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Just as perfumers have been known to insure their noses for millions of dollars, a musician\u2019s ears are their most prized possession. For a DJ, hearing is crucial for measuring every drop, every build-up, every blend. It\u2019s hard to imagine the panic Alesso<\/u><\/a> felt, then, when he woke up one morning to an unrelenting, high-pitched ringing in his ears at a \u201c10 out of 10\u201d on the volume scale.<\/p>\n When PAPER<\/em><\/em> speaks to him, he\u2019s fresh off playing Ultra Music festival in Miami, a feat he didn\u2019t think was possible while his tinnitus was at its worst in December of last year. The show itself is a retina-blasting spectacle, with flames pumping frequently into the sky and a finale of ruby-red fireworks. Alesso delivers a nostalgic blend of 2010s-era progressive house and trance, bringing out vocalist Nadia Ali for his strobe-synth remix of \u201cPressure,\u201d a song that was inescapable in the summer of 2011. He drops remixes of Robert Miles\u2019 classic \u201cChildren\u201d and blends a Four Tet collaboration with The Chemical Brothers, connecting the dots between old and new, underground and mainstream. It\u2019s the work of a seasoned professional who can trigger highs in his audience with one swipe of a fader. When he reaches his hands above his head, a sea of people clap in sync.<\/p>\n Before the show, Alesso posts a video of himself hanging out backstage at Ultra 12 years ago, the main discernable difference being his lack of facial hair. \u201cHopefully my interview skills have improved since then,\u201d he jokes. The Stockholm-born DJ came of age in the epicenter of the EDM explosion, earning a mentorship from Swedish House Mafia\u2019s Sebastian Ingrosso at age 20. \u201cEverything felt surreal,\u201d he says about that era of his life. \u201cIt felt like I was dreaming all the time, to be honest.\u201d He\u2019d spent happy teenage years raving to the Swedish trio of Ingrosso, Steve Angello and Axwell, so having the co-sign felt particularly validating. Even the link-up had come about in a strangely mythical way: he met Ingrosso\u2019s father at a caf\u00e9 in Sweden, handing him a CD copy of music he\u2019d produced on a laptop that he sold his scooter to buy.<\/p>\n \u201cIt was one hell of a journey,\u201d Alesso says, although it forced him to accelerate his career quickly, essentially training on the job. \u201cI was learning how to DJ while I was DJing. I knew the basics, but I didn’t get good until a couple years in, in my opinion. I barely owned equipment \u2014 I made music, and then they were like, ‘Oh, here\u2019s a show if you want to play.\u2019 I needed to practice, but I couldn’t afford the expensive equipment. So I would just be like, \u2018I’ll just learn the more I DJ.\u2019 And watching other people DJ too, I learned a lot.\u201d<\/p>\n <\/p>\n What followed was a snowballing of success: a spot on the DJ Mag Top 100, touring with Madonna when he was 21, a BBC Essential Mix. One of the first tracks he produced, with Ingrosso, reached No. 2 on the Beatport charts: the big room \u201cCalling (Lose My Mind).\u201d Over a decade on, the track is still a certified fan favorite, with a colorful synth hook that crowds chant like lyrics. When Alesso first started out, he maintains, not everyone appreciated a four-to-the-floor drumbeat. \u201cIt was not common \u2014 it was weird to like dance music. Now, I don\u2019t think I know anyone that doesn\u2019t listen to dance music in some shape or form.\u201d<\/p>\n Alesso wears the uniform of many arena-filling DJs: slicked-back hair and monochrome outfits that frequently ripple with designer logos. Dance music stars like him are huge businesses of their own. His Instagram page is brand deal upon brand deal, bookmarked by envy-inducing scenes of Bali islands, F1 trips, film premieres and alpine snowboarding. Business is booming, with the global electronic music industry ever-growing. It\u2019s set<\/u><\/a> to hit $24.5 billion by 2032, from $12.02 billion last year. \u201cThe production is just on another level these days,\u201d he says about watching dance music\u2019s explosion in the mainstream from a front row seat. \u201cNow you have LED screens that are the size of a football field. Stages like Tomorrowland, Insomniac… they\u2019re just out of this world. It feels like you\u2019re stepping onto another planet.\u201d<\/p>\n More recently, Alesso has been releasing music in the pop music space, such as the country-inflected \u201cI Like It\u201d<\/u><\/a> and \u201cWords\u201d<\/u><\/a> with fellow Swede Zara Larsson. Yet last year, he launched his own label \u2014 Body Hi \u2014 as an opportunity to showcase his interest in more underground sounds. His Hypnotize <\/em><\/em>EP includes the minimal, sharp-synthed \u201cZig Zag,\u201d while the title track features the low rumblings of tech-house. The release concludes with a vocal sample from Corona\u2019s iconic \u201cRhythm of the Night,\u201d while another collaboration with John Alto, \u201cLonely Heart,\u201d borrows from YES\u2019s melancholy original. It\u2019s indicative of his own broad musical tastes that span \u201980s music, Jon Hopkins and Hans Zimmer. On the cards for Body Hi is a release by Australian brother trio Sentinel, and he sees the label as an opportunity to do what Ingrosso did for him back in the day. \u201cI love going back and forth, and building a structure of when a song is going to come out, when we’re going to premiere it,\u201d he says of his progression into label head. \u201cPeople send so much music to me, and I could play it to support it, but [it\u2019s nice] to have a home to release it.\u201d<\/p>\n <\/p>\n After a flight to Argentina late last year, Alesso suddenly found he had a ringing in his ears, which surprised him as he hadn\u2019t just come from a show. That night, \u201cit exploded,\u201d he says. \u201cOnce it happens, you feel like you\u2019ll never be the same. I’m always going to have this insane disturbance,\u201d he says. People respond to tinnitus differently, but there is an established link<\/u><\/a> between the condition and stress. Friends and tinnitus sufferers Martin Garrix and Dom Dolla \u201creally stepped up and told me everything\u2019s going to be fine,\u201d he adds. \u201cI read a quote that said, \u2018If you don’t take time for your health, your body’s going to do it for you, and it will come at a very inconvenient time.\u2019 I was doing so many shows, not really protecting my ears and doing what was right for me, mentally and physically. And then, boom, this happened.\u201d<\/p>\n He cancelled shows in Australia and Saudi Arabia before axing his entire world tour, citing vague health issues at the time. It was the first break he\u2019d taken in 14 years. One video<\/u><\/a> posted to Instagram in August 2023 sees clips of him flitting from festival to festival, club stage to club stage, napping aboard a private jet with The Chainsmokers. \u201cTaking guesses for the amount of sleep I got,\u201d he captioned it. Post-tinnitus struggles, Alesso\u2019s schedule has changed dramatically, reducing the number of shows. He wouldn\u2019t class himself as fully sober, but he\u2019s not drunk alcohol in five months, he says, in a bid to optimise his health. \u201cSleep is so damn important, and when you drink, you don’t get as good sleep. I’m way more focused and I do everything I can to make sure my next day is as good as it can be,\u201d he says.<\/p>\n In this past, he\u2019d been open about finding life on the road lonely, particularly in terms of having a romantic relationship. Last year, Alesso proposed to his girlfriend, the model Erin Cummins, at Lake Como in Italy. He\u2019s tight-lipped on specific wedding plans, but he assures us he won\u2019t be DJing at his own nuptials. \u201cI’m gonna just enjoy the night, and dance with my wife and friends.\u201d<\/p>\n This year Alesso is preparing to play a select handful of mega-stages, including EDC Las Vegas in May, a headline show at the newly reopened Brooklyn Mirage in August, and the Quasar Stage at Coachella for a three-hour set with Gorgon City.<\/p>\n <\/p>\n Congrats on playing Ultra and getting back on stage. How was that experience for you?<\/strong><\/p>\n Oh, it was incredible. And after taking a break from touring… I did some shows before this, but this was the first big one, live-streamed and all, with a lot of attention, and I premiered new music. I was a little nervous, but it went amazing. I love Miami. I love Ultra, it\u2019s so iconic, this festival in the middle of the city. <\/p>\n The first Ultra you played was in 2013. What do you remember about that show?<\/strong><\/p>\n I remember I had the most ridiculous earrings. [Laughs<\/em><\/em>] I remember Swedish House Mafia was there, too. We hung out and made music, and were around each other all the time. Twelve years ago, it\u2019s been a journey. Miami is weirdly the same, just with a lot more people now. Hopefully my interview skills have improved since then.<\/p>\n Those early days must have been so fun, because your career grew quite quickly. How did it feel at the time?<\/strong><\/p>\n Everything felt surreal. I was dreaming all the time, to be honest, because making music, being around Swedish House Mafia \u2014 who I looked up to so much \u2014 to work with them and play Ultra was surreal. There wasn\u2019t a day I didn\u2019t wake up with a smile on my face. I was so young, but I got connected with the right people. It was one hell of a journey.<\/p>\n You had to grow up quite fast, I\u2019d imagine.<\/strong><\/p>\n Yeah, I was learning how to DJ while I was DJing. I knew the basics, but I didn\u2019t get good until a couple years in, in my opinion. I barely owned equipment.<\/p>\n <\/p>\n Was it a fake it \u2018til you make it kind of thing?<\/strong><\/p>\n No, it was more that I came really prepared. Now I still come prepared, but if there’s things I want to move around or do as quick transitions, I know how to do that. Before I would just stick to what I knew, to not mess it up and do a horrible beatmatch.<\/p>\n What\u2019s the biggest thing that\u2019s changed for you since DJing in those days?<\/strong><\/p>\n The production is just on another level these days. Now, you have LED screens the size of a football field, and on these huge stages, it feels like you\u2019re stepping into another planet. The scale is much more massive. And back when I started, it was not common \u2014 it was weird to like dance music. Now, I don\u2019t think I know anyone that doesn\u2019t listen to dance music in some shape or form.<\/p>\n It must have been incredible for you to be on the frontlines while EDM became this huge beast in the US.<\/strong><\/p>\n Yes \u2014 to be a part of the scene here, when the big electronic wave came to the US, before it was very underground…to be there to play the festivals, I couldn’t believe it. A lot of people from Europe want to make it in the US, and to be able to go as a 19-year-old and play shows and festivals, it was a dream to make it over here.<\/p>\n <\/p>\n What prompted you to start your own label, Body Hi?<\/strong><\/p>\n It was time for me to start a new chapter where I can discover and support other artists, kind of like what people did for me in the beginning. People send so much music to me and I didn\u2019t know what to do [with it]. I could play it to support it, but to find a home for it, to release it, to create an experience with this music, I felt like I needed a home for that. It’s new for me, but I have 15 years of experience, and I know what works for me and my music. I want to put out great music that is not necessarily what you hear every day.<\/p>\n How do you assess what a great demo is?<\/strong><\/p>\n I go with my gut feeling. If I hear something that has potential, I’ll go, \u201cYou need to work on this.\u201d Or sometimes an idea will have a small section that I really like, so I\u2019m like, \u201cRemove everything else, let’s focus on that.\u201d Sometimes people make music that is just flawless and you can put it out right away. I love doing that. I love going back and forth, and building a structure of when the song is going to come out, when we’re going to premiere it. People are very engaged online with new music, especially music that is meant for the stage.<\/p>\n Do you like the social media, online aspect of being an artist these days? Interacting with fans and laying groundwork for new releases and shows?<\/strong><\/p>\n To engage with fans is everything, and these kids \u2014 well, they\u2019re in their twenties, the ones I signed on the label \u2014 they\u2019re fans of what I do and it\u2019s mutual. I love their music, they love what I do and, to create something together, it\u2019s the best thing ever.<\/p>\n You\u2019ve just released <\/strong>\u201cSurrender\u201d<\/strong><\/u><\/a> with Becky Hill, which has a very euphoric sound.<\/strong><\/p>\n That’s exactly what I want to hear: euphoric. I love to make music at that tempo: 140 BPM. It’s kind of trance, but energetic music, as you can probably understand from my catalogue, and it just felt right to do that kind of record again. And Becky Hill… there\u2019s not a single dance producer that wouldn’t love to have her on a record, because she has such a powerful voice. When you make dance [music], you need someone that can come through the mix there, because there’s a lot of stuff happening in dance music, it’s a lot of elements. It’s a pretty hectic record. You really need someone who can carry their voice through the whole song and not drown in it. You can easily drown in dance music if it’s not the right melody or vocalist, and she does it perfectly. Zara Larsson is another good example of how big vocals work so well on dance music, especially these bigger, euphoric songs.<\/p>\n <\/p>\n What\u2019s the reaction been like to the track?<\/strong><\/p>\n Amazing. Every time you test out new music, it can be a little awkward, especially one where there\u2019s lots of stuff happening. But people seemed to be enjoying it, and it felt great [to play].<\/p>\n Do the crowd reactions to some of your music ever surprise you? Like a track you think isn’t gonna get people moving does, and vice versa.<\/strong><\/p>\n That happens for sure. It’s fun, but also scary sometimes to test out new records because you have, like, one hour on the stage, and you want to make the most of it. When you play something that’s completely new, you don’t know how it’s going to be received. Sometimes it’s a home run and sometimes it’s like, Huh, probably shouldn’t have played that<\/em><\/em>.<\/p>\n Do you still get nervous before big shows?<\/strong><\/p>\n I do a little bit. When it\u2019s live-streamed, especially, because people will notice if you mess up. <\/p>\n Do you have any pre-show rituals before heading on stage?<\/strong><\/p>\n It would be so cool if I did 20 push-ups, but I don’t. I just want to be alone to focus on the show, because if someone\u2019s talking in my ear and trying to get my attention right before going on stage… I try to relax and not do anything that will spike my heart rate. I do some breathwork, and then go up on stage and take it all in. When I get nervous, I remember that everyone\u2019s here to have a good time. You can’t really mess it up unless you go completely off and just play another genre, you know?<\/p>\n What about other rituals in your daily life?<\/strong><\/p>\n My lifestyle is definitely different than it used to be. With age, you have to think about it a lot more. I\u2019ve gone through some health difficulties the last couple of months with my ears and that made me really focus on health. I haven\u2019t had a drink for five months, because I\u2019m trying to optimize my health and my brain. Sleep is so damn important. Taking care of my diet, working out, being with my friends and family. I did that in the past, too, but now I turn it up a lot more.<\/p>\n <\/p>\n I\u2019m sorry to hear about your experiences with tinnitus. Was it a situation where you just woke up one day and experienced this really loud ringing?<\/strong><\/p>\n I flew to Argentina and thought everything was fine. I got to the hotel and I was like, Whoa, why is it ringing so much?<\/em><\/em> It wasn\u2019t after a concert or after I\u2019d been out. I tried to fall asleep and it just exploded that night. <\/p>\n What was it like dealing with that?<\/strong><\/p>\n You know, it\u2019s actually very common in the music industry and in the world. There\u2019s no cure, so lots of people freak out about it. First things first: it\u2019s a lot better, I can live my life now. I sleep well. I\u2019m in a very good place, thankfully. It\u2019s hard to know exactly how it happened, but basically it\u2019s a combination of loud music, not wearing ear protection and stress. <\/p>\n I took it as a warning sign right away. I was like, I can\u2019t do what I\u2019ve been doing<\/em><\/em>. The pace was too fast, so I slowed down. I took a couple of months off to do everything I could to feel better mentally and physically. It took months for my brain to not care as much about it. In the beginning I couldn\u2019t even concentrate. I couldn\u2019t talk to people. All I would think about is the ringing. But time was my friend. I cut out alcohol, sugar, worked out a lot, tried to be outside a lot, kept my mind off it. Not rocket science, really \u2014 we all know what to do in a crisis. I just tried to optimize everything I could, which meant taking a break from shows.<\/p>\n I\u2019ve talked to a lot of DJ friends with the same issue. Martin Garrix and Dom Dolla really stepped up and helped me, and told me everything\u2019s going to be fine. Because I kind of felt like, I\u2019ll never be the same, I\u2019m going to have this insane disturbance my whole life<\/em><\/em>. My advice is to talk to someone who has gone through it and is better today.<\/p>\n Did you think you might have to abandon your career or do something completely different?<\/strong><\/p>\n Oh yeah definitely, it raised big questions for me. I was like, How am I gonna make music again if I can\u2019t sleep? How am I gonna tour?<\/em><\/em><\/p>\n <\/p>\n Have fans reached out to offer support?<\/strong><\/p>\n People have been so kind and understanding. In the beginning, I wasn\u2019t sure if I wanted to share it, because it\u2019s very personal. But then people were asking and getting worried. I was reading that people thought I was dying. So I was like, you know what, I\u2019m just gonna share this bump in the road. The biggest support for me was my fianc\u00e9e [Erin Cummins]. She really helped me a lot.<\/p>\n Are there any wedding plans in the works?<\/strong><\/p>\n It\u2019s in the pipeline, for sure. We are working on where we\u2019re gonna do it and when it\u2019s gonna happen. We want to make sure it\u2019ll be in a memorable place and that people can come. <\/p>\n I imagine music will play a big role in the night, as well.<\/strong><\/p>\n Yeah. I\u2019m not going to DJ at all, I\u2019m just gonna enjoy the night and dance with my wife and friends.<\/p>\n <\/p>\n Photography: Tre Crews<\/a> <\/br><\/p>\n Photo assistant: Natasha Peterson<\/a> Editor-in-chief: Justin Moran Editorial producer: Angelina Cant\u00fa<\/a> Just as perfumers have been known to insure their noses for millions of dollars, a musician\u2019s ears are their most prized possession. For a DJ, hearing is crucial for measuring<\/p>\n<\/h3>\n
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Styling: Joe Van O<\/a>
Grooming: Jenny Sauce<\/a>
Hair (Erin): Marin Mullen<\/a>
Makeup (Erin): Amelia Jackie<\/a>
Set design: Liz Mydlowski<\/a>
<\/em><\/p>\n
Styling assistants: Mo Johnson<\/a>, Joyce Esquenazi Mitrani<\/a>, Maleia Miller<\/a>
Production assistant: Kaiya Lang<\/a><\/em><\/p>\n
<\/a><\/em>Managing editor: Matt Wille<\/a><\/em><\/p>\n
Music editor: Erica Campbell<\/a>
Story: Felicity Martin<\/a>
Cover design: Nikita Savinov<\/a>
Publisher: Brian Calle<\/a><\/em><\/p>\n","protected":false},"excerpt":{"rendered":"