IN CONVERSATION WITH WILL SASS

interview by JANA LETONJA
photography OLLIE GROVE

Producer and DJ Will Sass’s sound, an intricate blend of genre-expressive production, heartfelt songwriting, and palpable textures, defies easy categorisation. His debut EP has garnered over 2 million streams within its first three months. His reach now extends beyond the US, and he has upcoming performances at the likes of SXSW 2025 London showcase and further international performances lined up. His single ‘Happiness’, with Kamille, drops on 4th April.

Your new single ‘Happiness’ with Kamille comes out on 4th April. Tell us more about the inspiration, and how this collaboration with Kamille came about.

Kamille and I initially got together to record ‘Into the Blue’. That session turned out to be incredibly productive, and we ended up recording five more demos, including ‘Happiness.’ The vibe in the room was just right, and as soon as I played the chords, Kamille immediately started singing ‘I just want happiness in my life.’ That line hit us both hard, it was like lightning in a bottle. We knew instantly that we had stumbled upon something special.

Kamille drew from a really personal place when writing the verses. The lyrics reflect a time when she was going through a rough patch, and somehow, creating this song turned into a moment of catharsis for both of us. It’s weird but beautiful how a track born out of darker feelings can end up feeling so uplifting. Her words are so moving and powerful that, honestly, I sometimes sneak off during a night out just to listen to it. It gives me this warm, comforting feeling and brings me back to that day in the studio.

The teasers for the single have created a major hype amongst fans, and the club mix will be also coming out later in the month. What do you hope fans take away from the single, and also from the club mix?

I think the message of the song is something everyone can connect with on a personal level. Kamille and I have our own unique bond with it, but I really hope listeners find their own meaning and feel the positivity we aimed to share.

From a production perspective, the track is designed to feel like it’s constantly evolving. It builds throughout, with new elements weaving in and existing ones transforming, giving it this dynamic, warm expansive quality. For the club mix, I wanted to take that energy even further. I sped it up, added more percussion, and really pushed the rhythm to make it pop when played out live. It’s got that extra punch that makes it stand out on the dance floor, and I’ve seen firsthand how much the crowd loves it. It’s definitely become a favourite during my sets.

You were born and raised in New York City, a place known for its eclectic and vibrant music scene. How did the energy of the city shape your sound and your approach to music production?

Growing up in New York City has had a massive impact on my sound and creative process. The city’s energy is unlike anywhere else. It’s chaotic, diverse, and constantly evolving. Going out in Manhattan and Brooklyn, experiencing the underground scenes, and just absorbing the eclectic mix of sounds has definitely shaped my approach to music.

A lot of my tracks, especially the 2AM and 5AM mixes on my extended EP1, were born out of those late-night moments. Sometimes it’s after a night out that didn’t quite hit the mark, and I’d come home wanting to create the music I wish I’d heard. Other times, it’s the inspiration from an unforgettable rave that leaves me thinking “I need to capture that feeling in a track.”  I recently started sampling bits of records I find while crate digging into my music to have parts of New York in the music. Those moments drive me to translate that raw, immersive energy into my music. I think that’s why my sound is a blend of various influences. I’m always picking up on new vibes, sounds, and rhythms. The city never stops moving, and that spirit definitely lives in my music.

There’s also a grit New York has that pushes me creatively. It’s not always easy, but that hustle keeps me motivated. Whether it’s crafting a track that feels like a voice memo of the bass in a club I recorded on a night out or the soulful melodies of a Jazz bar in the village, I’m constantly inspired by the city’s rhythm.

You started DJing at basement parties and underground clubs, building your craft in the shadows of music legends. What were some of the most important lessons you learned during those early years in New York’s music scene?

I started DJing when I was just a kid, long before I really got into music production and songwriting. I wasn’t guarded about what I played, and I took a lot of risks. I think that openness to experimentation was crucial in shaping my style. Those early days of playing basement parties and underground clubs in New York taught me a lot about unpredictability and adaptability. Sometimes you’d step into a space expecting one vibe, and it would completely shift based on the crowd’s energy. Those underground sets were raw and unfiltered, and they pushed me to explore different genres and experiment with unexpected combinations. It made me realise that I didn’t have to box myself in. That mindset stuck with me as I moved into production. One of the most valuable lessons I learned was that DJing can be genre-less. It’s about blending sounds and creating a journey, rather than just sticking to one style. 

Once I started honing my skills as a producer, DJing became my live form of expression, a way to translate my studio work into a dynamic, immersive experience. Even now, I love to keep my sets fresh and unpredictable. I often play different versions of my tracks than what you’d find on Spotify, just to give the audience something unique that they can’t get anywhere else. I see it as a way of keeping that raw, spontaneous energy alive, even as my sound evolves.

Those basement parties also taught me the value of connecting with the audience on a personal level. In such intimate settings, it’s about building a shared experience rather than just playing a set list. That’s something I carry with me to this day, whether I’m performing in a small club or on a bigger stage. I want every set to feel like a unique moment that can’t be replicated. Looking back, I think those early DJing experiences in New York shaped not only my sound but my entire creative philosophy. It’s all about risk, spontaneity, and staying true to the music I love while also keeping the crowd moving.

You’ve managed to blend various genres into your music, combining electronic production, analog warmth, and evocative lyricism. How do you decide which elements to bring into each track, and what do you think makes your sound unique?

Honestly, I just follow what feels right to me. My creative process isn’t about fitting into a specific genre, it’s more about capturing a feeling and letting the track evolve from there. Electronic music has so many sub-genres, and I love borrowing elements from each of them. I draw a lot of inspiration from DnB, House, Ambient, Trip hop, and Afro-house. I think blending these influences gives my sound a unique character. It’s like taking the best bits of each style and creating something that feels authentic to me.

A great example of this is my new record ‘Happiness’. The drums in that track are definitely more UK-inspired, carrying a bit of that garage and breakbeat  that builds through the track. But then the bass line has a totally different vibe. It’s more akin to what you’d find in an ambient mix. It’s a contrast that somehow works because the track still maintains a strong tempo and energy. The club mix takes it even further by slightly increasing that tempo and adding more percussive layers, which works when I play it out with my other live tracks. 

I guess what makes my sound unique is that it’s a fusion of the elements I love individually within electronic music, all mashed together. I’m constantly experimenting, and I never want to be confined to just one lane. Sometimes a track leans more toward one sub-genre than another, but that’s just a reflection of how I’m feeling at the moment. I believe in chasing that vibe rather than forcing a sound to fit a genre.

When I’m working on new material, I think about how each track fits into the bigger picture. I like to think of my EPs as journeys where each track highlights a different aspect of my sound and as a whole shows the variety of my music, whether it’s something more melodic and atmospheric or a high-energy club banger. At the end of the day, I think it’s that willingness to experiment and blend genres that sets my sound apart. I don’t see electronic music as a rigid space. It’s more like a playground where you can mix and match ideas until you land on something that resonates and feels right. I’m always pushing myself to think about how I can evolve while staying true to the core of what makes my sound feel personal.

Collaboration seems to be a cornerstone of your work. Can you talk about the importance of working with artists like Baltra & Otik, Catching Cairo, and Kamille, and how these collaborations influence your creative direction?

Collaboration is definitely at the heart of my creative process. Working with other artists pushes me to think differently, try new approaches, and really challenge myself. Each of the artists I've collaborated with – Baltra, Otik, Catching Cairo, Kamille, and Villager – has had a profound impact on me both personally and creatively. 

Kamille is an absolute powerhouse, a true songwriter and artist with a capital "A." Many times, I’ve walked in the studio, played some chords or laid down a beat, and she just sings the song in one take. Before you know it, she’s singing something that perfectly captures the vibe. We work at such a fast pace because there’s this natural, effortless connection. I think it comes from genuinely understanding each other on a creative level. Nothing is forced, it just flows. That kind of synergy is rare and makes the whole process feel almost magical.

Catching Cairo is another incredible collaborator who really challenged me to think differently about how songs can evolve. I initially sent her the demo of ‘String Theory’, and she surprised me by sending back a completely different demo for what became ‘Deep Theory’. We decided to release both tracks but I’ve never experienced that with a collaborator before, she’s extremely talented and deserves all the success that’s coming to her.

Meeting Baltra in New York was a game-changer for me. His production style is such an inspiration. He has this way of merging a lo-fi house with a raw, emotive quality. When he re-imagined ‘Into the Blue’ (Baltra Remix), he completely flipped it, bringing in DnB elements and that signature hazy, dreamlike vibe. It gave the track a refreshed, deeper feel that I didn’t even realise it needed. That kind of collaboration is exactly why I love working with other producers. They bring out sides of a track you never expected.

Otik is another artist I’ve always admired, and he really brought his signature touch to ‘Alicia’ (Otik Remix) by adding more tempo and groove. His take made the track feel bolder and more dancefloor-ready. I love how he keeps the core elements intact while adding his own twist. That’s the magic of collaboration, letting someone else’s vision amplify your original idea.

And then there’s Villager, whose remix of ‘Deep Theory’  blew me away. His remix is one of those that makes you hear your own song in a totally new way and I love playing it out. That’s the beauty of working with artists you respect. They bring new life to your work, and that’s always exciting.

How important is storytelling in your music, and how do you approach writing lyrics that connect with listeners on a deeper level?

Every track I create comes from a real place, rooted in personal experiences or emotions. I think that’s what makes the music resonate on a deeper level. I always strive to capture a feeling or a moment that listeners can connect with, whether it’s something uplifting, introspective, or just pure energy. My approach to storytelling in music varies from track to track. Sometimes I start by writing and singing a demo of the hook myself to capture the raw essence of the idea. Once I have that core element, I’ll pitch it to other artists to expand upon. Most of the time, I’ll be in the room with an artist and we’ll start something from scratch. Those sessions are more collaborative, and it’s amazing to see how our ideas evolve in real time. 

What’s really important to me is how these individual tracks come together. I like to think of my EPs as interconnected stories, where each song has its own identity but also contributes to a bigger picture. For example, ‘Into the Blue’ and ‘Deep Theory’ are both heavily influenced by nights out, those late, transformative moments when you’re lost in the music and the atmosphere. On the other hand, tracks like ‘String Theory’ and ‘Fairweather Friends’ lean more towards romance and introspection, exploring the softer, more vulnerable side of life. I want listeners to feel like they’re on a journey when they go through an EP, almost as if they’re living through a series of connected experiences. Some songs capture that euphoric rush of a night out, while others dig into more personal themes. It’s about creating a balance between the high-energy moments and the reflective ones.

Your debut EP has surpassed 2 million streams in just three months. How does it feel to see such immediate success with your first major release?

It feels absolutely incredible. I’ve been developing as an artist and producing for years, so to finally release something and have it resonate with so many people is beyond rewarding. It makes me genuinely emotional when I think about it because it’s not just numbers to me, it’s a validation of all the late nights, the endless hours in the studio, and the countless moments of doubt that I pushed through.

I’ve always believed in the music I was creating, but seeing this kind of response on my first major release really affirms that I’m on the right path. I’m grateful to everyone who has taken the time to listen, share, and support the project. It reminds me of why I do this, to connect with people and hopefully give them something that resonates or uplifts them.

I think one of the most rewarding aspects is hearing from listeners that come to my shows who tell me how the tracks have impacted them personally. Whether it’s about how a song helped them through a tough time or just how they vibe with it on a night out, that is everything to me. Knowing that something I created in a small studio space or in my home is now reaching people around the world, that’s a feeling I can’t put into words.

But as much as I’m celebrating this milestone, I’m also looking forward to my next EP. I see this as just the very beginning. The success of this EP has fuelled my creativity even more, and I’m already deep into working on new projects. I’m excited to keep building on it, pushing boundaries, experimenting with new sounds, and collaborating with other artists who inspire me. I can’t wait to share what’s next.

You’ve performed in intimate settings like Spring Place and large venues such as Elsewhere and Surf Lodge. How does your approach to live performances differ in these varied environments, and what do you enjoy most about performing in front of a live audience?

Every venue really does have its own unique vibe, and that’s something I always take into account when I perform. I never just stick to a rigid setlist, I freestyle every show to match the energy and feel of the room. I usually prepare a playlist of tracks to choose from based on what I think the atmosphere will be, but more often than not, the crowd surprises me, and I end up completely switching things up on the spot.

One performance that really sticks out was a closing slot at Avant Gardener in Brooklyn at 4 am. I honestly thought the room would be half-empty at that hour, so I planned a more relaxed, chill 5 AM set. But when I got there, it was absolutely packed, the energy was electric. So I threw out my original plan and went for a high-energy, two-hour set, debuting some tracks I’d never played live before. It was one of those unforgettable nights where everything just clicked. I fed off the crowd’s energy, and that synergy kept me buzzing for weeks afterward.

Smaller, more intimate venues are where I get to really experiment and push boundaries. I love playing deeper cuts or testing out unreleased tracks because the vibe feels more personal and raw. One of my favorite sets was at Spring Place on their rooftop with Shallou. The energy was unreal. I played a bunch of my unreleased music, and honestly, it felt like I was right there in the crowd with everyone else, just vibing. The same goes for Elsewhere, it’s hands down one of my favorite spots to catch music in Brooklyn. Last time, I played on The Rooftop, but I’m really looking forward to playing The Hall next. And yeah, I’m planning to get back to Surf Lodge this summer. The last time I played there, I had the honor of opening for Barry Can’t Swim, one of my absolute musical heroes. That was a surreal moment for me, sharing the stage with someone whose work I admire so much. The whole night just felt special, and I can’t wait to hopefully recreate that energy again.

With my own tracks, I like to keep things fresh by playing different versions live. I might switch up the arrangement, add unexpected drops, or mix in elements from other tracks I’m currently digging. It keeps the experience unique, even for those who might know my songs from streaming platforms. I want people to feel like they’re getting something special that they can’t get anywhere else. I feed off of the energy of the crowd while I’m performing. It’s a really re-changing experience for me and I try to play as many shows as possible as it inspires me in the studio and I just love staying active. 

Your reach has expanded beyond the US, with performances lined up at SXSW 2025 and a showcase in London. How does it feel to have your music resonate with audiences across the globe, and what are you most excited about as you continue to perform internationally?

Even though I’m from New York, the UK  feels like a second home to me. A lot of my ideas actually originate from my time in the UK. I’ve collaborated with so many incredible UK artists, and that environment just brings out a different side of my creativity. There’s something in the water there, I always come back to the States feeling refreshed and full of new ideas. 

London, in particular, holds a special place for me. It’s actually one of my most streamed cities, and knowing that my music connects with people there is a huge motivation. I’m really looking forward to playing more shows in the UK and building that connection even further. It’s a place where I feel creatively alive, and I can’t wait to bring my music back to the city that’s given me so much inspiration. Every time I leave, I’m already thinking about when I’ll be back.

You’ve mentioned that you have a vault of music ready to go. Can you share any insight into the direction your upcoming music will take? Are there any new sounds or collaborations you’re excited to explore?

I’m really excited about what’s coming next. Outside of ‘Happiness’ with Kamille, there’s a lot on EP2 that I can’t wait to share. The track after that is called ‘Out Your Head’ with Emilia Ali, and it’s definitely one for the club. I play it in every one of my sets because it’s an absolute energy shifter. It just hits differently on the dancefloor. My friend and incredible artist in New York, Pat Lok, is doing the remix, and I couldn’t be happier about it. Pat is such a talent plus, he throws some of the best parties at Jupiter Disco in Brooklyn, so I know he’ll bring that same energy to the remix.

Another track I’m really looking forward to is ‘What if it takes you away’ with Malou. This one has a bigger, warmer electronic feel. It’s got that uplifting, almost cinematic quality. I’ve been wanting to work with Malou for a long time, especially after her collaborations with Ben Böhmer and Diplo. She’s insanely talented, and now that we’ve hung out a few times, I can say she’s also one of the sweetest, most genuine people I’ve met. I feel really lucky to be creating with her, and I think listeners are going to love the emotional depth of this track. Sonically, EP2, which I’m calling ‘Electronik’, is a blend of warm, melodic electronic records and more club-oriented tracks. 

I’m also working on some really exciting music with Katy B, Låpsley, and Dan Caplen. Each of them brings something unique to the table, and I can’t wait to explore different sounds with them. I want each track to feel purposeful, whether it’s meant to move you physically on the dancefloor or emotionally.

You’ve been described as an artist blending digital and analog, visceral and cerebral. How do you continue to push boundaries with your music, and what kind of evolution do you envision for your sound in the next few years?

I’m always looking for ways to push boundaries and evolve my sound, and right now I’m really excited about a new project I’m working on called ‘Filth’. The concept behind it is rooted in my love for crate digging. I spend a lot of my downtime traveling to cool record collections and searching through dusty vinyl bins, hunting for those rare, unique records that carry a raw, unpolished energy. There’s something about finding that perfect, obscure sample that feels almost like discovering a hidden gem. It’s inspiring and keeps my creative process grounded. There’s something special about taking that warm, textured sound of vinyl and shaping it into something that resonates with today’s electronic music scene. 

With so much music and samples available at our fingertips, it’s easy to overlook the tangible process of physically searching for records. It feels more personal and immersive. I blend my production with these random analog samples that carry that raw, gritty energy. I wanted to find a way to bring my crate digging hobby to life. It’s a new way of expression for me and a way to share original records I love to play live. I started leaking a few of the tracks on Soundcloud, but I will do a full EP of them on all DSPs later this year. Looking ahead, I want to keep exploring that intersection between digital and analog, finding ways to combine the visceral, gritty elements of crate digging with the cerebral, polished side of electronic production. 

Looking back at your journey, what do you think has been the biggest personal growth moment for you as an artist, from the early days of DJing in New York to now having sold-out shows and global recognition?

One of the most surreal experiences for me has been hearing my own songs on the radio. I’ll never forget the first time it happened. I was on my way to a set with my friends when ‘Into The Blue’ suddenly came on. We all just looked at each other in shock, and I couldn’t help but feel this overwhelming mix of gratitude and disbelief. What really touches me, though, is seeing how supportive people have been. I get messages and screenshots from fans when they hear my track on the radio, and that kind of love means so much to me. I’m so grateful to Sirius XM BPM and all the incredible stations that have been playing the record, it’s something I’ll never take for granted.

Another big moment for me is when I’m performing live and I see people singing along to my songs. It’s humbling to know that something I created in the studio resonates with people on that level. I always make an effort to stay after my sets and chat with the crowd because those personal connections mean the world to me.

Meeting artists I look up to has also been a huge part of my growth. Just recently, I got to watch Skrillex play in Miami, and seeing his energy and creativity firsthand was so inspiring. Moments like that remind me there’s always more to learn and grow. I’m just grateful to be able to share what I love with others, and I hope to keep evolving, both as an artist and as a person.