Fedde Le Grand on "Monster" and 10 Years of Darklight Recordings: "We’ve Never Wanted to Be Stuck in One Specific Sound" [Q&A]

Sonically and geographically, Fedde Le Grand has never stayed in one place too long. While the latter comes with the territory of being a globally touring DJ, the former is less a default and more the mark of a producer undaunted by the prospect of trying new things and evolving alongside the music industry.

For more than two decades now, the Darklight Records label head has worked seamlessly across dance and electronic’s many lanes – from the club-minded tech house of his recent single, “Monster,” to house, dance/pop, bass house, and mainstage sounds – embodying a flexibility key to the success and longevity of his label, which turned 10 last year.

“I think Darklight has always been about finding people with fresh ideas and giving them a platform. We’ve never wanted to be stuck in one specific sound,” Le Grand tells Beatportal.

More than just another single, “Monster” reflects both the range and the instinct that has enabled the Dutch veteran to not simply endure but thrive amid massive shifts in how dance/electronic music and the labels that support it operate. Le Grand’s catalogue is one conduit for it, and Darklight – the successor to Flamingo Recordings, the independent imprint he founded in 2004 with DJ Funkerman and Raf Jensen – is another.

In a candid conversation with Beatportal, Le Grand reflects on the making of “Monster,” the principles that continue to guide Darklight, and where the label is headed as it enters its second decade.

Congratulations on the release of “Monster”! You said it’s “one of those records that immediately stood out in my sets.” Can you take us to the first time you played it?

Sure. Whenever I’m working on a new track, I always have an idea of how I want it to work on a dance floor. With "Monster," I was trying to keep things quite minimal but still make it memorable. Finding that balance is often the hardest part – doing just enough without overdoing it.

The first time I played it out, the reaction was immediate. People connected with it straight away, which is always a great feeling as a producer and DJ. It’s one of those records that just seems to work instantly

You released your first two singles of the year via Reliant Records (“1, 2 Step”) and Nervous Records (“This Is A Groove”), respectively, but “Monster” brings you back home to your own label. How do you determine whether you release a record via Darklight Recordings or another imprint?

In these specific cases, I knew the labels well enough to feel the tracks would be a good fit right away. With "Monster," it was different. As soon as I finished it, I knew I wanted to release it on Darklight, so I never even sent it to another label.

At the end of the day, it’s usually a feeling. You finish a track and you just know what the right home is for it. Most of the time, trusting that instinct works out pretty well.

Darklight celebrated its 10th anniversary last year. You’ve navigated massive shifts in how dance/electronic labels operate, from streaming and social media to the rise of direct-to-fan platforms. Looking back, what has changed most dramatically about running a label since Darklight launched in 2015?

If I look back even further to Flamingo Recordings, the changes have been huge. We’ve gone from a world where vinyl was still a major format to one that’s completely digital.

The music industry is always evolving, so I think the only option is to adapt and embrace those changes. What I enjoy now is how direct everything has become. You can see how records are performing almost instantly and connect with fans and industry people much more easily than before.

What principles have remained consistent for you?

Music first, always.

When I’m in the studio, I try not to think too much about where a track will be released or what the strategy behind it is. I just focus on making something I’m excited about.

Once the track is finished, I’ll figure out whether it’s right for Darklight, another label, my DJ sets, or maybe it never gets released at all. Keeping the creative process separate from everything else has always been important to me.

How would you describe the evolution of Darklight’s sound?

I think Darklight has always been about finding people with fresh ideas and giving them a platform. We’ve never wanted to be stuck in one specific sound.

Having a label gives you great insight into what’s coming next, and we’ve always tried to support young and upcoming artists who bring something new to the table. That’s been true from day one and still is today.
 

As the label enters its second decade, is there anything specific you’d still like to achieve?

I think what every label wants – to become even more of a home for artists and build a real community around it.

Darklight has always felt like a family, and I’d love to see that continue to grow. Supporting great music and helping new talent develop is still a big part of what makes running a label exciting.