Truthlive Dives Deeper Into a Sound Built on Advocacy and Defiance
We sat down with the San Francisco-based DJ, producer and writer to discuss his latest single, how he weaves meaningful societal messaging into his music, his time as a community builder, and lots more.
We sat down with the San Francisco-based DJ, producer and writer to discuss his latest single, how he weaves meaningful societal messaging into his music, his time as a community builder, and lots more.
Beneath the spectacle of geopolitics and power struggles, it is often ordinary people who are left in the middle of these high-stakes chess games, important factors like justice, freedom, and peace and collective well-being are often pushed to the margins. It is within this wider climate that Truthlive’s latest single, ‘Resist,’ finds its urgency and meaning.
Evan Phillips, the creative force behind the moniker Truthlive, understands that music has never been detached from the realities shaping the world around it. “A lot of artists don’t like to talk about it, but art and music are inherently political, especially dance and electronic music, which were born out of oppression and shaped by counterculture,” he says. It’s a sentiment that sits at the heart of ‘Resist,’ a track that serves as a statement about the role music can play in times of uncertainty.
Sonically, ‘Resist’ sits between the darker, harder EDM thrust, blending punchy syncopation with rhythmic complexity that nods to both underground dancefloors and forward-thinking beat culture. The idea behind ‘Resist’ can mean many things, and for Truthlive, it’s by preserving joy, making art, connecting with community, and coming together on the dance floor, united by music.
Across the past year, Truthlive has refused stylistic confinement, shifting effortlessly from warehouse-minded intensity to smoother, nuanced grooves. That versatility feeds directly into the ethos behind ‘Resist,’ a track that feels like a culmination of the many directions he has been exploring, while also reinforcing the deeper ideas that have long shaped his work. Beyond his work as a DJ and producer, Truthlive has also built a reputation as a community-minded figure within the broader electronic ecosystem as a label head, writer and independent media voice. Through these channels, he has consistently championed dialogue, collaboration and the importance of maintaining independent spaces for artists and audiences alike.
Following the delivery of such a powerful, timely message, a brief overview of the single wouldn’t suffice, since we were eager to dig deeper into the ideas and experiences behind it. From the inspiration and nuances that shaped ‘Resist’ to the realities of running a label and navigating life as an independent media voice, we were keen to dig a lot deeper. So, we asked Truthlive for his time, and he graciously agreed. It was time for a chat.
TFword: ‘Resist’ feels like a pivot point between the darker club force of ‘Going Up’ and the groove-led warmth of ‘Surrender.’ At what moment did you realise this track was carving out its own lane?
TRUTHHLIVE: The song was conceptually built around the robot voice vocal sample saying “resist.” Instantaneously, I heard 808s, bass, and old-school electro elements. The basic direction was immediately clear to me. Later in the process, some more modern sound design came into the picture.
TF: How did ‘Resist’ first come about? Was it sparked by a specific idea, rhythm experiment, or emotional response to the current climate?
TRUTHLIVE: Yeah, like I was just saying, I came across the sample and it was one of those instant-clarity things, at least sonically. I think I was drawn to the vocal sample thematically because of everything going on and my general day-to-day participation as a human more than as an artist. The concept of resistance is ever-present as a necessary pushback to the conditions we live in.
TF: How long was the track in the works from the first demo to the final master? Did it evolve significantly over time, or did it arrive fully formed?
TRUTHLIVE: It honestly did sit for a while. Definitely a few months. The crux of it was created quickly, and the OG demo form is very resemblant of the final. I originally wanted to build the arrangement around DJ scratches. I never got around to getting the cuts recorded and gave up on that concept. I would have liked to have gotten the song done and out sooner in this climate, but better late than never. It’s still quite relevant.
TF: The broken beat energy and syncopation stand out immediately. Were you consciously exploring new rhythmic territory, or did the direction emerge intuitively in the studio?
TRUTHLIVE: I grew up in a time and place where Hip Hop, Freestyle, Miami Bass, Old School Electro, and Electronica all had influences on me. I knew I wanted a big, boomy 808 backbeat as the primary driver. 808s usually feel better when syncopated but also spaced out, and it naturally lends itself to using more rhythmic variations in those gaps to create a groove together. I’ve had phases in my development where I would never use any straight rhythms, none, and other phases where everything is four-on-the-floor. I tend to lean four-down now, producing mostly House in my sessions, but it’s not a departure for me creatively to go deeper rhythmically. It’s just a matter of what fits the vibe.
TF: There’s a strong sense of momentum in the track without sacrificing melodic clarity. How do you strike that balance between rhythmic complexity and accessibility?
TRUTHLIVE: Shit, I don’t know. I have never consciously framed it that way. I suppose my process may naturally get that result. I usually make one loop, no built-out arrangement, and max it out as full as possible with as much playing at once until I feel it’s too busy. I strip it down and arrange from there. Often, less is more, and my OG loop has lots of usable things but also unnecessary layers. I’ll find the right combination for the main loops to sequence, and then I have the other tools left to play with, bring in, and take out.
TF: You’ve been vocal about the idea that dance music is inherently political. What pushed you to make that message more overt with Resist?
TRUTHLIVE: I can’t say I was deliberately working from a place of telling myself I needed to make a political song. I am very much engaged with the world sociopolitically. Hearing the vocal sample of “resist” just happened and aligned. Just as music is inherently political, so am I.
TF: When you talk about resistance through joy and community on the dancefloor, what does that look like to you in practice?
THRUTHLIVE: It can look like a lot of things. It can be practiced alone at home, but there is something special about the energy of a dancefloor with friends and strangers. Not to get too woo-woo about it, but we are indeed creatures of frequency. Shit, everything is frequency, quite literally. Coming together to be lost and immersed in music is more than political, it’s spiritual. That vibe is enhanced by community, or at least it can be. Harmony applies to crowds and their energies, not just the musical notes being played.
TF: Do you ever worry about alienating listeners by being explicit about political themes, or do you see that as an essential responsibility of the artist?
TRUTHLIVE: Nope. Not even in the slightest. If someone feels alienated by it, I think that says more about them than it does me or the role of art. I would encourage anyone feeling that way to self-reflect and honestly examine what that is about for themselves. I do think we all have a responsibility as people, beyond artistry, to try to leave this world better than we found it, and that effort and intent can take many forms. It is not one-size-fits-all. Some forms are more obvious, some are more subtle. We all have different lives and get to choose for ourselves what feels right and valuable. But to simplify my answer, anyone generating income from art and music, especially art and music birthed by Black, Brown, Queer, marginalized, and oppressed folks, absolutely has a responsibility to protect the people who have given them this path. It’s very selfish and cowardly not to do so, especially in charged and dangerous times like these.
TF: Historically, electronic music has been shaped by counterculture and marginalised communities. How do you see your own work connecting to that lineage?
TRUTHLIVE: Through social, musical, and activist work, I have been a guest in so many different communities over the years, and in some I’ve become a welcomed guest or even an adopted member, so to speak. I’m not perfect and I have blinders like anyone else, but I do feel able to move through different spaces in a way that feels authentic to myself while remaining respectful of the nuanced cultures I’m immersed in. I still have a lot to learn, but I’m comfortable navigating many environments. That said, I also recognize that I carry a lot of privilege and advantages. The tolerance extended to me and the padded safety bubble society provides, rooted in patriarchal and white supremacist systems, gives me options that others may not have.
I can speak more boldly and more freely without the same level of risk, which means I should be willing to push to, and sometimes past, those lines of risk. The world and its unfairness has allowed people like me, in a surface-level demographic sense, to have disproportionately represented voices, and I want to use that opportunity to do what’s not just good for me but good for others. I am profoundly grateful for my life and experiences, and I believe we all deserve the opportunities I’ve been afforded. I’m not sure that fully answers your question directly, but ultimately, I’m here to play my part in protecting and uplifting counterculture and marginalized communities.
TF: You’ve said your process is driven by feeling rather than genre expectation. In a scene that often rewards consistency, how do you stay confident in rejecting stylistic confinement?
TRUTHLIVE: I have been getting asked that a lot lately. My confidence isn’t high when it comes to whether I’m using the wisest strategy to grow an audience, but my confidence is high in my ability to make a lot of good music and, through its quality, find an audience who gets it and who gets me. Ultimately, I don’t want to get bored or feel trapped or limited. A big part of creation is also about personal mental health and wellness. My confidence is in myself to be myself, and in the truth that most people have dynamic tastes as listeners. It’s the delivery mechanisms that are narrow, not me, not them. Now we just gotta find each other within that bullshit confinement.
TF: You first gained traction as co-founder of Interdependent Media. How did building that platform shape you as both an artist and a community builder?
TRUTHLIVE: Wow. Yeah. Well, my full answer would be a whole interview unto itself. The shorter version is that I went through K-12, college, post-grad, and master classes in the music industry holistically through everything I was exposed to with iM. I made some huge mistakes, and we had some great wins. I learned more from the mistakes. The main thing I learned ties back to the prior question. I will not conform to any degree that makes me unhappy as a person or artist. Compromise, yes. Fully restrict, no. I did that before. It was succeeding but not working, if that makes sense. As for building community, being responsible for groups of people is an honor, and honor comes with responsibility. I will just leave it at that for the sake of brevity. Great question, though. I could write an essay about it.
TF: Does running a label influence how you approach your own releases, either creatively or strategically?
TRUTHLIVE: I learned a lot from running a label. More so, I learned a lot from the people operationally working with me who were really running the label, especially from my friend and mentor Ian ID Davis. It influences both creativity and strategy. But right now, my strategy is the creativity. I am not currently doing all of the best practices to market and promote music. I am focused on building catalog through quality control and range. There are lots of things I know will help that haven’t yet been put into play. It’s a lot to take on alone or with very small indie label partners. I am working toward getting more help. It feels like it’s right around the corner.
TF: What’s your vision for the label moving forward? Are there particular sounds or voices you’re looking to platform right now?
TRUTHLIVE: My Own Drum is just a vanity label right now for self-releases. There is no real operational effort behind it. I don’t plan to put out other artists under the imprint, but I am going to formalize more components of it to allow the opportunity for it to develop into a full-fledged label like Interdependent Media was.
TF: Does ‘Resist’ signal a broader sonic direction for what’s coming next, or is it another standalone moment in your evolving catalog?
TRUTHLIVE: I would probably be better off if I knew the clear answer to that question. Right now, it just is what it is. I do want to keep some consistent level of bass-oriented tracks with higher energy, as I know I will have the smoother vibes represented by default.
TF: In this current cultural moment, what do you think electronic music needs more of, and how do you plan to contribute to that?
TRUTHLIVE: Let me start with what we need less of. Less gatekeeping for stupid reasons that don’t really protect the craft. Less narrow-minded programming that encourages DJs to have sets that sound so similar and producers to make songs stuck in formulaic rules. Less mega-event company influence and control over events and bookings. Conversely, more risk-taking. More local and regional promoters acting independently at a greater scale in their own communities. More open-mindedness about genres and expectations from producers and DJs. Let’s just do dope shit and respect the culture.
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