Texas-raised artist and DJ Stonie Blue is turning up the house sounds in Brooklyn. The versatile creator began DJing in 2014 after experimenting informally during his college years. His entry into the DJ scene was driven by necessity. His close friend and collaborator, Matthew (known as Matthew Worldwide), had been hosting parties called Next Level Vibes. When Matthew moved to Puerto Rico, Stonie stepped in as the DJ to keep the party alive.
Those first sets generated organic momentum, leading to bookings when he came to New York, including nights at SOB (Sounds of Brazil), Kinfolk and Cafe Ezrulie. What started as a solution ultimately blossomed into a full career, which Stonie Blue describes as a “blessing.”
Groovevolt sat down with Stonie Blue to discuss his label, his party series, his approach to DJing and his commitment to intentionality and music-first values for the year ahead.
Tell me about the founding of your label and how that came to be.
Matthew has a lot of big ideas. It’s like January 2015. We’re both from Texas, so we go back to Texas to do a New Year’s party with him and my older brother, Brandon Blue. And he’s like, we should just go on tour and see how far we can take this DJ thing. And I’m looking at him crazy like, I guess I have nothing to lose. So we call it the Believe in Yourself, Do It Yourself Tour. We booked 10 cities around America that were all crowd-funded. Most of the money was raised so we could get from city to city, find a place to sleep, and rent a car. But all of the shows were free. People can come for free. And from that moment, it was just such a success that we turned into Believe in Yourself, Do It Yourself Records. That year was monumental for us because it showed us that you don’t need permission to do anything. You just need willpower and a desire to get stuff done at your own pace, without waiting for the right opportunity for someone to say, ‘yes, you can do this,’ or for funding or any kind of permission to do the things you dream about.
I think we’ll hear and see online a lot more interesting perspectives on DJ culture this year, particularly about the resistance that the DJ is the “product” of the party. I’d love to know your take on the role of the DJ.
What I do, I would do it if nobody was there, even when I’m DJing at home. Like it’s something that I need to do. When I first started playing, I was playing music that I wanted to hear. It was kind of a selfish approach, like, I don’t hear people doing this, so I’m going to be the person to do that, and then see if anyone happens to come around. And that was the blessing to find support there. There is a void that needs to be filled, which I felt, and other people felt. I will say, just because I’m picking the music, that’s just like a little thing apart of the whole. Like anyone can pick the music. The people who are there, dancing and enjoying good energy, being nice to one another, they are making the thing special. And the DJ kind of comes in somewhere after all of those factors.
What are the values that ground you in this industry? What parts of self-hood do you want to preserve as you evolve in the music world?
I think intent, the intention, is always at the forefront for me. Like anytime I teach, or if someone comes to me for mentorship, I always have them write a letter to themselves on why they want to do this, because that intent will keep them on their path. And people have their reasons. I think for me, it’s about following music. I search for music. Before I was DJing, I was doing photos, going to shows, trying to get closer to the music and emailing for press passes.
So just kind of keep the music at the top of the art triangle. It doesn’t matter if I’m playing with somebody I really look up to. And if that’s the case, I know that I’m doing the right thing, that I’m now like kind of on that level with them. I’ve been blessed with the opportunity to be in the space, but putting the music first still means getting the job done. I just try to keep it therapeutic and just keep the music first. And I think people feel that.
Can you talk to me more about the creation of your party series, Body Rock Party?
Separate from the label, I went to the Space Wu Lou Lounge to do a venue scout, but I’ve been to a party there where some OG DJs are playing. And I went and was like, how come none of my peers or contemporaries throw stuff here? So I reached out to them to find out what it would take to throw a party there. And then I kind of sat on it. In the DJ community, when friends come to town, they’re asking, hey, I’m going to town, can you help me book something? That scenario came up, and this space was wide open for us to do something. And so we did the first one, and it went really well. I put the name ‘Body Rock’ on it as a one-off. I wasn’t planning on turning it into a series; it was more like, let’s just try this thing out. And that one landed on its feet. And then we did a few more, and they were really good. So, I just wanted to sustain that energy.
What are you trying to build there?
I think it’s my attempt at programming lineups and putting together DJs that I want to see and I look up to, especially with my peers. Also, I know times are tough for many artists. I like the party to stay free and to be able to offer a quality like a DJ night, where people don’t have to worry about a door cover. It’s just a space where people can breathe and still get a quality night of music. I think it’s a good way to kind of bridge the gap on some of the financial troubles we deal with. I also want to just kind of hold down the black house side of it and continue what the OGs did before. It’s like Soul Summit, or Soul on the Horn, and even like Jovan with Buddy and Deep. Just trying to expand the legacy and do something for the younger house hits.
I know you’re also an animator and photographer. I would love to know how those art practices and mediums play into your curation selection and sound.
I think it just helps with, like, the ruts or the creative blobs. You can pivot to these other ways where you’re not so, like, one-track-minded on one thing. It’s a gift and a curse because sometimes I want to be really good at one thing and just focus on that. I think it just all comes from a place of curiosity to see what I can do and how, and knowledge of art history. How can I make something that doesn’t exist that lands in a way that points back to me and what I’m trying to make as an artist?
How does making your own music differ from your process of creating the set for an event? Or is it similar?
I think as DJs, we have the opportunity to see firsthand what people react to. So a lot of that is informing what kind of music I make. Right now, I’m making a lot of dance music. Making music to me is like a video game. So to bring that out or to release it and see, oh, this stuff I’m making at home has worldwide use on the dance floor, getting people to stomp their feet and clap their hands to it. It’s such an addicting process in a way, like making art. DJing informs a lot of stuff I make, because I’m trying to make people dance.
What should people expect to hear from you this year?
I want to stay out of the way more. I usually do the opening set at Body Rock, but my goal is to put more people on to other DJs rather than have people come to hear me. But I have a release coming out on Friday with Raprave titled “heaven+” and another one coming out in February with Dolfin Records titled “Joyful Noise” with Stephen Carmona!
Last question, who DJ’d at your wedding, or did you DJ at your wedding?
I didn’t DJ. I knew there was going to be a lot going on. My good friend, A-List Kariss, DJ’d through the welcome party and the reception. And then my older brother, Brandon Blue, DJ’d the after party, and they both did amazing. It was the best day of my life. I think my wife would say the same.
Stonie’s Essentials:
DJ Board – TR8S
Groovebox – Chordcat
Film – 35mm Film
