the event. One girl thanked me for organising it as it was so cool to see an all black female lineup and crowd as a black woman herself who liked electronic music. It would be great if one day this could become ‘normal’, but for now it's great to see how much this representation means to people.
What are some emerging trends in electronic or experimental music that excite you right now?
LOLA:DE: I keep bringing up Fuji, but I’m seeing an emerging trend of techno/fuji fusion, mainly with the success of Asake’s singles Uhh Yeah and Fuji Vibes. In general I do see a Fuji renaissance happening with the younger generation - I’m excited to see where it goes!
How do you envision your music evolving in the next few years? Are there new sounds or ideas you want to explore?
LOLA:DE: I’m hoping to start producing one day to really bring my ideas to life.
If you could curate a dream lineup for an event, which artists would you include and why?
LOLA:DE: I already did this with a party I threw this summer. I decided to start a new event series called Bliss, with the aim of platforming women and fems in dance music. Ann LoV, LO-LOW, Goh Well and Simone Sim were on the lineup. They each have their distinct sound and come from different scenes within London nightlife. I was so happy to have them all play.
What advice would you give to up-and-coming DJs and producers from underrepresented communities?
LOLA:DE: If you can’t find the community you’re looking for, start your own.
How do you stay motivated and keep your creativity flowing, especially during challenging times?
LOLA:DE:I take a break, go outside, do something unrelated to music. It helps me see the music from a different angle when I return.
What’s one message you hope people take away when they listen to your sets or mixes?
LOLA:DE: I hope they find my sets uplifting, energizing and introspective
SONOS CLUB is an initiative from Sounds of Craft Records, designed to highlight the eclectic electronic music scene through the perspectives of the BIPOC diaspora and marginalized communities, while being open to all.
