Tristan Hunt is Partner & Director of Business Development at AudioLock, the world's leading music specific anti-piracy service according to Google's stats. He is also an elected member of the Executive Board of the Association For Electronic Music where he represents the sector of Technology and Software.
Life: when was the moment you figured out that Dance Music was meant to you?
Back in 93' a friend leant me a copy of The Prodigy's 'Experience'. That chance loan of the band's debut album changed my world. I grew up listening to music, thanks in part to my dad's modest but quality vinyl collection, but it was the rave boys from Braintree that got me hooked on dance music. However it was only when I went to university in '99 that I realised that I actually wanted to work in the scene professionally. Time spent clubbing in my undergrad year, when I should have been studying, led to a season in Ibiza. There on The White Isle I blagged a job VJ'ing for the likes of Manumission, Amnesia, Pacha and Privilege. It was working at these legendary nights that gave me the taste for wanting to work in the scene long term. Last year, and 16 years on from my first Ibiza season, I found myself collaborating with The Prodigy's record label to protect the band's sixth studio album 'The Day Is My Enemy'. Given that they got me into the scene, that felt pretty epic.
Laugh: when was the last time you had real fun?
I'm lucky to laugh often in work and at play, having fun is a big part of my life. I caught up with an old friend last night at Applebees, a great seafood restaurant in London's Borough Market. My next passion to dance music is food and we got to combine the two with some after dinner clubbing which was pretty spot on.
Love: name the one thing you love more than anything – and why is that?
My family and friend's mean the world to me so they're always number one. However, as I write this looking out the window today, I'm reminded of how much I love the first green buds of spring. The arrival of these and other blooms signals the end of our dreary winter and the start of long sunny days and warm summer nights plus all the parties that go with them. The freedom to dance outdoors can't be beaten.
Past: name a significant moment in your career in Dance Music – and why is that?
That's a tough call as over the years there's been a few. I guess I'd have to share joint first place with two moments in particular. Four years ago I joined a then little known music anti-piracy service called AudioLock. That was the start of something special. Fast forward to the present and we now protect many of the biggest names in electronic music. Through my role there as Director of Business Development, I have been afforded the opportunity to build relationships with the likes of Defected, Spinnin', Ultra, Armada, Hospital, RAM, Cr2, Toolroom and Ministry of Sound to name but a few. Working with such legendary labels has been, and continues to be, an incredible experience. Balanced next to this was last year getting elected to the Executive Board of the Association For Electronic Music. That was definitely a career high, and an especially memorable Amsterdam Dance Event (ADE) as it was there that our newly formed Executive Board was announced. To be given the opportunity by my peers of representing the interests of our industry is an enormous privilege and something I take very seriously.
Present: what do you think that is trending today in music, clubs and festivals?
In Britain the UKG scene (UK Garage) is quietly on the ascendance whilst EDM's international popularity continues to wane apace. Smart event technology like electronic chipped wrist bands, which enable cashless entry and drinks payments, are becoming evermore common and will soon be the norm. At an industry level the canny team behind ADE have been providing such wrist bands to their delegates for many years and to great effect.
Future: where is industry heading in the years to come?
I think that on many fronts dance music is entering an exciting new era. On a recent visit to SXSW it was clear that VR technology is finally becoming affordable and is on the cusp of going mainstream. The ability for clubbers to attend events remotely via VR headsets, powered by their smart phones, will be game changing in helping extend the audience reach of club nights and festivals worldwide. In these same events right now more nascent technology is being deployed to ensure that royalty payments (owed on the music that DJ's play out in their live sets) get correctly allocated to those that actually make and own the music. Such positive work has been championed by not-for-profit trade bodies like AFEM and will help ensure our industry's continued success.
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