URB: Are you looking to add new artists on your label?
FLG: Yes, we have this new guy Hardwell, another guy called Yurii Donuts and Franky Rizardo. They are like really, really young, super talented and the cool thing is, since I’m getting old like everybody, having these 20 year old guys that are really into it and they have the same enthusiastic vibe that you had when you just started and I think that is one of the nicest things about the label.
URB: Do you see DJs as entertainers and rock stars?
FLG: Not really, I like something when it’s about the music not so much the flashy “entertainment” level.
URB: Do you ever get tempted to do a Nokia commercial or something like that?
FLG: No, no. But I think that if it fits you as a person then you should do it. In general, like I said before, house music is most of the time actually about the music. Sometimes it gets too much about the show and the entertainment, which is ok every now and then, which is why I do both. But mostly I was just lucky with some tracks crossing over. I like to produce under the name FLG as well which is more for the floor house stuff and underground.
URB: Most embarrassing DJ moment?
FLG: Of course it’s never nice when your record or CD skips, it’s always horrible. But I think the most stupid moment I had was dropping an entire can of Red Bull into the mixer at this club and all you could hear was static noise. It took the guys from the venue like half an hour to find a new one and there was this very, very long silence. It was getting dangerous. The good thing is the first record you drop after that long of a silence it’s always great…[laughing]
URB: Most fun DJ moment?
FLG: I think every time I play. One of the most special moments was when I did Love Parade in Essen, Germany. I played in the final show where all the trucks/stages came together and there were something like 500,000 people. Just really crazy, crazy amount of people. And they had me on this huge stage and it was the same stage of Justin Timberlake’s tour as well so they just rearranged some stuff for my set. And I played an edit of Eddie Amador’s “House Music” and it was such an explosion. What’s so weird is that because it was such a big space the sound had a delay and so also the reactions from the crown came over you delayed, in waves…I don’t know, I can’t explain it but it was amazing.
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