At festivals you kind of have to play the game a bit and you have to play a lot of the big bangers but it's to me it's extra gratifying to be able to play the non-bangers and make it work. Because that's still the craft of the DJ, I think.

I think one of the biggest things that's changed in terms of the rapport with the crowd is that now crowds come to hear our songs. We're getting closer and closer to an artist performance.

One thing that I learned in recent years from working more with other people is this idea that part of a producer's job is to make people comfortable and confident.

There's a bit less elbow room and latitude to take it somewhere else, at least at festivals. In the club you can do whatever you want but at festivals, especially Ultra, nowadays the crowd wants to hear our songs.

I think that's becoming the key to where the whole idea of art and culture are going nowadays anyway, is the idea of curation. Knowing what you like. That's sort of the future right now. Molding something, whether it be a roster on a label, or your blog, or a song, or your DJ set.

There are things I like, there are things I strongly dislike. In my DJ sets and in my production I just gravitate towards what I like.

The essential component of being a DJ is setting the mood; it's playing to the context. So that if you're not able to adapt from one context to another, then you're not a DJ.