Shawn Matthew isn’t here to ease you in—he’s here to blow the doors off. With his latest single “Work to the Beat,” the genre-blending producer and DJ dives headfirst into a harder, heavier sonic territory, fusing bass house, trap, and dubstep into a festival-grade weapon built for massive sound systems and sweat-soaked crowds. Known for his roots in vibey house, Shawn has officially flipped the script—and he’s not looking back. In this exclusive interview, he talks about the adrenaline behind his new sound, where the track fits in a live set, and how today’s tech (and a little Furby-fueled chaos) are shaping the next wave of bass music.
If “Work to the Beat” was a moment in a live set, where would you drop it—beginning, middle, or end?
The build-up on this track is ginormous so I like to use this as a show opener or mid-set when its one of those moments when the energy has been like a 7 out of 10. The intro breaks it down then explodes.
This track goes hard—what kind of venue or crowd did you imagine while making it?
Oh, this is 100% a festival track. It is made for big speakers, fist pumping, and head banging. Think Ultra, EDC, Tomorrowland – those types of crowds.
You’re fusing multiple aggressive genres—how do you keep it danceable without overwhelming the listener?
Well, the energy is definitely there, no doubt. The drops are intense so the balance comes from releasing it in the breakdowns.
Have you tested “Work to the Beat” live yet? What’s the wildest crowd reaction you’ve seen?
This KILLS me but I haven’t played it out yet! I made a promise to myself to lock myself in the studio for a few months and crank out some tracks in this new harder format. Everything I have been producing since the flip is more along the lines of bass house, trap EDM and dubstep. My existing fans all knew me as more of a vibey house dj. When they DO hear it live though, I want them to know what they’re signing up for.
Trap breakdowns in EDM are making a comeback—what drew you to bring that into your track?
Honestly the second drop was originally just another hard brostep drop. I did like artists do – I sent a demo to a few people. A buddy of mine made the suggestion and it made total sense. I was already cranking out trap bootlegs anyway, so it just made sense to incorporate trap into Work to the Beat.
Are you planning any remixes or edits of this track for different types of sets (e.g., festival vs club)?
This is an interest question! I have thought about doing a VIP on it and have a couple artists who have already asked for stems to do a remix. You can expect something along those lines is coming. No promises on a date yet – I want to bring forward a few other tracks first before jumping back to a remix on this. Besides, its still fresh as it is and a lot of fans are still discovering it for the first time.
What kind of visuals or vibe do you picture accompanying this song on stage?
Obviously weird stuff. We can all agree that a Furby riding a T-rex is the first thing that comes to mind. Beyond that, melty flashing visuals, strobes, and pyro. Eyebrows may get roasted when this one plays.
When people hear your name in a few years, what kind of sound or energy do you want them to associate with Shawn Matthew?
I want my brand to be associated with high energy bass shows that are just bonkers. If I find myself in the ranks of Troyboi, Space Laces and Knock2, I’m perfectly happy.
What’s your take on the current state of bass music—are we entering a new era?
Bass music is without a doubt changing. Big factors I see – 1) Serum 2 which just released a couple months ago leveled up every producer in the game. We all just got a shiny new toy so expect that all the music coming out in the next few months is going to have a completely different sound. 2) Like it or not, AI and machine learning are entering every step of the workflow. I see producers making wubs and drops – even complete tracks without touching a DAW. I think the sound of bass music is about to take big steps forward in the next 12 months. 3) We’re about due for a new generation of bass producers to take their time in the spotlight. That happens every few years and its an exciting time what it happens because the next wave does their own thing with it that’s a little different. There is a lot of raw talent coming up right now so its anybody’s guess who the next big names are going to be changing the way we all listen to music.
Quickfire: Favorite track to play out right now (besides yours), go-to DAW, and your most essential plugin?
Favorite track right now – ATLiens “One Last Breath Remix” because it took massive nuts to pull that off. Go-to DAW – Ableton for life. I’ve been on the bandwagon for 20 years so why change now? Most essential plugin – They layup answer is Serum 2 but beyond that, I’d be lost without Apeshyt 808 II.
