Funkin Matt: A Journey Through Four Decades of Electronic Music (Part 2)

In this four-part interview series, we’re tracing Funkin Matt’s journey through four decades of electronic music, uncovering the key moments that shaped his evolution as an artist. From early inspirations to defining releases, each chapter aligns with a track from his Nostalgia EP—taking listeners on a sonic trip through time.

Part 2 dives into the 2000s, the decade where Funkin Matt truly came to life. From experimenting with different aliases to landing his first official releases, this was a period of discovery, growth, and breakthrough moments. With the rise of digital music and a rapidly evolving dance scene, Funkin Matt navigated new opportunities and challenges on his way to becoming the artist we know today.

The 2000s – Becoming Funkin Matt

The 2000s marked a turning point for Funkin Matt, transforming him from a music enthusiast into a producer and DJ. This was the decade where he found his sound, released his first tracks, and played his first real gigs. In this installment, we explore the defining moments that set his career in motion.

What was the turning point that made you take music production more seriously in the 2000s?

It was probably the first time I signed a track with a label. I was really into Hard House in the early 2000s—Tidy Trax, 12 Inch Thumpers, that fast UK House sound. I sent CDs with handwritten letters to these labels, and one day I landed a deal with Shock Records. Unfortunately, they went out of business right before my release, so it never came out, but that moment gave me a huge confidence boost. After that, I released music on different labels under various aliases, just trying to figure out my direction.

Can you tell us about your first official Funkin Matt release? How did it feel to put your music out?

My first official Funkin Matt release was Shake It Don’t Break It, an EP on Sidney Samson’s label, Samsobeats. This was right after I served in the army, and that year away from home really shifted my taste—I moved away from the harder, faster stuff and back toward my house music roots. I was listening a lot to the Sneakerz sound, and I really liked what Sidney Samson and the Dutch guys were doing. I got in touch with Sidney, and he signed my tracks. Through him, I connected with Gregor Salto, which led to me remixing his track Bouncing Harbour.

The EP did well, but the Bouncing Harbour remix took off, and that pretty much kickstarted my career as Funkin Matt.

Do you remember your first gig as a DJ? What was that experience like?

My absolute first gig was in front of a clothing store in my hometown in the early 2000s. I played French house, jazzy house, lounge music—stuff that fit the setting. I remember a lady walking by and asking if she could buy my CD. I didn’t have one to sell, but I made her a mixtape the next day and, to my surprise, made some money from it.

My real first gig, though, was in Amsterdam at Escape in 2007. Before the show, I went to dinner with Sidney, Afrojack, Gregor Salto, Quintino, and the rest of the Dutch guys. I was so nervous about the gig that I couldn’t focus on anything else. Going from playing for 50 people back home to 1,500 in Amsterdam was surreal. What helped was all the practice I put in—first on vinyl, then on CDJ-1000s and a DJM-800 at home. In the end, I felt great about the performance, and I kept coming back to Amsterdam after that. It really felt like I grew up as a DJ there.

How was the experience of making music in this era compared to the ‘90s? What changed?

So much was happening with production software, synths, and effects. Synths like Massive and Sylenth made producers rethink whether hardware was even necessary. I used multiple DAWs to get the best of everything. MIDI keyboards could be plugged in directly via USB—no more MIDI boxes or complicated drivers. Everything was evolving so fast, and it was an exciting time for sound design and production techniques.

In the ‘90s, I was just trying to make something that sounded half-decent. By the 2000s, it felt like you could make anything you wanted—if you had the skills.

The 2000s saw a rise in digital music distribution—how did that impact you as an artist?

At first, I was a bit bummed because I loved vinyl, and just as I started releasing music as Funkin Matt, vinyl was fading as the main DJ format. I did get to put out a few records on vinyl, and I still love the format today.

On the flip side, digital music made everything move faster. You could send an MP3 to a DJ, and they’d play it the same week. Labels didn’t have to invest in pressings, so the barrier to releasing music was lower. I didn’t overthink it at the time—I was just focused on making the best tracks I could. Every release felt like it had the potential to hit No. 1 on Beatport.

What were some of the biggest challenges you faced when trying to establish yourself?

Getting my music heard as an unknown artist. It was tough then, and it still is. Living in Norway, I definitely envied the guys in the Netherlands and the UK who were much closer to the action. I used early social media like Myspace and Laidback Luke’s forum to connect with people, and I made sure to only showcase my very best tracks.

Another challenge was making enough money to sustain a career in music. I was young when I started, so after high school and the army, I was already playing gigs abroad within a month of starting college. After college, when I decided to go all in on music, there were a few years of cheap frozen pizza and cold studios before things really started rolling.

Were there any key moments or tracks in this era that made you feel like you were on the right path?

A few. My first record deals, getting recognition from DJs I idolized, seeing my tracks played in big clubs, watching YouTube clips of Bouncing Harbour going off, getting on DJ compilation CDs, and making it to the finals of the MTV DJ show. There were a lot of small wins along the way that kept me going. I’m glad I stuck with it, even though I never planned for a career in music at the start.

If you could go back to this period with your current knowledge, what would you do differently?

I’ve always wondered what would’ve happened if I had moved to Amsterdam and gone all in on music earlier. If I could go back, I might try living there for a year just to see where it led. That way, I wouldn’t have to focus on college, and I’d have had a head start in my career.

But it’s easy to say that in hindsight. At the time, I didn’t know where my life was heading, so finishing school while doing music on the side made sense. Looking back, I wouldn’t change much—I’m happy with how things turned out.

Stay tuned for Part 3, where we dive into Funkin Matt’s journey through the 2010s—the decade where he defined his sound, secured major releases, and navigated the evolving electronic music scene.