Autumn 2026 marks 25 years since I first stepped behind the decks in Montreal’s underground scene. A quarter century of raves, club nights, festival stages, radio booths, and recording studios later, I’ve opened the vault to build this new site — and to tell the story behind it.
This is that story.
The Early Years — Montreal’s Underground
Every DJ has an origin point, and mine was Montreal in the late ’90s — a city with a raw, tight-knit underground scene where rave culture, sound system culture, and a genuine hunger for bass-heavy music were colliding. That’s where I cut my teeth: small parties, warehouse nights, and a crowd that cared more about the music than the production.
Those early years taught me the fundamentals that still shape every set I play today — reading a room, building energy patiently, and understanding that a DJ’s job isn’t just to play tracks, it’s to take people somewhere.
Going Global — Glastonbury and International Festivals
What started in Montreal’s underground eventually carried me across the world. Over the past 25 years I’ve performed throughout Latin America and Europe, and twice at one of the most iconic festivals on the planet: Glastonbury, in 2005 and again in 2008.
Playing Glastonbury isn’t something you plan for when you’re starting out in a Montreal basement party — it’s the kind of milestone that reshapes how you think about your own music. It confirmed something I already suspected: bass music, done right, translates everywhere.
Alongside the festival circuit, my bass music mixes have consistently ranked Top 5 in the world on Mixcloud’s Global Charts — a reflection of the same sound that built its foundation in those early Montreal nights, now reaching a global audience.
The Collaborators
Music, for me, has always been about who you build it with. Over 25 years I’ve had the privilege of collaborating — live and in the studio — with Grammy & Juno Award winners Youth, Luisito Quintero, and Alpha Yaya Diallo, as well as seminal artists Adrian Sherwood, Luke Vibert, and Blurum13.
I also spent years producing songs across six albums with world-beat pioneers Suns of Arqa — a body of work that pushed me as a producer and deepened my appreciation for genre-blending as a creative philosophy, not just a DJ set gimmick.
Every one of these collaborations left a mark on how I approach a mix, a production, or a live set today.
Fashion, Cirque du Soleil, and Big Stages
Some of the most surreal moments of my career happened far outside a traditional club or festival setting. As Music Coordinator & DJ for fashion icon Jean Paul Gaultier and Cirque du Soleil founder Guy Laliberté, I performed at elaborate, large-scale events for crowds of over 15,000 spectators.
Those events demanded a different kind of DJ — one who could match a room’s scale and spectacle while still building a real musical narrative. It’s a skill set I carried straight back into my festival sets.
Radio and Broadcasting
Being on stage is only half of it — for me, radio has always been where I get to dig deeper, take more risks, and connect with listeners in a different way. I currently host monthly shows on CKUT 90.3 FM and Radio LaFaceB, continuing a tradition that’s run alongside my DJ career for years.
Radio has kept me honest as a curator, forcing me to keep exploring new music rather than resting on a set formula.
Film and TV
My relationship with music extends into composition and music supervision for film and television. That side of my career earned a Jutra Award nomination for Best Musical Score, and I’ve worked on projects for major names including Netflix, Universal, and Showcase.
Scoring for picture is a completely different discipline from DJing — it’s about serving a story rather than a room — but it’s sharpened my sense of pacing and emotional arc in everything I do, including my live sets.
Flamingo Funk and the Closer Reputation
A few years into my career, I co-founded Flamingo Funk, a promotions outfit that booked bass music headliners Krafty Kuts and Mista Trick to tour Canada. Closing shows for both of those icons — and delivering five incendiary festival closing sets of my own along the way — is where my reputation as a closer really took shape.
Closing a festival is its own art form. You’re not just playing music — you’re taking everything the day built and giving it the ending it deserves. It’s become the role I’m proudest of, and the one I’m most often booked for now.
25 Years, and Still Going
Looking back at all of it — the Montreal underground, Glastonbury, the Grammy-winning collaborators, the fashion runways, the radio booth, the film scores, the festival closes — the through-line has always been the same: chasing sound that moves people, wherever the stage happens to be.
This site is where I’ll keep sharing the stories, the mixes, and what’s coming next. Thank you for 25 years — here’s to what’s ahead.
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25 years of experience, festival-closing energy, and a Mixcloud Global Top 5 sound.
