SONOS CLUB : SAMO
SAMO is a London based multifaceted DJ, known for his signature multi-genre “sound roulette" where genres are intertwined to form narratives & stories to be rediscovered. He is also a co-founder and resident of The Serene Collective.
Pulling from his experiences, travels and upbringing across the world & UK, motifs & elements of sound drive forward movement & exploration, for listeners to embark on journeys both unexpected & energising whatever the occasion.
Taking his sound across various spaces such as: The Lower Third Soho, Jumbi, The Orange room, Pop Brixton, NT loft, The Globe Notting Hill, The Haggerston, Paris and plenty more. SAMO’s presence has been felt as an embodiment of entrancing resonance which listeners return to dancing, singing and head bopping.
INTERVIEW
What first drew you to DJing, and how has your sound evolved over time?
SAMO: I've always been interested in DJing since a young age in regards to listening to radio, CDs, cassettes and eventually concerts and events. I'd say predominantly after 2022 two individual friends showed how DJing had gotten more accessible and it finally pushed me over the edge to finally start. My sound has evolved in a fairly bounding and consistent way to match all my personal tastes (I think I started mixing lofi, techno, my music library from 2016 and some weird soundcloud stuff from 2012).
Publicly the basis of my sound started in that hip hop, soul, R&B, house quadrant and just expanded more from there into every other genre.
I've always loved a lot of genres of music and my sound reflects that in how I really try to interweave adjacent and sometimes opposite sounds/ genres. At the moment I’m labelling this as “sound roulette”.
Nowadays I specialize in a range of electronic genres and elements that sit in the 120bpm to 180bpm ranges and are more geared towards dancing and movement like: club music, Chicago footwork, grime, breaks and bass.
People who know me well know that my general range is very big and joke about “what don’t you play”.
How would you describe the emotions or energy you try to bring to your sets?
SAMO:It depends on the set, but at least consistently it's always the elements & energy of: progression, journey, future nostalgia and “ wait, what?!” .
I've had some sets which can just really change fundamentally how my audience and I perceive notions of what's “allowed” and what's “not” and it can get quite chaotic and thrilling .
Touching back to progression, even though I feel it's such a cliche noun , all my sets carry that emotion in tandem with energy of discovery or curiosity. I feel like that's what I've consistently enjoyed as a listener, participant and selector consistently throughout my life
Are there any particular artists, cultures, or experiences that have shaped your musical identity?
SAMO:It's a tough question to narrow down because there's so much but I'd definitely say: radio as a kid, my family, my friends, the internet of course and yeah SoundCloud warrior here for sure. You could easily mention subcultures like hip hop itself, grime, soulelection, London itself, various festivals and concerts (my first wireless, field day in victoria park), Lamstation and notting hill carnival.
I probably need to make a brand new mood board to visualise all my experiences, entities and cultures that have shaped me and eventually share that as the list is quite extensive.
What’s your approach to curating a mix—do you follow a structure, or is it more instinctive?
SAMO: Nowadays it's way more instinctive in both live sets and more curated recorded mixes. There was a period of time. I used to be so meticulous in my planning and curation and although some of that still holds true today, I'm definitely way more inclined into what feels right in the moment or what's currently inspiring me.
I still however tend to include context as one of the main pillars in whatever I'm doing. That could include: the seasons, weather, theme of the mix/performance, significance of the very date and/or time, the history of the music I'm playing, recent experiences I’ve had.
Research and digging is also definitely a big part of my approach and often is my favourite part which borders on music journalism.
TL:DR I approach mixing as a if it's storytelling device
How do you balance playing what you love versus what the crowd expects?
SAMO: I predominantly play for the crowd the caveat being I’m always imagining MYSELF in the crowd. Would I like this?
Would we be dancing right now?
Would we be PLEASANTLY surprised right?
Would I be connecting with strangers and my friends right now over the shared experience?
When I can answer these questions I'm reminded to be in conversation with the crowd and approach with flexibility. However when the time calls for it, I merge some of these questions with the urgency of what I truly want to curate in that very moment that's when the real magic happens.
Is there a particular genre or sound you’re currently exploring or excited about?
SAMO: This answer is always changing but at this very moment I think it’s techno (I personally enjoy hardgroove, ghettotech, dub and latin) which I’ve been getting back into again.
For the last two-ish years I’ve really been exploring Chicago footwork especially with the help of the afterwerks community especially through dance and music production. Which has really rekindled my love of dance and also helped me contextualize the relationship it has to music and the communities/cultures they are a part of.
This extends into Baltimore, Jersey and Philly club music which I've just become increasingly enamored with over the years, which deepens with the steadily growing articles, documentaries, interviews and pieces of media that are being shared. Batida and Kudoro can be added to that list especially in relation to afrohouse dancing.
Of course the homegrowns: grime, garage, dubstep, jungle, hardcore and drum and bass for sure which are always in rotation for me.
I think I’m just going to keep going at this point so conclude: I’m definitely continually exploring a lot of club and dance music across postcolonial diaspora , the global south and how they are in conversation with each other in a historical context not just in their pasts but futures.
The music industry can be intense. How do you take care of your mental and emotional well-being?
SAMO: I try to plan ahead of time and not take on so much, but that's always hard, especially when you have so many ideas and creativity to share/act on.
I tend to be more transparent with myself and others nowadays if I cannot deliver ahead of time rather than cramming everything in and stressing out.
Scheduling ! Helps a lot especially to make time for breaks or periods of time wear I need to lock in.
Having good boundaries pertaining to work!
Recently I’ve been napping especially a couple hours before a late set has been doing wonders for my energy.
Placing an active importance on organization to protect my mental capacity.
I think quite a few of us are so capable of doing so much at once, myself included, but are maybe re-relising that just because we can it doesn’t mean we have to and, implementing these methods ensures we are not pouring from an empty cup.
What keeps you inspired and motivated when you hit creative or personal challenges?
SAMO: The basics ! Going for a walk, skate or cycle sometimes listening to music sometimes silence (the ears need rest too).
Basketball, tennis and skating used to be my main sports for outletting and resetting mentally. Nowadays it's basketball and dancing but I aim to get back into tennis and skating and maybe other sports.
Travelling is another great one, especially coming from a big city, continually reminds me not to overinflate these challenges and, in any capacity, travelling helps bring new and refreshing perspectives.
Creative exercises help me in which , ironically, I set myself a challenge to make/explore something with strict rules/context and maybe in a different medium, to really get me thinking. I’ve been doing this a lot with music production, sometimes getting my best ideas.
The other side being just not doing anything actively creative at all and resting and enjoying (those naps man i’m telling you).
Beyond music, how do you see yourself in the world—what drives you and your purpose?
SAMO: I see myself as a student and I guess always have. I’m always so eager to learn to listen and research. Being part of the betterment of communities that I am a part of or have benefited from. I see myself as a connector for people to people, something I’ve naturally done most of the time fostering connection and community. Sharing my knowledge and experience in all of these also really drives me.
Have you faced any challenges in the industry that shaped the way you approach your craft?
SAMO: I think that simultaneously, in regards to events and spaces, it's the best and worst time to book anything like a : gig, show, venue, equipment, studios, etc which I know extends to adjacent industries too.
Indicative of the times we live in, I know it's shared with my peers, friends, grassroots venues, legacy venues ,collaborators and communities. Whether that challenge drives from the: financial, resource, space or even political factors and policies that limit us.
They’ve led me to be even more collaborative and more approachable in ways expressing my craft rather than trying everything solo dolo.
Recognising all of this, it’s shaped my flexibility and assessing what I'm willing to adapt to or imagine is possible without the skewed lens of traditionality from the industry. Which has definitely been more freeing in a sense that wow there are no “rules” for the approach: you do what you can , you do something non-traditional, you try to be the change you want to see in your world and you move with respect , love and good intentions.
Also DJ booths in regard to their placement but that’s a conversation for a different day.
Do you think electronic music is becoming more inclusive? What progress do you hope to see?
SAMO: Yes I do, however it’s very slow though. I guess continuing progress is better than none right?
Of course It’s super enjoyable to watch, support and participate in; witnessing more people be included, championed and represented does so much not just for the music itself but very often its origins and the communities/cultures that birthed and cultivated them.
People and groups actively growing their own pathways has helped greatly and shown the industry what is possible regardless they are willing to listen and support.
As slow as the progress is I hope to see: more unrepresented people in more roles especially in more executive positions, attitudes actively being changed to more positive notions on inclusivity and an heavier active importance on the safety of that inclusivity.
How do you navigate spaces where you might feel underrepresented or overlooked?
SAMO: I try to be confident and engaged in the space I take up within those environments, as you are always there for a reason. I find what connects me to others within that space and the space itself. That could be a shared enjoyment of an artist, sound, genre, label, collective or experience and engage in a genuine way.
I also look at what I bring to those spaces through my own identity, experiences and creative practices. In tandem looking for ways the space can connect or collaborate with others like myself or even more overlooked artists/communities to make the future space more inclusive to where navigating those spaces becomes much easier for everyone.
Ultimately though I think that I’m not usually in those spaces anyway. If it gets to the point where if it’s not natural and these all feel forced then it’s not the place for me, and that's fine.
Do you think electronic music is becoming more inclusive? What progress do you hope to see?
SAMO: Honestly too tough of a question again! I think I need to do that mood board again but I when I do I’ll turn that into a three day festival which could include:
Jeff Mills, Kerri Chandler, Rod Lee, Teklife x Moveltraxx x Deep midi label takeover stage, Honey Dijion, Kevin Saunderson, DJ Jazzy Jeff, Kelela, Chaka Khan…
I could keep going, maybe I’d make a four day festival!
What’s a festival, venue, or city you dream of performing at, and why?
SAMO:If i say “oh that’s tough question” again please slide tackle me loool. Ah lets see, I’m gonna just list a bunch with variable sized whys. In no particular order and definitely not the full list:
Hootenanny Brixton: for all my friends and link ups we’ve had there.
Koko: Because it's a theater and I enjoy its layout and I’ve had so many good times there.
Brixton Jamm/phonox: because I was in Brixton Jamm I was in Brixton..
Gala fest: south london, electronic music, wow.
-Brockwell park at sunset: festival or not don’t worry lambeth council it will be vibes.
- The Danakil Depression: its very hot and the colours are really cool (the logistics would require a mini doc which would be fun)
- Tokyo: come on now and then getting to hit up their vinyl stores before/after
-Glasto: a great curation of music across multiple genres no brainer (but I need a good great tent)
- Boomtown: double no brainer
- Baltimore, Philadelphia, New York City, Chicago: plenty of others on this list but I love to show my appreciation of their respective cities’ music and showcase the connections I've made in similar sounds.
- Edinburgh fringe fest : triple no brainer.
- White hotel Manny : Unreal experience (slyly just for the smoke machine alone).
- Bristol, Glasgow, Leeds, Manny, Brum: and all my like-minded cities/counties who shared similar love of the same music . I’d love to bridge even more connections between respective local scenes.
- Primavera barcelona : quadruple no brainer, but in spanish.
ADE: come on now refer to the first no brainer.
- Greece : Kefalonia first specifically, then odyssey ting.
- Multiple bodies or area of water: the Thames, the canals, the Nile, the beach, a waterfall (victoria falls) and great lakes of the world. There's something so serene and powerful about water that would be so synonymous with how I’d curate my sound
Ultimately we are scratching the surface. I'd love to play in the Americas, Asia, Oceania and Africa where there are so many cities/spaces, sounds, and communities I’d love to perform alongside, learn from and participate in cultural exchange.
….I did basically just say the whole world but yeah let's add Antarctica/Artic and then the edge of earth’ atmosphere to exercise my take on solitude and sonder.
Outside of DJing, do you have any creative or personal projects you’re passionate about?
SAMO: Production, writing, direction, dancing and poetry. I have a bunch of mixed media collages and sculptures I have not finished and started which honestly I need to get back to before I start collecting too many materials.
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.
