Michael Woods
“The Next Big Thing...” Pete tong 2009
Albeit our shores are responsible for some of music’s paramount talent and our home-grown beat soldiers hold a prized place in almost every genre of modern day music, it has been a while since we had a dynamic, vibrant and over-all influential Brit causing as much of a fuss in the music world. After a leg of gigs in support of Deadmau5 on his tour, all roads are pointing in the same way and his recognition as a feasible sensation is fast becoming a reality, enter Michael Woods. Far from unacquainted with the charts, he’s been a somewhat Dark Horse of the industry for the best of 10 years. His first track, Warrior was a hit and they kept coming ever since. So why now is such massive recognition hounding at Michaels door? What is it about him that is causing such a fuss?
At first glance he doesn’t fall into the typical stereotype of the crazy, quirky and ever so slightly screw-loose music man, but approaches our meeting at an East London cafe in an amiable manner, polished and clean cut he can definitely be put it in to the better looking category of our industry DJ’s. We make pleasantries and get the general introductory chit-chat out of the way - it’s when we get into the music that the magic of Michael Woods begins to shine through. A new persona takes over and the passion blows, taking him from the shier end of his personality to an enthusiastic and confident persona, still light on the words but a fire is burning.
It’s always these interviews that I like the best.
Wide eyed and excited he has no problem explaining just how much he’s enjoying the recent gigs, specifically with Deadmau5, dubbing the recent bank holiday London weekender at Brixton Academy as “amazing”, remaining adamant that his confidence is all in the fervour of his music and the kick he gets from the crowd
“You have to have faith in your music and really believe that you and this crowd are gonna’ have a real good time! I guess I do give off a different persona when I play but that's because I'm so in to the music and I think the people who see me play can really feel that.”
And it’s exactly this that has totally captured recent Michael Woods spectators. Although as a producer he is an understated prodigy, he has been taking Britain by storm with his incredible DJ sets, each one delivered with stacks of crowd pleasing energy which has given him a golden prop as a newly desired talent
“Being able to connect with the crowd and give them as much of your energy as possible is so important. I love to make eye contact with people and have fun with them, and in doing that they give me more energy in return - I think this is way more important than just choosing tracks or how you mix.”
So is this the secret behind his recent fast rise as a most-wanted DJ? Maybe so. But it’s not just his energy; the tracks he spins that have gotten onlookers into such a stupor seem to be more and more of his own productions. Playing various instruments is just one of the elements that make him so accomplished and with a history of playing with the London Symphony Orchestra amongst other things becoming a live act seems to be an obvious future direction
“I think having a good knowledge of music allows for me to express things in certain ways that other producers, who perhaps have limited musical knowledge wouldn’t necessarily be able to do. I can knock up an original riff a matter of minutes, or seconds even. I suppose a good example of one of my more musical productions would be ‘Dropzone 2010’”
Woods has seen and been part of the changes music has undergone in the past decade, contributing to some of dance music’s most memorable anthems; he can still be remembered for notable tracks such as his Cafe Del Mar remix. But today’s finished products could sound no different, carrying a deep, driving and delectable collection of electronic sounds with the melodious, cascading synths and hands-in-the-air, rush inducing drops he is known for still present in the right places, all carved into a sound that he is now pioneering as individual to him. But how important is it for a producer/DJ to be accepting of the changes music naturally undergoes? How easy is it for a Producer to accept music’s changes? Is it a natural occurrence? Is it a forced evolution or a pride that producers must simply swallow and accept?
“A successful DJ shouldn't have to accept changes but should actually be responsible for how music changes over time. They should always be looking to see what works with the crowd and use that as inspiration for their next creation.”
Woods has been a Pete Tong favourite for at least a year, playing his remix of Deadmau5 & Chris Lake’s, I Said as the first essential new tune of 2010 and featuring him on his infamous 15 Minutes of Fame show are just a few of the many examples of Tong’s support
“The support from Pete Tong has been amazing... there are certain boxes that have to be ticked in order to progress as a Producer/DJ and its widely recognised that getting support from such a dominant figure such as Pete Tong is one of those boxes and I'm really appreciative of not just his support but everyone who plays my productions.”
In addition Toolroom Records, Deconstruction and numerous other credible labels and artists have all borrowed his insatiable remixing skills, leaving his studio rarely empty
“I try not to think about who the artist or label is. I just listen to the track and make it my own whoever it’s for. I always enjoy doing remixes and putting my own stamp on tunes...and the best bit is getting to play them out at gigs!”
His Diffused Music Label is a central portal for Woods releases. It also allows for him to exercise his inner control freak and “make all the decisions and A&R some great music” But it’s the collaboration’s with the likes of Chris Lake that end in an eruption of inspired music that keep fans sharply attentive of his movements. Domino’s, a track consistently in popular demand at digital outlets the web over not to mention a Beatport top 10 spot after just a few days, has caused for a cry for more
“It’s the thing (Domino’s Pizza) we had which really got our ideas flowing, so the plan is to come up with a follow up called Krispy Kremes, seeing as that’s what we had for dessert (laughs)!”
Phew, rest is assured! In addition he has been crafting away at some original material in his London based studio for future releases on labels such as Toolroom, Mau5trap and Ultra Records in the U.S; all of which he’s not even allowed to talk about in much detail...just yet! Word on Beat-Street is that there are tracks with Funkagenda on the cards too, the only response I got when asked was a cheeky smile - you work it out.
And yes, recently his diary has been utter lunacy (“It’s all been a bit manic lately, but I’m having a real good time!”), it is just the start, as Woods is about to conquer the next of his musical ambitions with a first-rate residency at the infamous dance house, Amnesia for Cream this summer. It was the first place he heard the very first production he ever made being dropped to a 5000 strong crowd that “...went insane! So to actually get to play there alongside Deadmau5 and Chris Lake is going to be an unbelievable experience.” It will be interesting to see what manner he employs for these gigs, being a talent many are observing makes this an imperative ingredient in furthering the Michael Woods history book.
His sound, productions and DJ dexterity all speak for itself and he boasts a composed stance, making him undoubtedly one that we will see rise high and fast. And yes, he has been tipped off as the newest Brit phenomenon, all of which it seems has been proved in the short time that he has been in the spotlight, but for me the calm, collected and humble attitude he possesses makes his predicted rise as one of Britain’s new golden boys even more predictable.
