Perspectives: 30 years of Lefto Early Bird
Marking three decades behind the decks, Lefto Early Bird shows no signs of slowing down. As a selector pur sang, he’s built a reputation for fearless, boundary-breaking sets that have carried him to clubs and festivals worldwide. Never one to chase trends, Lefto trusts his gut, dropping unexpected cuts that keep dance floors guessing. In the lead-up to his 30-hour radio marathon on Kiosk Radio this weekend, we were thrilled to sit down with him for a long read about the past, the present, and the future.
Hi Lefto, congratulations on your 30-year anniversary milestone. Let’s go back to the beginning—how did you get into music and DJing? Thank you, Nowadays Magazine, and thank you for your work. Music was playing in the background most of the time when I was a child, so I probably absorbed a lot of it unconsciously. MTV was also a real catalyst for me—I heard and saw so much on TV, and I realized that music and clothing were a thing. Skate videos broadened my musical taste as well. I saw DJs scratching and mixing on live television and in rap videos, which really inspired me. I also had friends in school who were already into DJing, so after school we would spend time together, and I learned a lot of tips and tricks from them. This weekend there’s a 30-hour marathon on Kiosk Radio. What can people expect when visiting the shack? First of all, you’ll be able to listen to music for 30 hours non-stop in the park. If that’s your thing, you should definitely come from start to finish—which even means staying overnight (laughs). I’ve invited a whole crew of friends, family, and guests, all playing DJ sets, and the music will make sense in different ways throughout the day and night. On Saturday evening, we’ll have a pizza oven at the shack, and on Sunday morning, if the weather allows, there’ll be a free yoga session. Hosting a radio show for two hours every week is quite the commitment. Beyond receiving promos, how do you discover new music? I’ve been hosting a weekly radio show for over 28 years—starting at local Action Radio with a morning show, then moving to Studio Brussel, followed by two hours on Worldwide FM, guest shows for NTS and Rinse FM, and for the past five years, another weekly show on Kiosk Radio. For me, it’s all about sharing the music I love every week, whether it’s promos, records from shops, tracks I hear other DJs playing, or music from other radio shows. It’s a commitment to play music that isn’t always obvious—giving exposure to artists who need to be heard and who deserve recognition, because in our world, talent alone isn’t always the key to success. How has your style or approach to DJing evolved over the last 30 years? I still consider my style to be strongly influenced by my original hip-hop/turntablist roots—a technical way of treating records as musical instruments, mixing two tracks together to create a new beat or song. Over time, that approach evolved beyond hip-hop to include everything from jazz to electronic music. I grew with the times, but I also took time to study the history of each genre I explored. For me, it’s essential to learn where the music comes from in order to understand why it sounds the way it does. How different was the DJ scene when you started compared to today? You’ve always stayed true to yourself, but isn’t that a privilege these days? Back in the day, DJ gear was expensive and hard to find, so owning Technics turntables at home was already a privilege. Not everyone could afford a full setup, which made DJs a rare breed. You either needed DJ parents, wealthy parents, or, like in my case, a father who was kind enough to take out a bank loan to buy me a turntable. At that time, vinyl was the only medium available—new technologies like Serato digital vinyl, mp3s, USB sticks, and the standard Pioneer CDJs came later. Technology eventually made it possible for almost anyone to become a DJ, or at least to “play music like a DJ,” with tools like sync functions making the process as easy as possible—almost like giving a toy to a child. Still, I’m glad vinyl continues to hold an important place in DJ culture today, and that new generations recognize the value of preserving the traditional art of DJing while combining it with new technologies. As with everything, technology can be both empowering and destructive—AI, for example, is incredible when used smartly but could also undo decades of progress if misused. Personally, I’ve adapted to new tools over the years, but I’ve always kept the music and my personal taste at the center. I’m stubborn in that sense: I play what I want to hear first, and by doing so, I give my most honest self to the crowd. I don’t see that as a privilege—it’s simply how I view the role of a DJ. Just like a chef chooses what to cook or a painter chooses what to paint, a DJ should always be the one directing the crowd. That’s why I believe it’s so important to know the history, the culture, and the art behind what we do.
After 30 years, what still excites you about getting behind the decks? There are many things that continue to excite and drive me as a DJ. First, sharing the music of new and talented individuals that match my taste. Second, giving people options—yes, they can listen to whatever their algorithms feed them, but showing them there’s more out there, and helping them discover it, is a big motivation for me. Another drive is supporting the local scene: playing music from the most talented and original-sounding artists around me and sharing it with my international network of radio hosts, helping our local music spread. And above all, simply hearing new music—that’s probably what excites me the most. How has the relationship between DJs and their audiences shifted over the decades? What’s your take on cell phones in today’s music scene? The problem is that people now feel the need to record a fleeting moment just to post it for 24 hours on social media, only to store it on their phone afterward for no real reason. In doing so, the audience misses the point—they miss the chance to truly disconnect, to mentally step away from their daily routine. We’ve lost the culture of dancing in the club. Instead of moving their bodies, people just stare and jump at every single climax moment. Club music today is really fast, and cell phones are everywhere. That’s why I prefer dark clubs—they create intimacy and encourage people to keep their phones in their pockets, giving them a chance to disconnect. Clubs, in my opinion, should invest less in flashy design and more in quality sound systems. In the end, no matter how nice a club looks, people will always remember and talk about the sound. The one track that never leaves your crate/USB? Floorplan – Never Grow Old (Robert Hood’s other alias). As a crate digger, what are the best new and old record stores to visit around the world? Disk Union in Shibuya and Shimokitazawa, Tokyo, JapanCosmos Records in Toronto, Canada
Which city or festival holds the most special memories for you? I have many memories, but I always come back to Horst Festival in Vilvoorde. Playing at home, in front of all your friends, is an unmatched experience. It’s where you’ve built your base, where everyone follows your musical journey, and where it all started. You can brag all you want about the cities and festivals you’ve played worldwide, but in the end, nothing beats your hometown. Tell us one core memory that’s still in your mind about a favorite international gig. Playing a boat party during a UK festival in Croatia and seeing dolphins jump out of the water while I was playing—that was truly a special experience. What advice would you give to up-and-coming DJs starting out today? Don’t put too much pressure on yourself. Adopt an I-don’t-give-a-fuck mentality behind the turntables, play only what you really want to play, and take the time to learn about the history of DJing and music in general. And most importantly, don’t force the future—don’t rush it. Experience is your best friend, so take your time. Lefto Early Bird is celebrating is 30-year anniversary this weekend at Kiosk Radio with a 30h non-stop marathon. You can find all info here. Photo credits: Yaqine Hamzaoui
