Jonas Blue Quotes

The concept of ‘Blue’ is to transport its listeners to a different world with music. And I chose to release a full-length album because it enables me to experiment with many different production styles, not just a single sound, and take listeners on a journey.

The one thing about Essex is that there’s a lot of people there that are into their soul music. And I’m talking ’80s and ’70s soul music, that was a big part of my childhood, there was Al Green, Luther Vandross, Stevie Wonder, people like that.

To be honest, I’m like a sponge so my inspiration and influences really can come from anywhere.

I made Fast Car just in my spare time with no real hopes for it at all.

I got into DJing because that was the coolest thing to do and I’ve never looked back.

I got on a bit of a rollercoaster looking into how Herbie Hancock used to make his tunes, and I remember a picture of Jean-Michel Jarre at one of his concerts and seeing the Memorymoog. When I heard the sound it I was like, ‘Arrrgh, I really need that.’

I come from a songwriter background, so essentially with my music, I’m trying to make songs that will last a lifetime and although ‘Fast Car’ was a cover, it reflects what I’m trying to do.

I always strive to make my music unique.

There’s benefits of having established artists on the record, Liam Payne on ‘Polaroid’ for example. If you look at that song you have Lennon Stella, who‘s an up-and-coming artist, so there’s a balance on there because I still want people to focus on the song just as much as Liam being an amazing superstar.

It’s definitely hard to have relationships. When your life moves so quickly, people generally want replies on messenger apps and sometimes I don’t get back to people for two or three weeks.

I’ve been writing since I was 12 years old.

Especially when I finish one of my songs I play it to my friends who are just normal people and not people in the music business.

If I’m honest, I never knew ‘Fast Car’ was going to be my first single.

I love the idea of Pro Tools, but it doesn’t seem as attractive to me in terms of the music-making side. It’s great for recording, but with Logic you get the best of both worlds, the ability to do great tracking and producing something that sounds great as well.

I played the Azteca Stadium in Mexico to 100,000 people – that’s something I never thought I’d do.

I try to find very simplistic melodies, which are the hardest ones to create.

The concept and vision of ‘Electronic Nature‘ is to give my fans a fully immersive sensory experience of music, visuals and more.

If I could stay in a dressing gown all day I would.

At times, for sure, I do love a party. However, I do love going back to my room and putting on ‘Only Fools And Horses‘ and having a cup of tea.

I like releasing singles because I can get them out there quickly and it’s based on the changes, the sounds that are going on all around the world that I’m hearing and just a whole different bunch of influences which is sometimes hard to get across on an album because it can take a few months or a year to come along.

Anyone can be a DJ but it’s understanding how to read a crowd and keeping them on the floor is what takes years of experience.

I’m really not one of those deejays who go, ‘I play music that I like.’ I play it for the crowd. I believe that’s what a deejay should do.

Instead of the Beatles and the Stones, my mum and dad were listening to Michael Jackson, Barry White.

I know it sounds weird for a 12-year-old to say that he wants to start writing songs, but that’s what happened.

That’s the whole part about being a deejay: You’ve got to make sure you are prepared. At the end of the day, you do have your genre – house music, dance music – but there are many different ways of playing that.

I find in America, actually, I actually prefer it because it’s all about energy. It’s all about making everyone feel happy and smiling. In the U.K. sometimes people are a bit too concerned about, ‘Did you play that track? Did you play that track?’ It’s not so much about the music in the U.K.

I’m a massive Justin Bieber fan. You’ve got be able to admit that.

I don’t sing. I’m the worst singer in the world!

I’m always up for collaborating with people who are slightly leftfield.

I don’t get along with many people, especially in studios. I’m quite blunt and I know what I want – and songwriters are very sensitive people.

I used to follow artistes like David Guetta and Swedish House Mafia a lot before making a full fledged career in EDM… their music inspired me too much.

I try and have two to four days a month to just be at home.

I was never in this for the money. It’s all about the passion for the music.

I’ve tried to write songs that just make people feel happy and good.

I think the best thing about performing as producer is to hear the fans sing along with your tunes.

Trying to write new music is definitely daunting, but I try not to overthink it.

When I was seven years old I played the flute, then by 11 I quit being a musician and got into Djing.

I was a musician first of all.

I’m a little bit of a show-off; I just wanted to get girls and be popular.

There’s a lot of amazing women out there. There’s a lot of hot models. But models are the worst, because they’re models, you have to always step up and always look good.

My music is very global.

At the age of 12, I got free pieces of software in a box of cereal which allowed me to make music, like really early demos, and then I just never looked back.

I hate mess. I have the worst OCD so I’m not a hoarder of clothes.

Abbey Road was actually one of the first studios I ever got the chance to go to. A friend of mine won a competition and got the chance to spend a day recording there – that’s when I was around 15 – and I was the only one who could engineer out of all of us.