“Interviews make me nervous,” admits Salome Gvetadze at the beginning of our conversation. She laughs: “I can play music in front of a big crowd. But during interviews, I freeze up.” It’s one of those delightfully unexpected details that reveals – like with many artists – there’s more to her than what meets the eye (and ear) from the vantage point of a muddy festival ground or Boiler Room stream.
Because if you’ve ever heard Salome play, she exudes an overall vibe of boldness. As a DJ and producer, her music is a rousing blend of electro, techno and acid (amongst numerous other genres, because someone like her refuses to acquiesce to one or two labels). It’s also laced with vocals (yes, vocals! In techno!). She enjoys playing for big crowds and if, during one of her sets, you wriggle your way to the front, you’ll likely spot her swaying behind the decks in some intimidatingly stylish latex corset. She’s a resident at the hot, Berlin-based queer collective Herrensauna (yes, ‘hot’ is an intended pun here). Even her artist name – SALOME, all caps – is bold.
But true boldness, as a quality, includes vulnerability; which Salmoe seems to possess. Few DJs will admit to pre-interview jitters or the loneliness of touring solo. Even fewer made their musical start playing classical instruments as instructed by their grandparents; or released an EP whose tracks are melancholy and emotional and lay bare the vulnerability that comes with romantic love (fine, those last two are uniquely Salome). Ahead of her set on Saturday (July 27th) at the Utrecht-based festival Orbit, we caught up with the DJ and producer to uncover more habits, perspectives, and sounds that are uniquely hers – and get you in the mood to explore another, musically exciting festival.
You studied at the conservatory as a teen, so I can imagine you played classical instruments for most of your childhood. What were your early experiences with music like?
My grandfather was the director of a musical school and a professional violin player. My grandmother still teaches piano, so it was almost mandatory to get into music early on. I remember this moment – I was about nine – when both of them stood before me like: Okay, which one do you choose? Violin or piano? Your grandfather or grandmother? That was a tough decision! I preferred the piano, so that was my choice.
From then on, how has playing the piano (classically) fed into the way you play electronic music today?
Although I wasn’t that passionate about learning the notes or specific classical pieces, I enjoyed the creative process of playing around on the piano, experimenting and creating pieces by myself. During my time in the conservatory, I realised I liked to create things. That was transformative. I’m even thinking of returning to piano classes to get back to the source. I also think the conservatory’s structure and discipline helped me be strict with myself: to set deadlines or dedicate full days to music.
You’re from Tbilisi and now live in Berlin, but you’ve also travelled a lot in between —in terms of countries and (sub)cultures and communities, music and dance genres. How do you take that along in your music?
It’s an interesting process. Travelling across countries and cultures and researching what kind of music they’re into has helped me create a sound map of sorts. I know that, in Spain or Italy, they like a certain kind of music. Or that in The Netherlands they are more versatile and I can play a bit bolder. I can adapt to that country and its prevalent genre without losing my authenticity. It’s a balance between staying true to yourself and adapting. Because in the end, you’re not just playing for yourself. It’s a mutually fulfilling thing.
That sound map, what format does it have – like, do you have it on paper or does it exist in your head?
It’s just in my mind (laughs).
I like how vocal-rich your music is, especially because that doesn’t often happen in techno or electro. Could you elaborate on your use of vocals?
I love that observation, no one has mentioned it before. I enjoy creating a dialogue between the tracks. Vocals can complement each other in the way they are recorded or sound-wise. They also add a very catchy and sexy element to the music—which I’m all about! There’s this rule that you shouldn’t use too many vocal-rich tracks in these kinds of genres, so it’s about challenging the norms too: like with vocals, dramatic breakdowns, or challenging the audience by dropping a specific track they wouldn’t typically enjoy.
Speaking of dropping tracks (granted, audiences should like this one), last month you released your EP Hacker. According to its Bandcamp descriptions, the tracks explore love in all its complexity. How did that come together, emotionally and musically?
It was born out of a general reflection of my emotional experiences: love and relationships, all that stuff. Helping me to release those emotions by pouring them into music, creating something new. Musically, I always start by building the melodies, which leads me towards developing the more instrumental part afterwards. It never starts with a kick-drum (laughs), so it can get a bit melancholic or dramatic with this approach. I sometimes try to make it more club-friendly.
In which set or setting would you like people to listen to the EP?
It’s funny, I have a very specific image for that. I imagine it being played in some wooden house in the middle of the forest on a foggy, rainy day. Perhaps, you’re with a partner or have a little house party. I would also love to play it during a very specific, melancholic set. How cool would it be to have this scenario where all the DJs play very melancholic and emotional sets, where the goal isn’t to party and go crazy, but to feed your soul?
When you’re playing a set yourself, what is your favourite venue or setting?
There are different favourites. I love playing for big crowds at big festivals – because you get this insane energy, which is unmatched – as much as I like playing intimate clubs. Spaces like Herrensauna, where you are enclosed by the crowd, almost a part of it, and you get this intimate energy.
What, in your opinion, makes for a good crowd?
When they’re open to musical versatility. I also love when I see in the crowd that they recognise the tracks, it makes me feel like they’re a music-lover and know what they’re listening to. I had this moment at this year’s Wildeburg festival, playing Joy Orbison’s Flight FM. It’s such a unique track: you can fit it into every kind of set – a low-tempo house set, a hard techno set – and it’ll complement perfectly. I played it and lots of people recognised it, giving me this look like: ‘We know it.’ I’m all for that.
A bit off-topic, but as a fashion girly I want to touch on your personal style, which is very expressive. To what extent do you consider your wardrobe when playing? And to what extent do you do that for yourself versus for (interacting with) your audience?
It’s a part of my identity. I’ve been into fashion since I was a teenager and when I go to gigs, I take two huge suitcases full of clothes. It’s not so much about showing myself, but mainly because my clothes have a huge influence on the way I feel and play, on my confidence, and lots of things come from that.
“During my time in the conservatory, I realised I liked to create things. That was transformative.”
Do you match your outfits to a set’s mood or a mood you want to exude?
No, it’s just about confidence and making myself feel like myself. If at all, it’s about where I play. If it’s for a big crowd, I’ll go more overdressed. Although I noticed, I try to avoid wearing black… but somehow end up always wearing black tops! I don’t know why this is happening?! Because then I see videos of me taken from the dance floor, and I’m just a head bobbing. Everything else is like a (black) green screen.
To be fair, if you’re at a festival, black is by far the most practical.
That’s why… I put on white pants while getting ready for a festival recently. It was raining like crazy and so muddy at the festival. Luckily, at the very last, last, last second, I changed my mind. I can’t wear white clothes to festivals.
Yeah, and I can imagine when you play at Herrensauna, and it’s all hot and sweaty, you won’t be in a big coat.
There, you wear as little as possible. Less is more, for sure.
On that note, you’ll be playing at Utrecht-based Orbit this Saturday. I’m very excited, but how do you feel about the festival and your upcoming set there?
I’m excited, partially because I get to play in the Netherlands, which sound-wise is a perfect place to experiment. I’m also excited to hear Pariah and Nene H playing: colleagues that I’m familiar with. When you’re touring and have mostly solo gigs, it can feel quite alone. So when you’re surrounded by people that you love, respect, and appreciate as artists, it feels very special – less lonely – to spend time together and connect.
SALOME plays at Orbit Festival’s Transit stage on Saturday, July 27th.