She was quite literally born into music thanks to her dad who composed for the likes of George Harrison and Monty Python. Unbelievably she began touring aged 2, spending her childhood with her father wiring up stages, and surrounding herself with artists and comedians. Trained as a classical musician, both singing and on the violin at London’s Guildhall of Music, Jayli has toured the world from Hong Kong to Sydney to New York and everywhere in between, supporting the likes of David Guetta, Mark Ronson and Swedish House Mafia. Her productions are an infusion of tropical house and trap, for which she coined the catchy genre title of ‘Trapical’.
We asked her some question about touring and how she got into dance music. Hope you’ll enjoy the read.
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Hey hey,
How’s your summer going so far?
It’s been incredibly busy full of gigs, and great music.
For fans who don’t know much about you, could you tell us a bit about your music background?
I came from a musical background, my Dad is a sound designer for movies, so I was always surrounded by artists, actors, and I began my journey at the age of 11 playing in West End shows. When I left school I went into a band touring with Wretch 32, N-Dubz with supporting act Ed Sheeran. After we disbanded, I discovered DJing. I was always the technical one because of what my father taught me, but I wish I discovered it sooner. I doubt I would have taken it seriously having found it at a younger age. And finding my style of music was the next exciting step.
Was dance music always your main influence when you were younger, how did you ultimately end up in dance music?
It was my main influence, but dance music is a mix of many genres, and my mum was an avid fan of disco so I was brought up on that rather than nursery rhymes.
My mum was an avid fan of disco so I was brought up on that rather than nursery rhymes.
I think finding my sound, was tapping into what I loved listening to when I was partying, I was drawn to melodic house and Latin music, hence my inspiration for creating Tropical House. You have to be authentic to your brand and style and really love it to get it across on the music you make and to inspire others.
How has your music been influenced by other artists, musicians, or life in general?
When I began DJing I was living in Australia, and Kygo was huge at the time for reworking old classics like Stevie Wonder, and I loved his twist on classics and the way it made me feel. He’s been a huge inspiration for me as an artist.
How did you get into raving? And do you remember your first rave?
I remember the first club I went to which was under 16 and everyone was chasing boys and kissing. I hated it. I was used to gigs watching bands so this was a completely different experience that wasn’t about music. I loved the music and at that time we didn’t have Shazam. So I came home and bought a music magazine to could find the music that I heard. Raving for me was always about the music. My experience of partying started when my friends went to dance and not to pull lol.
Raving for me was always about the music.
Tell us the story of how you were introduced to house music. Was there a specific moment you realized that you wanted to be on the other side of the dance party –- as the DJ?
Yes, I was in Vegas watching Avicii. The London scene was into Hip Hop, and Avicii was playing progressive house, which I found to be inspiring and uplifting. I then began writing and singing on DJs tracks and that’s when I fell in love with house music.
You’ve been part of the restart of Hedkandi last year. A new female all-star team. It’s great to see women get a decent stage and attention in a positive way in this difficult music scene. What’s your opinion about this?
Maybe we can get to a point where we don’t feel that anymore and it can be just about the music, making great art no matter what gender we are. We have the opportune platform to create awareness and to help equalise the industry by introducing the all-female residency. There is an imbalance in the ratio of female to male DJ’s in a naturally male-dominated industry, whether that be behind the decks or the brain-power behind the events themselves. It’s also the 100th-anniversary celebrating women’s rights, which makes it truly inspirational to be a female in this day and age.
Maybe we can get to a point where we don’t feel that anymore and it can be just about the music, making great art no matter what gender we are.
How do you balance your music with other obligations – friends, family, … ?
Well, I am quite lucky that a lot of my mates are freelance but it’s important to give yourself me time. I really enjoy my work as it incorporates my mates as they always come to the events. But my Mondays are everyone else’s Saturdays, and balance is key. Give yourself the time to recuperate.
You have worked with some pretty cool names in the industry like David Guetta, Mark Ronson, Black Coffee and Axwell? How does it feel to be among that rank of talent?
We’re all just doing what we love, and the industry leaders are just normal guys, who have succeeded in doing what they love. It’s such an inspiration to be up close watching how they play, and they have offered me great advice without having to ask so I was truly grateful for that.
Do you feel there was a “breakthrough” point after which suddenly things changed for the better and brought you to where you are now? If so, what was it and why do you think it happened? –
I always think and can speak for others that you will never know what your breakthrough point is, you always try to improve your sets and become better so there are many breakthrough points if you keep pushing and growing. I feel getting Hedkandi was when people started to look up, and notice. That in itself is a little breakthrough.
You always try to improve your sets and become better so there are many breakthrough points if you keep pushing and growing …
Tell us a bit about “Who I Am (Iris)”, your rework of Goo Goo Dolls hit single. Why this track?
I’m an avid researcher in music and I noticed it was one of the top 10 most listened to records on Spotify. When trying to find a tropical house version, I couldn’t find one. So I decided to make it.
What have you got planned for the year ahead? Any new music or collaborations we should know about?
Yes, I’m working with The Sax Man, and an incredible 16-year-old girl called Mia Hope on a new single out next month. It’s my Tropical House version remake of the 90’s TLC song Creep. But I’m keeping quiet on other stuff until they come to fruition.
You’ve been playing at some nice places already. What has been your favourite place to play so far?
I love playing Croatia, the culture and crystal blue waters are inspirational and I feel I write my best stuff over there. It was also the country I met David Guetta and Black Coffee.
By how much, do you feel, is the club experience shaped by cultural differences? Do you, when travelling, take these cultural differences into consideration – and in how far has your approach as a DJ perhaps even benefited from playing in different countries and in front of different crowds?
Oh, I really feel the difference in styles when playing London compared to the US. There I have even had people come up and ask about what type of music I’m playing. It’s great to get out and experience the cultural nightlife anywhere in the world but we don’t get to do that as often as we would like, because we get off the plane and go to the gig and jump straight back on the flight to our next gig. Getting out opens you up to more music styles and inspires my set to become worldly, so I try to do it whenever I can.
It’s great to get out and experience the cultural nightlife anywhere in the world but we don’t get to do that as often as we would like ..
If Jayli was an alcoholic beverage what kind would you be?
Well, I love a gin martini myself but Jayli would be a sweet Coconut and pineapple Colada with a bright umbrella and tons of fruit.
What’s the last thing you saw that made you smile?
My Mum and Auntie in the audience watching me on stage at my Summer Festival in Birmingham, UK. One of my highlights of this year.
Thank you so much!
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