Spikey Lee: groovy beats and strong values

Spikey Lee is an Amsterdam based Dutch queer artist making a name in the underground queer techno scene. He makes people dance on sweaty dance floors with fun, groovy and unexpected tracks. He holds strong ethical values and standards to make the scene a better and safer place for people to feel free and express themselves. Although being excluded himself for years he is well aware of his privileges and uses his position to make the scene more diverse and inclusive. We are more than excited to introduce this lovely, caring and talented artist.

Written by Lie kietselaer

Your parents’ love for dance music made you fall in love with the energy of house and techno at a young age. Can you describe that moment or process?

When I was born in 1991, it was a great time for house and techno. My parents listened a lot to house music at that time, so I encountered it at a very early age. Recently my parents sent me a video where I danced to a house version of Booming Support’s ‘De Rode Schoentjes’ at age one and a half. When I hear this track now it immediately reminds me of the time when I was young.

As a lonely child, I needed quite a bit of attention at home. Playing alone on the street in Rotterdam was not an option because it was not safe to be outside alone in the neighborhood where we lived, so I was forced to enjoy myself at home. I started to pretend I had my own radio show in my room. The tracks I played on that radio show were taken from my parents' house and techno compilation albums. I still remember one of those tracks being Josh Wink's ‘Don’t Laugh’. Aside from being super intrigued by that track, I could never listen to it because it scared me.

Can you tell us something about your childhood and family?

Growing up at home was very easy. My parents have always been very supportive of me, and I grew up without any form of judgment. At an early age I had the feeling I would rather be a girl instead of being a boy, so my parents immediately took my feelings seriously and explored the options. At home they would let me dress however I wanted, and they let me play with the toys that I wanted. They didn’t take the gender forms into consideration. I am very thankful for the way they raised me, making me realize at a young age gender is more than boy/girl.

Outside the safe walls of the house it was a different story though. I got bullied a lot. Whether it was because of how I dressed and looked, the fact I played with Barbies, or because I danced in my free time; the kids always found a reason to exclude and bully me. Back then I didn’t let it affect me and I didn’t change my ‘weird’ behavior, but now, twenty years later, I realize it did leave some scars.

What did you learn about yourself over the past years?

During the whole covid period I learned a lot about myself. In the beginning I saw this period as a negative and annoying thing but looking back it did bring me some really good things which I might have not realized if we didn’t get into this situation. Having the whole world stop and look back instead of constantly running and looking to ‘what’s next’. For me it gave me space to think about certain things in life, realizing who I am as a person, what I want and need from life and why sometimes I act the way I do.

It changed the relationship between me and my partner in crime. In the covid period me and my partner broke up because I got into a very dark place with myself. I had the idea I wasn’t on the right path in life and wanted to do everything by myself. This was mostly because I thought I couldn’t do things by myself due to build up insecurities.

In that period, of us not being together, I saw that my partner learned and discovered a lot about himself. He made me understand I didn’t have to do everything by myself and breaking up wasn’t solving my problems or issues. It made me realize I had to learn more about myself as well. Just like him I wanted to understand why sometimes I behave the way I do. For example, now I see that being bullied as a child affected me and caused an insecurity, I didn’t realize I had in me. After we got back together our relationship took another direction which I never thought would be possible.

Another thing I learned is that approaching things with a positive mindset is so much easier. We are the only ones who make our own lives hard by always thinking the most negative thoughts in different situations. Nowadays I’m trying to steer away from the negative and maintain a positive mindset.

You have a background as a dancer. How does this influence you as a DJ?

In various ways. Musicality was of course very important and because of this I already knew before I started playing how most of the music is built up and I’m aware of even the smallest change in music. In addition, it is almost a requirement to be very passionate about your job as a dancer. The competition was fierce, so you always had to give yourself 100% to get the best out of yourself. That drive has helped me to develop as a DJ, but it is also a pitfall because I am extra strict with myself. I notice every small (musical) mistake I make during my set, and I can be disappointed because of that.

A positive thing is the variety of music I have been exposed to during my career as a dancer. I also include those various music styles in my sets. During my sets I use musical influences which remind me of different moments in my life. An example is ‘Shift’ by Takaaki Itoh. Years ago, I danced a choreography to this. Now I play this track during my set when the time comes.

When and why techno?

I started with playing pop and ballroom music, but I always stayed away from the mainstream/popular tracks. I always wanted to inspire people with a different sound or surprise them with tracks they would have probably been forgotten. Especially in the beginning, mostly because I was still fully focused on my career as a dancer, DJing was just a nice side job for me.

It wasn’t until my first time in Berghain I got confronted with both house and techno on a completely different level. Getting a better understanding of the history and political side of music intrigued me and made me rediscover the music I listened to as a child. Next to that I got to experience what being queer meant to me. A judgmental free place where no one cares how others look and seeing people submerge into the music. It gave me a sense of freedom and liberation I couldn’t get enough of. From that moment on I knew I finally found my tribe. After years of feeling excluded, I knew this was a group I could fit in without having to fit in.

What has it given you so far?

It has given me an amazing group of people. A (friend) group with zero judgment and no room for negativity. A group of people who treat each other with honesty, respect, and love and perhaps most importantly, a continuous sense of support in whatever you do.

Especially in corona time, the (illegal) parties continued in never-ending afters. This brought me and my friends even closer together because time did not exist and there was much more room to talk about various topics. We had deeper and more honest conversations. Even with less known or total strangers, it is very easy to have good conversations because of the openness that generally prevails. In general, everyone within our queer techno scene has the same mindset that connects you somehow. This connection is one of the most beautiful things techno has brought me, and I am very grateful for everyone around me.

How does techno reflect your personality?

The first word that crosses my mind is freedom. I try to include the freedom I experience on the dance floor and/or in a club in my daily life. I try to hold onto the self-confidence that I experience in those clubs, in the places that are not immediately safe for me. The techno scene has taught me that I'm okay just the way I am. It has strengthened me to continue my individuality in places outside the techno scene. Whether it's walking down the street in a skirt or living by my own rules. Because techno and hedonism go hand in hand for me. I live by my own rules and do whatever makes me happy. But always with love and respect to everyone around me.

You’ve said you find it great to be a queer artist, because it allows you to be yourself behind the turntable without having to adept to heteronormative society. How does this help with your set?

When playing queer/techno parties I can relax my mind more and can fully focus on my set and the crowd. I know I’m not the odd one out and I don’t feel eyes staring at me because I might be dressed differently. Even if they don’t mean it in a bad way, it shouldn’t be a thing to begin with.

Are there parties you had to play where you had to adapt to heteronormativity? And if this happens, how do you handle it?

Yes, at a big festival where I had to play there was only one inclusive stage. I was wearing a skirt and as soon as I got on stage, I already felt people staring at me. People lift my skirt while playing, which completely set me off. I didn’t react because I was taken of-guard and concentrating on my set. I didn’t want to make a scene on the spot. The gig was a big deal for me back then and I really wanted to be part of the inclusion, make a difference, and set an example for others. Looking back, I wish I would have acted differently.

Do you have advice for beginning queer artists?

Be yourself regardless and have fun while you’re at it! Enjoy the ride and see where it might take you. Don’t put too much pressure on yourself and realize your set is about the journey and not about mistakes. I remember too well how I could beat myself up after a set making only one small mistake. That one second would completely take over how I would perceive my set and that is completely unnecessary!

How can we create safer and more inclusive dancefloors?

It all starts by the organization and/or the club. Booking an inclusive line-up, having a diverse group of people working at your venue/event, and a door-policy reflecting your values as an organization. Sometimes you must be exclusive to be inclusive. Of course, you can’t always guarantee a safe place, it only takes one person to screw it up, but it is all about how you as an organization or venue act in those situations. Next to that we should not forget that we as visitors have a responsibility as well.

Organizations should stop using only the big names and start booking local DJs who are a minority. Ici Sans Merci (promotor Radion) is a great example of this. Another one who uses his platform the right way is Junior van Keulen (promotor 3x NYX). With 3x NYX he created an amazing platform where he gives a stage to upcoming DJ talent and new performers. It’s also the place where I took my first steps as a DJ.

You’ve said you are aware of your privileges as a queer white male DJ. How do you use your privilege to make the industry more inclusive? And can you give examples?

I only play at parties where inclusion is important, and the idea of the party must be in line with my own standards and values. My main rule is a diverse line-up. Of course, sometimes it can happen that the line-up is small and there isn’t space for the most diverse line-up. Looking at previous parties you already see if they programm their parties in an inclusive way. If this isn’t the case, I always try to make the organization aware of it.

It has happened a few times that I suggested the organization change the line-up in a more inclusive way and until now they’ve always listened and made a change if needed. I have the feeling most of the time it isn’t even intentional but comes from a lack of awareness. In those moments it is up to us to step up or even to give up our spot to female DJ’s or other minorities within the scene.

It also happened that a party I was supposed to play posted an artwork that wasn’t reflecting an inclusive atmosphere. It was too much focused on the gay scene, giving off a wrong message about body positivity. After contacting the organization about it and explaining my issue with the post, they immediately took it off and talked with the person in charge of their social media. Those little chances are important to me and create change in how people are aware of certain things.

It is also very important as a white DJ to be aware of the tracks you play and tracks you shouldn’t play. I play a lot of Detroit and Chicago techno tracks made by black producers. I am a huge fan of Robert Armani’s work but also Mike Dearborn, DJ Rush and DJ Skull. Knowing the history behind the music and being aware where techno comes from is a must!

Is there an unforgettable moment you like to go back to?

There are so many unforgettable moments, but one that I still hold very close is CSD 2019 in Berlin. This is where I met one of my best friends during a 32-hour dance session in Berghain. We connected on the dancefloor together with my boyfriend and another one of our best friends. We’ve been inseparable ever since! Another moment I would love to relive is a set of Eris Drew at Pano. I got so hot dancing that I ended up taking off the underwear that I was wearing underneath my skirt. The set was soooo much fun and I had such an amazing time that I ended up swinging the underwear above my head while dancing.

Our tagline is ‘echo of your essence’, what comes to mind when you read this?

To use your voice through music.

Like with all our artists' interviews we asked Spikey to name three all time favourite tracks.

Razor’s Edge - Sleepless (Barrel Beat Mix)

I heard this track during one of my first trips to Berlin where I first encountered the rave scene. I still have certain images hearing this track. It gives me a very warm feeling and a feeling of coming home.

The KGB’s - Techno Gym (Hardstyle Guru Remix)

This track equates to the endless days/nights I spent in my house during covid. Where we had parties for days in which I got to know great people from the Amsterdam rave scene and spent more time with my friends than ever.This was the closing track of my first set after covid.

Hitchhiker, Dumont - Journey Of Love (Long Space Rubber Mix)

I used this track as an encore during my closing set for Kinky Sundays Pride Edition. After a long time struggling with my mental health in the nightlife, I was being able to enjoy playing in front of an audience. I was finally able to play a complete set in which I could switch off the strict voices in my head. I loved every second and the result was bizarre. After four hours I played my last track ‘VCL - Acid drop’. I was so blown away by all the love I received so I decided to play ‘Journey of Love’ to close the day/night once and for all. I have been watching everyone with tears in my eyes for these seven minutes. Everyone letting go of so many emotions after the pride in Hamburg and of course after this successful edition of Kinky Sundays.

Text Lie Kietselaer