Dave Lambert on The Virtual Sessions presented by The DJ Sessions 6/27/24

In this lively and insightful Virtual Session, Darran Bruce connects with Belgian DJ, producer, label owner, and booking agent Dave Lambert for an in-depth conversation about his decades-spanning career and current projects. Starting as a rock DJ in Antwerp in the 1990s before transitioning fully into electronic music, Dave shares his journey from club residencies to global festival stages, including Tomorrowland and Rock Werchter.

 

The discussion explores his multifaceted role in the industry—managing bookings for major venues like Versus and Labyrinth, running events under the legendary Zillion brand, and launching five distinct record labels spanning classics, techno, trance, melodic techno, and house. Dave reflects on lessons learned from years of label work, including the importance of standing out visually and musically in an oversaturated market, and why strong warm-up DJs are the unsung heroes of great events.

 

From stories about 18-hour vinyl sets to booking major acts for Formula 1 events, Dave offers candid insights into balancing creativity, business, and evolving trends. He shares thoughts on hot-button topics like “no phone” policies at clubs, headphones vs. in-ears on big stages, and the value of producing music that defies trends.

 

Packed with festival memories, behind-the-scenes perspectives, and practical advice for aspiring DJs and producers, this episode captures Dave’s passion for both the artistry and the business of dance music—showing why he remains a respected force in the global electronic scene.

 

Host: Darran Bruce
Guest: Dave Lambert
Location: Virtual Studios, Seattle WA & Melsele, Belgium

 

Overview:
Darran Bruce sits down with Belgian DJ, producer, label head, and booking agent Dave Lambert for a wide-ranging conversation on music, events, and the business of the electronic scene.

Topics Covered:

• From Rock to Electronic: Transition from early ’90s rock DJing to global electronic stages.
• Residencies & Festivals: Career highlights from Zillion, Versus, and Tomorrowland to Rock Werchter.
• Zillion Records & Events: Launching five sub-labels—Classics, Projects, Illuminati, Ground, and Zendesk.
• Booking Big Names: Insights from securing top acts for Versus, Labyrinth, Nikki Beach Miami, and Formula 1.
• Standout Strategies: The importance of unique visuals, content, and strategic artist support.
• Warm-Up DJ Importance: Why opening acts set the tone for a successful event.
• Vinyl Marathons: Tales of 18-hour all-vinyl sets.
• Crowd Size Dynamics: Playing intimate venues vs. 100,000-person festivals like City Parade.
• No Phone Policies: How removing mobile devices can enhance crowd engagement.
• Stage Presence: Headphones, in-ears, and the role of showmanship in large-scale events.
• Industry Advice: Think outside the box, avoid trend-chasing, and find music no one else has.

Call to Action:
Follow Dave Lambert: djdavelambert.com | SoundCloud
Explore more interviews and live sets at thedjsessions.com

[Darran]
Hey everyone, welcome back to another episode of the DJ Sessions presents the DJ Sessions Virtual Sessions. I’m your host DJ Darran. Gosh, I’m not even a DJ.

Wow, I love doing live streaming shows because mix-ups, screw-ups can always happen. Welcome Dave Lambert to the DJ Sessions presents the Virtual Sessions coming in all the way from Meerdam in Belgium. Dave, how’s it going today?

[Dave Lambert]
Hi DJ Darran, how you doing man?

[Darran]
Actually that’s not my DJ name. I’m not a DJ. I only play one on live streams.

There’s actually a funny thing about it, but no, I’m a DJ.

[Dave Lambert]
Now you’re a DJ.

[Darran]
I don’t DJ. I don’t DJ, I don’t produce. But Dave, thank you for coming on the DJ Sessions Virtual Sessions today.

You know, you’re coming in from Belgium. I went over your bio. You’ve been doing this for a long time now.

You know, when did you get started? And we were talking a little bit pre-show about how you got started as a DJ. Tell us about how you got started DJing and what led you to where you’re at, where you’re at now.

[Dave Lambert]
Actually, the city you’re based in was one of the, yeah, one of the first things I noticed when listening to music. So all the Seattle scene, the rock scene, that was something that really inspired me. And I started out as a rock DJ in 1990 here in Antwerp, which is like 15 minutes from my place.

So I started out in a club and organized my own events called Seattle Rock. And when I got older and evolved a little bit more into the electronic scene, and now I’m, yeah, we’re 2024 and I’m still here, but not doing the rock stuff anymore, but only doing the electronic stuff. So, yeah, but still listen to it in the car, by the way.

[Darran]
So, and you’re producing tracks and everything as well, correct? Yes.

[Dave Lambert]
Yes.

[Darran]
And, you know, how long have you been, did you started out DJing first and then got into producing or was it synonymous and doing it both at the same time?

[Dave Lambert]
In the first place, I’m a DJ, you know, and the producing came afterwards. So actually I worked for a record company in, from 2000 to 2010 and met so many producers and they all said to me, Hey, why don’t you step into the studio with us and let’s do something together. And that’s how I made my first track with a friend that producer, he showed me a little bit the ropes on how everything’s done.

And yeah, produced a lot of, a lot of tracks back in the day, then went a little bit silent a couple of years. And now recently did some stuff on, on held deep and on Diablo’s label, Subreligion, one of, one of his sub labels. So, and yeah, back in the studio, I think the pandemic also had something to do with it.

It gave me a little bit more time and, and yeah, it inspired me to do a little bit more on the producing side.

[Darran]
Now you have a label, but you have some new releases coming out. What are, are you able to talk about those new releases? Are they, are they public information yet?

[Dave Lambert]
Or I know some, some people actually at the moment, at the moment they’re still in the work, so it’s not nothing that’s finished yet, but I’m setting up a new label. So we have a huge brand here in Belgium called Zillion, which used to be a club, also end of the nineties, beginning 2000, even made a movie about it, which was released in Belgium, Holland and France. Just to give you an idea, we have 11 million people that live here in Belgium and over 1 million people saw that movie in the theater.

So not on television, but in the theater. So it’s, it was a huge, huge thing back in the day, the club where I used to be a resident. And with that brand, we’re doing a lot of big, big events here in, in Belgium.

And with the same brand, now we’re setting up a new record company.

[Darran]
You know, I’ve been to, I’ve been to ADE the last couple of years, 2022, 2023. I love Amsterdam, but I would love to start getting out to Belgium and Ibiza and, you know, even Barcelona for, I think it’s IMS, you know, even come out and get to Tomorrowland one of these days, you know, I love Europe. It’s such a great feeling.

You know, I’ve been stateside my whole life doing the show. And we used to focus on, you know, US audience or when the artists would come over here, you know, and that’s not so much anymore because everyone’s still waiting for their visas to get approved. But now because of Pandi, you know, we’re able to do interviews with you.

You’re halfway around the world. And, you know, we were talking a little bit about that pre-show that now people are ready to do Zoom interviews and we can talk with them and put it out to an international audience, you know, and we’re looking to work with many different people from all over the world, whether they’re over, over in the East or over in Europe and the West or even South America. You know, I work with people in India, Australia, you know, it’s all fun.

You know, it’s really cool that electronic music community and how it’s growing and how technology has advanced. Now, I see you also mentioned you’re a booking agent for Zillion.

[Dave Lambert]
Yeah. So for a couple of companies. So I’m also in the management of a club in Hasselt, which is about an hour drive from where I’m based, but it’s a huge club.

It’s called Versus and has like three thousand five hundred to four thousand capacity club. So it’s a huge complex. It actually holds two clubs.

So we have the more commercial side, which is Versus, where we book. Who did we book in the past six months? We had Alok, we had Hugo, we had James Hype, we had a lot of big names, you know.

And besides that, next next door, we have Labyrinth, which is our underground club. It’s called Area V. Actually, Labyrinth is a concept that’s held there where Amelie Lentz started out.

And we have Kalsch, we have Maceo Plex, we had Richie Houghton. So all the underground scene. So it’s like a huge venue combined into two clubs.

When there, I also do the bookings for the more commercial side of the club. Besides that, I’ve done so many things in the past. Also, I used to do parties in Miami during the Winter Music Conference at Nikki Beach.

I did that for 17 years. Also booked all the DJs there. Which beach?

Nikki Beach.

[Darran]
I thought you said Naked Beach. No.

[Dave Lambert]
You wish, you wish. No, it’s Nikki Beach. And next to that, I’m also doing a lot of bookings for the Formula One.

So I also did that for Turkey two years ago. So, yeah, I’m involved with booking. So a lot of people come to me if they want to book a really big name, like top 10 guys, because I know the booker, I know the manager.

So which makes it sometimes a little bit easier than when people out of the blue send the mail to get the booking.

[Darran]
Yeah, you know, I’d love to pick your brain on that. Like I said, we’re opening up to talking with all different music industry professionals in the electronic music world. So definitely want to talk with you about that after the show and see who we might be able to get some interviews with and fun stuff like that.

[Dave Lambert]
Who knows? Who knows?

[Darran]
Yeah. So you have a new label coming up with Zillion as well. Tell our DJ Sessions fans all about that.

[Dave Lambert]
So Zillion, like I said before, was a club in the 90s, early 2000s. So we started out with events and parties, more focusing on the music we played back then. So it was more like classics, classic DJ sets.

But the owner from Zillion, he’s a real tech guy and he’s into the LED business. Just to give you an idea, he does all the LED for Tomorrowland. He does all the LED for the Formula One, does all the LED for the World Cup.

So he has a huge technical background and he always wants to innovate. That’s also why they made a movie about this club, because back in the day, it was so advanced that everybody talked about the club. And then due to a scandal, the club was shut down, was all over the media.

But even like 10, 15 years later, they make a movie about it and it has such a huge impact. So the owner was like, OK, let’s let’s try and do something new. How would the club sound if it was open today?

So then we started doing more events with guys like Adana Twins, more into the melodic techno scene. We also did an event with Paul Van Dyck and Ali Enfila and Chicane, which was more trancy. And that’s what we’re doing now.

So we have five labels representing the five types of events that we do. So that’s starting in September. So we’re now signing a lot of new tracks, trying to push new producers into the scene.

So, yeah, that’s something that’s developing right now and that we’re planning to release somewhere in September.

[Darran]
Nice. If you could describe the label’s sound, because we’re toying with the idea of launching a label here at the DJ Sessions. You were taking a look at our website earlier.

We were talking about it and we’re really proud of it. But there’s so much more we can do with our website that people don’t even know that we’re getting ready to launch. And one of those things is it is built to basically be a label and we’re still determining what that sound’s going to be.

Are we going to only have internal people that are our resident DJs and producers be able to submit? Or are we going to take outside submissions? Is it going to be house music?

Is it going to be trance music? Is it going to be every genre that we could take and try to get it out there? It’s such a nice, it’s such a huge endeavor to take because it’s like one more arm or one more caveat that we’ve already got to do in addition to our interviews, our news stories, our exclusive mixes and the events that we put on.

But you know, if you could describe the music of your label in three words, three words, what would you describe?

[Dave Lambert]
I’d have to say it in 15 words because we have five labels. So the first label is the classics with three Xs. And what we want to do there is bring music from back in the day, put it in a new jacket and release the old one and the new version.

Also do vinyl because vinyl is very hot again at the moment. That’s one. Then another is Projects, which is also an event name.

We did a couple of big shows with Projects. That’s more techno. And it can go from hard techno to Adam Beyer techno to everything that is into the techno scene.

Then we have Illuminati, which is more trance. So there we’re going to work with guys like Airwave, like a lot of trance stuff that we’re going to push again, because it’s also something that’s been away for a couple of years. But I really feel that the trance scene is coming up again.

Then we have Ground, which is more melodic techno. So you can go from melodic house to melodic techno. And then we have Zendesk.

Zendesk is also a concept of the club, and it’s going to be more housey. So it can go from Afro house to garage house to everything that has to do with house music.

[Darran]
Are all five of these labels, all five separate branded entities, are they under one umbrella?

[Dave Lambert]
So they’re under the Zillion umbrella, but they’re all marketed separate.

[Darran]
So is there a website for Zillion that I could go and click on one, two, three, four, five of these?

[Dave Lambert]
It’s not online, but you can check out the YouTube aftermovies from the event. So you get an idea of the scale of the events that we do. And you can go to zillion.xxx. So Zillion with a Z?

[Darran]
Z-I-L-L-I-O-N-X-X-X?

[Dave Lambert]
Yes. Dot X-X-X.

[Darran]
Dot X-X-X. So like this?

[Dave Lambert]
I’m sure. That’s the one. Yeah, that’s the one.

[Darran]
I can do quick little production things here. Awesome, Toss. Well, thank you for dropping zillion.xxx. I was recently looking at domain names. I started up a new website for a branch. We do silent disco events. So I had to go through domain names, and I was looking at all the new dot, other than .com, .net, or .org, all of them there. And I saw a dot X-X-X. I was like, oh, I didn’t know that existed. Nice.

That’s always fun. But yeah, what are they called? There’s a term for it, and I can’t remember.

[Dave Lambert]
I cannot think of it too. I know what you mean.

[Darran]
Yeah, I can’t remember the name of it. But yeah, everything after the dot, there’s a name for that. Anyways, I could talk tech talk about that stuff all day long.

So what can we expect from the course? If you had to pick one of the labels, you have five of them. I know what it’s like, because I used to have eight separate television shows approved on 13 stations on the West Coast.

And somebody would always ask me, what’s your favorite one? And it’s difficult, because I was covering topics that I liked. I mean, it was nightlife, restaurants, art, fashion, video games, sports, comedy, live music.

And it’s like, which one is my favorite one? All of them were fun, because I was producing them. I wouldn’t produce something I didn’t like.

It’s funny that nightlife kind of took precedence in all of this. And we have ITV nightlife that kind of morphed into ITV live, which is our live streaming on to the DJ sessions. ITV live presented DJ sessions, and then the DJ sessions became its own entity outside of ITV.

If you had to pick one of the labels, is there one that gets the cherry on top that you’re really jazzed about? Or is it same like me?

[Dave Lambert]
It’s a little bit like what I do as a DJ. I’m a little bit of a chameleon and do a lot of different stuff. So I do a lot of classic events, but I also do a lot of techno.

I do house events. I do even tech house. I did warmups for Fisher and guys like that.

So I can really shift from left to right. But if I have to pick one label of those five, I would say I would go for Ground because also we did a couple of more events with Ground already. And I really feel also that that’s really the sound that Zillion would be if the club still existed right now.

So it’s a little bit more in the melodic techno area.

[Darran]
A lot of techno. And what is the most important thing that record labels should do for their artists? And out there in the hole, are they doing a good job with that?

Or there’s something that you see that other labels don’t do that you think should be done like mandatory. And are you doing a good job with that? Or are they doing a good job?

[Dave Lambert]
It’s really difficult nowadays to get into the limelight and to get into the picture of the big guys, because there is so much music being produced and released, not only produced, but also released. I think if I open up my promo inbox, it has like 300 promos every day. So it’s impossible to listen to everything.

And I’m not even a really A-listed DJ. So imagine if you’re Fischer or if you’re Vintage Culture or Armin van Buuren or whatever, the amount of music that’s dropped. So to stand out, I think you have to go and work on various ideas.

So we’re very visual. Frank, the owner of Zillion, is very visual and is very technical and wants to stand out from the crowd. So I think if you want to make a difference, people should notice you.

And how can you be noticed is because you have content that people are blown away with. And I think that’s going to be one of the key factors in the record company that we’re going to do. And next to that, you also need the support from all the big guns, all the big DJs.

That’s really important to get somewhere in the scene. But also there, I think we have a good fan base and also we know a lot of people. So I think if we really have the right production and we send it to the right guy, he will pick up on it.

I’m pretty convinced of that.

[Darran]
Yeah. No, that’s exactly the worry that I worry about is if I open up the floodgates and say, we’re a label, give us your submissions. I’m the guy running operations over here.

I don’t have time to listen. And I don’t know who’s going to hit it, especially when I put it out there to the socials. And I get flooded, even if I got flooded with a hot 50 a day.

I mean, I could put them on in the background, but I can’t listen to them while I’m doing interviews. I can’t listen to them while I’m doing phone calls. And I want to give them the attention they deserve because it reminds me of a process when I started back in the day.

It totally reminds me. I had short films, was one of those other genres of the TV shows I used to produce. And I talked to a local film festival here and they gave me all the submissions that didn’t make it into the film festival.

And this guy had boxes and boxes and boxes of DVDs and VHS tapes of people’s submissions. And I sat back and I was going through it and I’d say probably I was cataloging. I’m like making notes.

Some were great. Some were US. I remember opening up the first box and I got about 30 of them in and I started to have kind of a, and this was early on and I was comfortable producing my own work, but judging somebody else’s work.

And I was sitting there thinking to myself, what if somebody was judging my work? I think my stuff is good. But then there’s somebody out there and look at it and they go, this looks like crap.

And I remember I kind of had this little mini panic attack and I thought to myself, who am I? And this is early on in my executive producing, running my own shows days. Who am I to decide what is good and what is bad?

What are my credentials to say that? And I know somebody is probably part of their heart and soul and they believe in it. And to send them a rejection notice, that could crush somebody’s feelings.

I’m sitting there going, what gives you that power? And I came to myself, I said, you know what? I have an obligation to my audience.

I have an obligation to my sponsors. I have an obligation to my investors and I need eyeballs watching the show. And it’s my call as the executive producer to sign off on what’s going to have eyeballs, get more eyeballs or get more attention on my show.

And right there, it snapped with me. I went, yep, you’re the head person in charge. You’re going to go with this and that’s what’s going to air.

And over that hump, and I didn’t feel bad anymore that I was judging or critiquing people’s work. I was looking at what’s going to engage our viewership and bring them back to our show and want them to keep coming back and watching the show. And I’m sure that happens with a label as well.

You could pick something that’s hot, but it may not climb the beat chart parts. It might not go anywhere.

[Dave Lambert]
I used to do a promotion for a label for four years and I used to go to the radio station with all the new productions every week, trying to convince them to play it on national radio. And sometimes, I did a couple of records from Tocadisco, I’m sure you’re familiar with. Even when the record was top five in the dance chart in Belgium, even then, radios didn’t want to pick up on it.

I was like, guys, this is a hit record. And it’s a funny story because a couple of years later, I met one of those radio guys that refused to play the record. And he came to me and said, yeah, we were wrong there because the record blew up anyway, even without airplay from the radio.

But still, it’s so important for an artist to have radio airplay and to get out there. But it’s always a pain in the ass. And also, if you have to decline records, just be respectful because it’s not because you don’t like it that nobody else would like it.

So sometimes it’s not for your label, but it can be a huge record for another label. So I think the motivation needs to be to never give up and always believe in what you do.

[Darran]
Have you ever had that happen where you’ve seen yourself, you passed on a track, but then later found out it blew up the charts and you’re like, oh, I could have had that.

[Dave Lambert]
It’s a funny, funny thing because after the record label was called CNR Mostico, and after that, we founded our own label with Versus, the club where I’m still doing all the bookings and I’m still resident DJ for. We also did a label there and we did it with a couple of guys. And one of my crew was Sam Thomasson.

He’s also a producer, DJ. And he had a young guy calling him five times a day, trying to get him to listen to one of the records he sent. And I was like, OK, if this guy is annoying you or bugging you, just be honest and tell him it’s not for us, you know, just be honest.

And then I think a week or six, seven later, I found out that guy that was calling was Oliver Heldens and he wanted to sign Gecko to us, which was one of the major records he has done. That was the record that blew him up in the scene. So, yeah, things like that can happen.

But that’s the thing, you know, you cannot listen to everything you get sent. It’s impossible.

[Darran]
You know what I might do is back in the day, I used to run internet radio stations out of my house. I had a server and I would run the internet radio station and had a number of different genres. You know, it was more of an experiment just to say we had it as part of our ITV lineup.

We had the ITV shows and then we had the ITV station. I take local artists and I put them in a rotating loop on the station and put them up there just to give them some exposure, get them out there. You know, they could share and say, you know, this is infant Facebook stages.

MySpace was big at the time. But, you know, I wonder if I would just maybe say, hey, you know, maybe part of my label could be like, hey, maybe we don’t sign it, but we definitely would get you some airplay on one of our DJ stations, radio stations or something like that or get you in rotation somehow, at least to get them some exposure. Like, here you go.

It’s all open. You submit it to us, we’ll drop it in there. You know, and I mean, I wonder how fast that would feel.

[Dave Lambert]
Very fast. Very fast. I think you have a lot of young guys, a lot of producers.

[Darran]
I guess the average track was say four minutes. You could get 15 of those an hour. So 15 times 24, you know, you’re looking at, you know, that’s that’s how much you get, you know, then you have to have to curate that on and on with up and got a new music.

[Dave Lambert]
So yeah, no, I think you’re awesome.

[Darran]
Well, congratulations on the five labels. I mean, that just must be hit, you know, five labels, the booking company, working with the artists, getting them out there. That’s awesome stuff.

You know, when it comes to your career as an artist, who has been the biggest influence when it comes to your career? And why?

[Dave Lambert]
Yeah, that’s a very good question. I have to think because I have so many influences, so it’s really difficult.

[Darran]
But you don’t want to upset anyone either and say, Hey, I got you your first. It wasn’t for me.

[Dave Lambert]
No, no, no. I think, you know, for me, my career started out in the big clubs in Belgium. So I used to be a resident DJ in the other three biggest clubs in Belgium.

So that was Zillion versus where I’m still a resident today in La Roca, which was a really cool club in in the Antwerp area. So yeah, to say one name that really put me out there, I have to say the first residency I got was a little club called Le Bozo. And this was for me, the guy who booked me there, he gave me the first shot of being a resident DJ in a famous club.

So for me, that was my biggest influence and my biggest career step on a level when I have to say, OK, if I listen to other DJs and saying like I want to become like him or whatever, I would I would go for Solomon even years back when he wasn’t that famous. Yeah, because he always did his own thing. He never took trends, he never changed his style of music.

He just yeah, he just does what he likes and people pick up on it. And also there it takes longer to get there. But when you get there, you build up a fan base because I’ve seen a lot of DJ producers that follow trends.

And that’s more difficult.

[Darran]
You know, that’s I’ve heard that from a number of producers and DJs that have come on the show over the years is that, you know, they suggest, you know, one of the top things I’ll ask is if you give some advice to a up and coming producer, up and coming DJ, you know, what would that be? And a lot of times they say, don’t follow the trends because by the time if you’re thinking that’s what’s number one and you want to go produce with the number one trend is by the time you get something out there, it could shift. You know, you could be doing progressive trance and that’s hot right now, but then it goes to the tech house, then it’s the deep house and then it goes up to trance, you know, it bounces all over.

So they say, just produce what you love and, you know, and then focus on that and, you know, and be all over the spectrum, experiment, you know, and I have people that tell me sometimes they have tracks they sit on, they make a bid and this is their hot tracks and this is the stuff they work on. And then maybe once a year, they’ll come back and go into the old folder and pull something out and go, hey, let’s work on that now, you know, and you never know what’s going to click out there, but, you know, it’s just one of those things.

[Dave Lambert]
Some of the biggest records were b-sides were not even the record that they initially thought it was going to be a hit. So exactly. You never know.

[Darran]
So, you know, moving forward out of the label spectrum and going to gigs coming up, you have a gig. I was going through your socials, looking at what you got going on and was looking at some of the past gigs that you’ve done. We’ll talk about that in a moment, but you have a gig on July 5th coming up.

Tell our DJ Sessions fans about that gig coming up on July 5th.

[Dave Lambert]
Yeah, it’s Rock Werchter, which is next to Tomorrowland, one of the, yeah, it’s the biggest festival in Belgium. So I played there a couple of times before, but it’s been a couple of years and now they requested me again to play Rock Werchter. So I’m really happy about that.

Also happy to be back at Tomorrowland, obviously, but I’ve been doing that for every year. So Rock Werchter is just, yeah, something different because it’s a rock festival that also has electronic stages. But the main focus there is on acts like Who’s Playing.

I think it’s Foo Fighters. So it’s like the really, really pop bands, rock bands, and yeah, to be there as an electronic DJ.

[Darran]
Awesome. I’m going to pause here for a second, give a shout out to Roman Polanski that tuned in from your channel. Is Roman one of your friends?

[Dave Lambert]
Yes, he’s a guy that sometimes comes along with me.

[Darran]
Right on. Roman, what’s up? Thanks for tuning in to the show today.

Well, just in, that’s awesome you’re doing Tomorrowland again. The event you’re going to be hosting there or performing out there sounds amazing. But in May, late May, you were at an event that had 40,000 people at it.

Yes, I saw some of those promo pics on stage. Tell us about that event and what that was all about.

[Dave Lambert]
Actually, it was on a Monday, but it’s like the city festival that’s been there for, I don’t know how many years, but I think it goes on for like 60 years already or even more. And I was really baffled because I didn’t know it was so big, but yeah, it was in a big square and yeah, it was 40,000 people on a Monday. So that’s something different.

I’ve done it before. Also need to say that I love to play for really big crowds, but I also really enjoy playing for intimate, smaller crowds.

[Darran]
I’m glad you mentioned that because that is one of the questions I do ask people on the show is, do you prefer bigger crowds or do you prefer more smaller intimate crowds? I know some DJs out there and their writer, they will literally say, I don’t want to play in a place that’s more than 300 or 400 people. They really want to be in touch with their audience.

I mean, they will play bigger shows, but they really like that intimate club vibe. We used to have a club here in Seattle called Seasound Lounge. And I think capacity on the main floor was maybe a buck 50.

I mean, if they squeezed us all in there, we’d put 200 people in there. But you were 10 feet away from the DJ. And to see the likes, I just will never forget when I saw Chuck Love play there.

And I only had one song that I knew of Chuck Love’s that was a, it was a Jimster remix of his dancing at night. I think it was just, I love that track so much. Still one of my favorites of all time.

And I’m sitting in the club. I’m three feet away from him by the boot. Well, first of all, I was outside of the club and I didn’t know anything about the guy, but he was practicing on his trombone.

And do you know Chuck Love by any chance? So Chuck Love, the guy is not only a DJ producer, but he’ll play seven different live instruments and sing over top of his tracks. So I’d seen him outside the club and I’m like, who’s this guy with a trombone playing?

And I’m like, this is really weird. I thought he was just maybe some homeless guy looking for money. And so I go into the club, I’m watching him play.

And as he’s, I’m like, well, that’s the guy that was just out on the street corner. Okay. This is a DJ that’s playing.

And then he drops that Jimster remix of his track on. And I went, oh my God, there was a girl, like an assistant news that I typed on my phone.

[Dave Lambert]
Jimster, I know. I know Jimster.

[Darran]
Jimster, so I typed in my phone. I go, is this Chuck Love? And I walk up to her and I go, cause it was so loud in the club.

I go, and she goes, yes, this is him. And I go, boom. I’m just watching that guy perform, but being able to be three feet away from him, I mean, even just right at the front of the stage, it wasn’t like a packed Tomorrowland kind of stage.

It was very intimate setting. It was just amazing. So that intimate vibe versus the big festival vibe, there is obviously that difference there.

Which do you prefer more?

[Dave Lambert]
Both are amazing to do, so I don’t have a preference, but yeah, obviously if you have really, really big stages and you see 30, 40,000 people go off, it gives a special feeling. But the thing is mainly if you have the really big events, you only play like an hour, hour 30 minutes maximum, and it’s still difficult to create a story. So that’s why if I play the more intimate gigs, I try to do an all nighter or play three, four hour sessions.

And then you can really create the story. And that’s what I really like because that’s how I also started out as a DJ back in the day. I played all night.

So I started at 10 in the evening. Sometimes I played till four in the afternoon. So yeah, we didn’t have a closing hour.

So I remember one day- That’s like 18 hour sets? 18 hour sets on vinyl.

[Darran]
Oh my gosh. Wow.

[Dave Lambert]
Yeah, on vinyl. I did a couple of those.

[Darran]
I like that you bring up the fact of being able to tell a story. Back in the day, we started with the DJ sessions and I would do one hour sets. We had a four hour show, four DJs would come on and do one hour sets.

I now switch the format to our DJs when they play, they do a two hour show. So they can actually get into it and get their real mix, real groove on. I do break it up into part one and part two for easily digestible content.

But at least they get that when we’re live streaming, it’s a two hour mix. But then when we do it post production, we break it up and say part one is an hour, part two is an hour. Kind of take that from the old school global underground CD days with Oak and Fold, Sasha Digweed, Danny and all those guys.

And they had the one disc and then they had the second disc. And sometimes on the second disc, it wasn’t the second disc was a B-side. That second disc was like, it’s ready to start all over again and get you back in.

I mean, I love those collections.

[Dave Lambert]
I have a lot of old global underground CDs here.

[Darran]
Yeah, the Paul Oak and Fold 007 one was the first one I ever bought. And I referenced it in my interview when he was one of the first guests I had on the show and we were doing ITV Nightlife before it became the DJ sessions. And I brought it up to him.

I’m like, yeah, on the back of the album it said, if he were a glove, he’d be Gucci. If he was a car, he’d be a Mercedes-Benz. And I brought that up in the interview with him.

This is probably 2009, I think, somewhere around there, maybe 2000, somewhere. And he was like, you remember that from the back of the global underground? I’m like, yes, which one are you?

Will you still be a Gucci glove or the Mercedes-Benz car? And he’s like, yeah. Unfortunately, the audio of that interview got tanked.

I had some complications with it and I couldn’t salvage it. I was so bummed. But yeah, it was a fun time.

[Dave Lambert]
The memory is still there.

[Darran]
Yeah, the memory is still there. I got some promo shots for it, so I’m on the couch with them. I’m still working on getting them on the show.

But we were talking about crowds, intimate settings, large-scale events. Was the biggest crowd you ever played for also your best crowd?

[Dave Lambert]
No, but I definitely want to remember, I think the really the biggest crowd I ever did was the City Parade. It’s like the Love Parade, but here in Belgium. And I think it was up almost 100,000 people.

So that’s a huge crowd, to say the least. Yeah. And of course, if you see so many people in front of you, it’s always special.

Every DJ that says that it’s not special is lying.

[Darran]
Yeah, I mean, there’s the new trend that I’ve seen happening over the past, I’m not sure when it exactly started. I want to say that I’ve noticed that over the last few years, is you have these big festivals, EDC, Tomorrowland, just these big, big things going on. And you see the DJs and they’re up on stage and they’re performing, but they aren’t wearing headphones.

And what is your take on that trend that’s happening with these big shows? Because it’s like, are you really mixing your show now? And I know how light production goes.

I know how the whole backstage thing goes. If you don’t want to have a lighting designer, I won’t give any secrets away. That’s like giving away David Copperfield.

If you know, you know. If you don’t know, I’m not going to I don’t know.

[Dave Lambert]
But I know.

[Darran]
Yeah. What’s your take on that? And the criticism they might receive for not?

[Dave Lambert]
I think, you know, it’s very simple. If you can pull 20, 30, 50,000 people in front of you, it’s because those people want to come and see you and they want to see a show. And if he’s mixing live, okay, that’s great.

If he’s not mixing live, he’s putting up a show. You know, I know a lot of bands, pop, rock, whatever, that also don’t play live or do semi live. So even Madonna, you know, I think there is enough on the Internet.

She doesn’t sing live, but people come to watch the show. So there are two aspects for me. One aspect is, do you want to see a show or do you want to see a DJ performance?

And I think that’s something that people need to know. They need to find out for themselves. If they only want to see a DJ show, then go to the more intimate gigs or whatever where they play, because I’m definitely sure you can find them.

Most of those big names also play in Ibiza for lesser crowds. So and if you have the really big shows not wearing a headphone, sometimes they were in years in years. So you don’t even see the headphone.

[Darran]
That’s true. I didn’t think about that. Now that I think about it, dang, I didn’t know.

[Dave Lambert]
So they were in years, you don’t see it, but still they’re doing stuff live, you know? Yeah. Like I know really, I know a lot of those big guys.

I know how they do it. But yeah, they still play live. It’s still mixing.

It’s not that they push a button and then one hour later, they take out the USB key. No, they still do something. They still perform.

So sometimes it’s a couple of tracks that are combined into one mix. But yeah, I think that’s the technology nowadays. You know, when we were playing vinyl back in the day, we used to have three, four decks and do a loop with two of the same records.

It’s much easier. You just press the button. So yeah.

OK, but you can do a lot of other stuff that’s interesting and which makes it great to be a DJ even now.

[Darran]
Now, do you become a different person when you get on stage or do you become a different person when you get off stage or is Dave Lambert? I run into you at a restaurant, you’re Dave Lambert eating dinner and you’re Dave Lambert in front of those 100,000 people. Are you the same person when you get on stage or do you have a persona?

[Dave Lambert]
I tend to say yes, but I think I’ll be a little bit different when I’m on stage, you know, because you get the adrenaline kicked in. So I think that’s normal. You’re much more of a performer when you’re on stage than off stage.

But I tend to say that I’m still the same person, you know?

[Darran]
Yeah. And we talked a little bit earlier about, you know, you playing large scale events versus intimate events. You know, back in the day when when clubs first started, you know, DJs weren’t really the focal point.

I remember the first club that I would go to called the Underground at 18 years old. And they’d had the club had a stage. It had a dance floor and we would be up on the stage dancing and the dancers were pretty much the focal point looking out over the club.

And the DJ was up high in this DJ booth looking out over the dance floor. And you can see him up there. Donald Glod was one of the first DJs I ever saw playing up in this booth.

And he’d be up there rocking out the booth. But the club was what took time that finally they’d moved the DJ onto the stage. I remember I went to one of my first even one of my first raves that I would do called Green X and Ham here in Seattle.

They had a big dance hall. They had the whole dance floor. They had the stage and had blocks that dancers.

It was like a cat in the hat kind of theme. Dr. Seuss themed rave. But they put the DJ up on the balcony way up Donald Glod up here on the balcony with like three or four turntables looking down over the crowd.

They did not make the DJ the focal point of the event.

[Dave Lambert]
And, you know, that’s also something I really don’t like to be up too high and have no interaction at all.

[Darran]
Yeah.

[Dave Lambert]
Yeah. And another thing, you know, sometimes they put like a white light right in your face and you cannot even see the dance floor. I hate that.

I always tell to my crew, please ask him to put down the light or even shut it up. Shut it up.

[Darran]
Yeah.

[Dave Lambert]
Yeah. I think that’s the most important thing. You have the interaction with the crowd.

But like you said, back in the day was the DJ was not important.

[Darran]
Yeah. You know, that leads me into my question, you know, at clubs or other dance events, should people look at the DJs like they’re rock stars or would it be more fun if DJs were just a lot more anonymous again and just part of the bigger event? What’s your take on that?

[Dave Lambert]
No, I think it’s a good thing that they get the recognition and that it’s it’s it becomes like a like a pop rock band back in the day. If you speak early 90s, you know, DJ wasn’t that important. Now the DJ is important.

So I think, yes, that’s a good thing. I think also you have to make the difference between if you play a big festival or a big event where the DJ is centerpiece. It’s different than in a club.

Like if I still play in a club nowadays, not everybody watches the DJ. You know, they’re also watching each other. It’s it’s a different vibe.

So I think it’s a good trend, you know, that that DJ has become bigger and bigger and bigger crowds.

[Darran]
Awesome, you know, and that brings me to a point, you know, I’ve seen this happen, kind of a trend, you know, obviously, with the advent of cell phones and video on cell phones and pictures and those, you know, becoming, you know, more prevalent. You know, I’ve seen these parties come out and they there was one here in Seattle, but I’ve seen it other places and they’re starting to starting to do this a little bit more often is they were called no signal parties and you get to the door, they take your mobile device, they lock it in a bag and put it behind the door. There’s a company out there that they’re using this in schools.

Now they drop the phone in the bag. It’s a magnetic lock on it. At the end of the day, when you check out, it unlocks the bag and then you can pull your phone out, you know, and getting back to that original internet, we didn’t have cell phones in the club growing up.

We didn’t have cameras. I mean, luckily, I was able to bring a video camera in the nightclub in 1992, 93, 94, but you didn’t see people filming because where were we going to distribute it? We’re going to go back and watch it at home, just like a cell phone being filmed in the club.

It’s going to look like crap because the lighting’s not there. It’s going to sound like crap because you’re not patching the audio board. Probably going to be all shaky and like, you know, I got very steady hands.

I can do the steady hand thing, but people are usually like being bounced around on the dance floor. And, you know, what is your take on cell phones? Do you think that maybe clubs should say, hey, don’t bring cell phones in?

Because then the person’s, they’re not having a good time. They’re like this, or they’re watching the show and they’re watching it like this, or they’re trying to bug the DJ to go get a selfie and say, hey, you know, while the DJ’s trying to mix. What is your take on that?

[Dave Lambert]
Yeah, it’s a really hot topic at the moment because I see a lot of big events. Afterlife also doesn’t want any phones anymore. So, which actually made them so huge as they are right now because everybody was filming their production and it went viral.

So it has to, for me, it’s a really good thing because if I play out as a DJ, I only love one thing. That’s that people enjoy and interact and dance, you know, and not start filming. So I’ve been a couple of times in Berlin and in Berlin, you know, they’ve been doing it for ages, the no phone policy.

So I think it’s a good evolution and people should go out not to film, but to go party and to enjoy. So I think it’s a really good evolution. And I think it’s also necessary because nowadays, if you see, like I said, Afterlife, people are more filming than enjoying.

So, yeah.

[Darran]
It’d be really cool. I remember when disposable cameras came out, Kodak and Fuji, they were making these disposable cameras. So, you know, if you didn’t have a camera, you’d pick one up, you’d take it to the wedding.

So you could at least get some photos if you forgot your camera at home. It’d be really interesting if one of the companies came out and made a digital camera that would let you take a limited number of shots, like 30 shots for the night, you know, and then you could maybe sell those cameras at the event, you know, and people could then take pictures on that digital camera and then plug it in online, upload the photos, and they’d have 30 pictures, you know, they’d be limited to how many they could take.

So they aren’t just sitting there all night long trying to shoot everything, you know, and then they’d still have some memories of the night. I think that would be an interesting thing to look into if you locked everyone’s phones off.

[Dave Lambert]
Yeah, in the club, we do it different, you know. Okay, people still use their phone once in a while, but like in Versus, we always have a camera guy. So he’s filming and he’s taking pictures, and we put it up on our social so people can have a picture in good quality by a professional photographer and not by an iPhone.

So I think maybe also the bigger event should look at that, you know, so people still can see the pictures but can enjoy the time and not have to be there with their iPhone in their hand and trying to capture everything because you can see it online afterwards.

[Darran]
Yeah, you know, and Apple had been, it was mentioned that Apple was toying with putting something into their phones, an infrared sensor into their phones. And what would happen is the stage would have infrared beams shooting out. And if the iPhone detected that beam, when you hit record, it’s a sorry, I can’t record right now.

So it would basically shut down a device from filming or recording any of the audio or video or taking pictures at an event. And I don’t know if that’s going to be implemented or not.

[Dave Lambert]
I’m sure it’s going to be implemented. If I see the evolution now, a couple of festivals here in Belgium, or some of the stages also have a no phone policy, it’s going to be the next step for sure.

[Darran]
Because yeah, I mean, that would just, that would change the game for everyone. It’s like, you know, that would just be interesting. You know, I think, I can’t remember, it was, I don’t think it was Taylor Swift.

I know it was, I know a couple of comedians, I think Jamie Foxx did it at his event. I don’t know if it was a Taylor Swift show or some other big artist that said a no cell phone policy. You know, you know, I know Prince used to do it all the time.

He said, no, you know, a lot of these artists, no recordings of our shows. If you were caught, they’d see it, they’d call it out. They’d come and escort you right out of the show.

Or they’d grab your camera and say, no, we’re confiscating this. You can get it at the end of the show. You know, things of that nature.

[Dave Lambert]
Same in Berlin, if they catch you taking out a camera, you know, they just throw you out.

[Darran]
Yeah. So now you literally played countless large scale events and we all know what happens on stage because we’re there, you know, people are watching you, but can you give us some insight on to what is the craziest thing you’ve ever seen happen backstage?

[Dave Lambert]
That’s the thing, especially in the summer season, like to give you an idea, this Saturday I have four festivals, so there is not a lot of backstage is just trying to be in the car on time to make it to the, to the next one. So, but yeah, if I don’t have another gig, yeah, I tend to stay a little bit longer and, and talk to the people because it’s also pretty lonely sometimes because when you’re on stage, you’re performing, but I love to interact with people afterwards also and have a chat and see how they’re doing. Most of the time, it’s like friend, the DJs that you see on tour, but sometimes only see on stage when they take over from you.

But when you’re in the backstage, you have the time to have a chat and, and see what’s really going on in life with them, you know, not just a simple, hi, bye. So, but yeah, I can, I can tell you numerous of stories about backstage stuff going on, but most of the time, it’s not that, not, not that special, you know, it’s, it’s more of a social thing, having a drink together, having a talk.

[Darran]
Who’s the most influential person you’ve ever met backstage? Really inspired you to say, I never got a chance because we’ve always just met in passing, I didn’t, it didn’t inspire me.

[Dave Lambert]
It was the King of Belgium. So he was at a gig where I performed. So he’s, he’s, uh, he didn’t inspire me, but it’s something special next to you on stage.

[Darran]
So, well, I mean, that’s like, that’s like having the president of the United States or something, you know, that’s exactly similar.

[Dave Lambert]
Yeah. That was funny. I met him backstage and we chatted, five minutes.

And so that was a funny thing.

[Darran]
What’s the worst thing that’s ever happened to you on stage? And how did you recuperate from that?

[Dave Lambert]
Oh, I can, I can tell a story. It’s, it’s not that actually it was at Tomorrowland and I can say that because it happened. So I was performing, it was a smaller stage and, uh, all of a sudden the power cut off, which sometimes happens.

So, but the thing was they couldn’t get it back online in time. So I was standing there for 10 minutes, 15 minutes and nothing happened. So they couldn’t get it back online.

So that, that was, uh, was really early days Tomorrowland. I’m pretty convinced it won’t happen again now, but, uh, in, in the early days, Tomorrowland started out small. So it’s stuff like that could happen.

And also on, on another occasion, I, I was driving like a booking because I had another one before and, uh, it started raining, but really thunderstorms, wind, and, you know, I was driving like, yeah, over the speed limit to get there in time on stage. And just when I drew onto the parking, I got a text. Yeah.

The festival is canceled due to the horrible weather. I was like, I was just driving like a nutcase in this weather to be on time. So yeah, stuff like that happened, but yeah, it’s not the end of the world to, uh, yeah, there’s always the year after.

[Darran]
You got to, you got to do what you got to do to make the show happen. I have a number one rule that I go by is that the show must go on, you know, I mean, I won’t put anyone in danger, you know, but you know, I, I, I’ve often sat back and said, you know, being kind of the executive producer, the host of the show, the video editor, the website, the content developer, you know, and the backend of the website and the media, the marketing, the PR and doing all of it, you know, you know, I just don’t, I wouldn’t sit back and just rest on my laurels. I, the show has to go on. We got to get out there.

We got to make it, you know, kind of like the mailman we work in any type of weather, you know, we got to make the show go on.

[Dave Lambert]
Yeah. But if you’re shut down by authorities, you don’t have the choice. Yeah.

[Darran]
You don’t have the choice. You know, if you could host an event of your own without any limitations, what would be the five things you would want to have at that event?

[Dave Lambert]
Different kinds of stages for a first thing for different kinds of types of music. Not too big, not too small. So it needs to be a little bit bigger to be able to have a production up to a certain level.

Try to implement something people didn’t see it. So being upfront with something low to give you an idea in Zillion where the zero gravity floor, but this was end of the nineties, beginning 2000. So there were 2000 people standing on a platform that could drop for 10 centimeters.

So it just dropped. So you felt airless, you know? Yeah.

Yeah. That’s like I said, the club was way beyond its time. So it’s like, like, like this, something like this.

And then the floor just dropped. So everybody was like, yeah. And they released that on the drop of a record.

So that gave the extra impact. But imagine to have that on a festival for 40,000 people, that would be insane. So do something new that people can talk about, you know, that that’s new for them too.

[Darran]
Yeah.

[Dave Lambert]
And then last but not least, have the right DJs play, of course, people that can set a vibe. And that also would definitely look at starting the event slow, you know, like a really good warmup DJ, because I think most of those guys are way underrated because it, it really builds the night or builds the event. So if you have a DJ that starts out way too hard, way too pushy, you know, let people come in first, let people enjoy, let people see what’s going on, you know, build up an atmosphere.

I think that’s really important. So that would be something that we really look at to have that right DJ to start. And then also the right one to finish it off, of course.

[Darran]
Absolutely. I think the lineup is definitely a key that can set the tone and having experienced DJs. And you see sometimes with the younger DJs, they come on board.

They’re so wanting to perform and want to show what they got. And they, they, I had, it just happened a few months ago here in Seattle. I think one of the, one of the, one of the headliners got really upset because the DJ came out and they said, you know, I want to play between, I think they were going to play between like 128, 132 or something like that.

And somebody came out and they were hitting it at 134. And it just was like, dude, what are you doing? You know, it says it in my writer, this isn’t supposed to happen.

And that DJ that opened will probably never get another booking, at least from that company ever again. And they got the attitude is like, it doesn’t matter. I was here.

I played, I came and saw it. It’s like, yeah, you, but you did it to a room full of 10 people. Cause you were over the DJ, but you pissed off the headliner.

[Dave Lambert]
You know, you always have to know your place. You know, I think that’s important without doing too much concessions, but yeah, just know that you’re not the main guy that are coming for.

[Darran]
And, and, you know, I guess that is a good piece of advice and know the main guy you’re coming for anything, but would there be one other key piece of advice that you would give to up and coming DJs slash producers to look out for the one thing you could say to them is like, Hey, do this or don’t do this. What would that piece of advice be?

[Dave Lambert]
Uh, think out of the box, you know, I think that’s the, the main important thing, not stay in your genre because there is so much more music than for instance, only tech house. And I’m sure if you find a different type of record, you can still implement it in your set without losing your story. So, and that can really make a difference, you know, and also try to find music that nobody else has.

It’s difficult nowadays, back in the day when it was still vinyl, you know, sometimes in Belgium, for instance, you only had like five vinyls coming in. And that’s it. So if you were one of the five guys having that vinyl, you were one of the lucky ones.

Now everybody has everything. So, and, and try to produce your own music, try to produce your own bootlegs, your own mashups, you know, make sure that your set is different than somebody else.

[Darran]
Absolutely. Absolutely. Speaking of sets, speaking of mixes, a couple of few questions here before we wrap up, what are, do you listen to podcasts, live streams or radio shows?

And if you do, what are the top ones that you listen to when you’re not producing music, you’re listening to other tracks. If you’re out there, is there a top three that you can say, this one’s hot, this one’s hot, this one’s hot. And what would those three be?

[Dave Lambert]
For me, the one I listen to the most is DJ Chus, stereo productions. I just love his show. I love his music.

I’ve been following this guy for 25 years, also known, a really friendly guy. And I just love his music and I love the show. And next to that, I don’t listen to a lot of podcasts.

Frankie Rizzardo, also the The Flow podcast, also listen to that. And Joris Voorn, also listen to his podcasts once in a while. But most of the time when I’m in the car, I’m trying to listen to all the promos I get sent to.

So there’s the in-flight app. And actually that’s the only tool that I still open because yeah, people also send me a fat drop and I don’t know all the other promo tools. But in-flight is really good because I can even listen to it on the plane.

I don’t need internet. I can always listen to it. Also listen to it in the car and try to find that one record to be able to stand out in my set.

So I listen to a lot of new music. And therefore, you know, podcasts are a good thing, but also listening to promos is a good thing. But you have to listen to a lot of it to find one good record to play out.

[Darran]
Yeah. Like you said earlier in the show, I’m just curious when I open up the floodgates on that label and let people know. Even though I open up the label and we aren’t taking outside submissions, we’ll probably get people hitting this up just for submissions anyways.

And don’t forget, you want to add the DJ Sessions to your listening list as well because we got exclusive interviews and all that fun stuff and more there at thedjsessions.com. Awesome. Well, Dave, is there anything else you want to let our DJ Sessions know about before we let you go?

[Dave Lambert]
Yeah, just I would say check out my SoundCloud page. I think that gives a good reflection of what I do because there are a lot of sets on there, you know, from a lot of live sets, but in different genres. So check out soundcloud.com slash DJ Dave Lambert and find out who I am.

[Darran]
Cool. And that information would also be best found at your website, djdavelambert.com, right?

[Dave Lambert]
That’s the one. Yes.

[Darran]
Awesome. I was there looking today. That’s a really sharp website.

Congratulations. I need to update it. Trust me.

Like I said, I wear a lot of hats over here and I am the back end of everything. I tell people if they send me, send an email, contact the social, it’s going to get to me because I have all of that.

[Dave Lambert]
Yeah, crazy, crazy.

[Darran]
djdavelambert.com. Check them out there. And also, we’re going to be getting an exclusive mix from you as well.

Super excited for that. We’ll get that up in here and in rotation on our stations and get it out to our fans. Dave, thank you so much for coming on the DJ Sessions today.

We’ll follow up with you, you know, as we try to do as a tradition here at the DJ Sessions with somebody every six months because you’ve got a lot of stuff going on and we want our DJ Sessions fans to know more about what you have and who your team is you’re working with and get some of them involved in the show as well. So again, thank you for coming on the series today.

[Dave Lambert]
Thank you.

[Darran]
You’re welcome. On that note, don’t forget to go to our website, thedjsessions.com. Find us on Meta, find us on X, find us on Twitter, Twitch, Instagram, all those places, IG, we’re out there.

But you can find everything at thedjsessions.com. We’ve got a mobile app, we’ve launched, we’re in virtual reality, we have over 600 news stories aggregated to our site every month. We’ve got exclusive mixes, exclusive interviews, contests, our store, all that fun stuff at thedjsessions.com.

I’m your host, Darran, coming to you from the virtual studios in Seattle, Washington. That’s Dave Lambert coming in from Belgium. And that is a Murdonk.

I got that right, yeah. Murdonk, just outside of, is that outside of you said? Antwerp.

Antwerp. Yeah. And check them out.

[Dave Lambert]
Tomorrowland is 30 minutes from here. So 25, 30 minutes drive.

[Darran]
I’m coming to stay with you when I come over there.

[Dave Lambert]
Yes.

[Darran]
Awesome. Sounds great, Dave. Thank you again for coming on the series.

It was a pleasure having you.

[Dave Lambert]
Thank you very much.

[Darran]
You’re welcome. And remember on that note, on the DJ sessions, the music never stops.