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RA.857 Marie Davidson

Published
Nov 6, 2022
Filesize
211 MB
Length
01:32:17

Wherein one of electronic music's best live performers becomes a badass DJ.
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As part of RA2122, our ongoing celebration of 21 years of club culture, we'll be featuring some of our favourite DJs from around the world, highlighting the parties or clubs most important to their lives in dance music. For our RA2122 series, we've been focusing on dyed-in-the-wool DJs paying tribute to the places that were most important to them. But what if you're an electronic music superstar and you didn't necessarily get your musical education in a club? That's how we come to Marie Davidson, a Canadian artist who counts among the world's most engaging and electrifying live performers, mixing techno with electroclash and post-punk for a sound that feels familiar but totally new at the same time. In 2019, she announced she was retiring from live club music, and then formed a band with fellow Montreal scenesters. But on her RA Podcast, she returns to dance music with a cannonball-sized splash. To hear her tell it, Davidson only became interested in DJing recently—she's only been doing it for a few months. It's a new way for her to explore club music and also pay tribute to the artists she loves, without putting her whole self out there in the same way required of live performances. But you could never tell that Davidson is new to DJing. Her RA Podcast is a masterpiece of modern techno building and pacing, dipping into straight-up trance several times in a way that reminds us of Sasha's legendary Global Underground 013: Ibiza mix CD, with an hour of steady tension rewarded with one hell of a melodic payoff. She sounds like she's ready to play at some of the world's best clubs, proof positive you don't need to have the usual backstory to be an excellent DJ. Tell us about the first parties/clubs you attended, and how were they important to you? I started clubbing when I was 16. The age to be admitted in clubs in Montreal is 18 and showing ID is mandatory, but I had a few friends who had helpful connections. The trick was to have your name on the guest list so the bouncers would let you in automatically without asking about your age. At the time it was mostly hip-hop, crunk and dancehall that was getting played. I found that music extremely exciting, I wasn't drinking at the time, I went there specifically for the dancing. It was the era of "Dutty Rock" by Sean Paul and also a lot of Lil Jon productions. That kind of sound. It was a very important part of my teenage life, this connection to music and body movement has never left me since. Were you always interested in dance music, or how did you become interested in it? Your career has swung back and forth between "rock" and electronic music. I was always interested in music in general, no matter if it was dance or not. I have been a long time enthusiast of all types of music. But when it comes to dancing, I search for music that feels exciting and/or sensual. I like music that feels a bit dangerous. You're a live performer who has played at many venues and festivals usually occupied by DJs. What's it like performing live at a nightclub, and how are the audiences different than a typical concert? Performing live electronic music at a nightclub can be a dream, if the place is well equipped. I've been in situations where setting up my gear in a DJ booth was a real puzzle. But in the end, what really matters is the sound system, the monitors and, in my case, who is doing sound engineering since I've used a microphone. Microphone feedback can really ruin a show if it is not well handled. If those conditions are met, then magic might happen. Playing in a club allows some kind of proximity with the crowd that is rarely met in a traditional venue, unless it's a sweaty, dirty, DIY type of place, which I find is often the best. But then again, in that kind of spaces, you might not get good sound. In terms of audience, in a context where you'll be playing alongside DJs, you want to make sure your set is as loud as them and is as banging as it can be, so you don't lose that audience. I see it as an energy transfer. You give them something and they give it back to you right away... if they like what you do. In a more traditional venue, people usually pay closer attention, you most probably are set up on a stage, which means you are completely dissociated from the crowd. Feels more safe in a way, but not always as exciting. You've recently become more interested in DJing. How and why did that come about? What does DJing offer you compared to your other modes of performance? Yes, I've been DJing only since a few months. I don't know exactly why I didn't try it before. I thought I had to stick to the producer/provider status. There are so many great DJs out there, I felt like it wasn't necessary for me to participate in that realm. But a bit by coincidence, I was invited to play a DJ set in a festival last summer so I rented CDJ-3000s and fell in love with this particular type of player. It reminded me of the time when I would play live with a lot of MIDI synchronized hardware. I ended up buying the players and I've been having a great deal of pleasure since then. I experience DJing as a way to honour other people's music while building a story that entertains people, making sure they move as much as possible, for the longest time. Playing live is very egocentric, meaning that when you get on stage, you do you. There is no way to adapt, and you shouldn't adapt. DJing feels more like being at the service of the people dancing, and when it comes to playing good music, serving feels very nice. Do you think your background in indie/DIY scenes has an effect on your DJing style? My DIY background for sure has an influence on my way of DJing. I don't really know the rules of DJ World. I might be doing awful things and not even be aware of it. That's okay with me. I get my bearings looking at the crowd and listening to the sounds. If the dancers are enjoying themselves, I'm enjoying myself. When I show up to an event, I come for a good time. How and where was the mix recorded, and what was the idea behind it? I recorded this mix in my studio in Montreal. The idea was to focus on what I've found exciting lately. I have a lot of gratitude towards the musicians and the work they've put into those tracks. As part of RA2122, we're also publishing a book of essays and letters, as well as hosting events in New York and Manchester. Photo: Samantha Blake
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