Eric Prydz: The mastermind

It’s almost like a pop song. A pop song has a certain structure: you’ve got the intro, the first chorus, the first verse, the bridge, the chorus again. There’s a certain way of building the track so that it has a lift. The chorus hits, then it’s back to the middle eight, then the chorus comes back just as you're missing it. You can apply that way of thinking when you DJ. But instead of three and a half minutes, it’s three hours.

It doesn’t seem as easy to apply that thinking to festival sets.
Yeah, festivals are a different thing. For DJs at festivals, it’s like ‘all in’. They will go there and play all the big tracks, one after another. Going on after a DJ who has done that high-energy thing, you can’t really take it down and build it up again. But you can still apply that same ethos to a festival set, even if it’s just an hour and a half.

For example, if I want to play my track Pjanoo, it always gets a really nice reaction, but if I played a really big track before it, I wouldn’t get the same reaction as if I had used that record as the middle-eight, then Pjanoo as the chorus. Know what I’m saying?

I can’t really picture you coming on after someone who’s just banged all the big hits of the moment, to be honest.
I just think that’s boring. Anyone can play all the big tracks from MTV and the radio. Why would you want to see that? If I go and see a DJ, I want to see them make something new and original.

So you’re headlining the Identity Festival around America soon. That must be a big decision, given how you feel about flying.
Yeah, it is a big decision. But flying to the States for me is about a six hour flight, and I’ve done it quite a few times before. It’s something I can do, but it’s not something I will enjoy. It’s already stressing me out, to be honest. There’s big things happening with dance music over in the States and my last proper tour there was about 2008. But I just want to see what this fuss is all about – that dance music is bigger than hip hop and R&B at the moment.