For Daniel Pearce, better known as powerhouse talent Eats Everything, being a DJ is best job in the world.
This self-described raver gets the most joy from rocking a dance floor with his groovy and eclectic sets that range house to techno. Although the Bristol native first got his leg-up by with 'Entrance Song' on Catz N Dogz's label Pet Recordings, as well as some major stateside coverage with the help of Dirtybird, Eats Everything is now charting his own course that has put him on the top of every bill across the globe. Whether he's trying to create his own "gang" with his Edible Records imprint, or pairing his sense of humor with his quality taste in music on his new residency on BBC Radio 1, Eats Everything is always just trying to have a good time.
We had the chance to catch up with Eats Everything at ME Miami, a hotel destination during Miami Music Week that hosted intimate sets from some of dance music's finest, including Hot Since 82, Lauren Lane, and of course,Eats.
Check out our conversation as Daniel shares his thoughts about social media, his radio gag 'Ding Dong Pete Tong', and why there's no sense complaining about how things were better "back-in-the-day."
EDM.com: Miami Music Week is a big week, with events taking place across the city including here at ME Miami. What makes it different from the gigs that you play throughout the rest of the year?
Eats Everything: I was just chatting with Hot Since 82 a minute ago and Miami is good because you get to hang out. Hanging out is the best thing. The parties are great as well, but I never get time to just sit and do fuck-all.
"I play a lot on my own. I’m part of Paradise crew, and I’m part of elrow, and Dirtybird but it’d be nice to have my own gang of people. We'd go around, we'd DJ, we'd have a laugh. It’s about having a laugh for me. It’s the most fun job in the world, I’m fucking so lucky."
A few years ago you started Edible Records and since then have put out a whole slew of releases. Tell me a little bit about how that came about.
Well the reason we did it is because there’s a lot of people that I wanted to give a leg-up to. Like Lord Leopard, people who are really talented but aren’t for whatever reason aren’t getting the nod and exposure. I want to create a gang. Like Paradise has, Enter, Dirtybird, they’ve all got this crew and they’re all mates and I wanted to have that basically. I play a lot on my own. I’m part of Paradise crew, and I’m part of elrow, and Dirtybird but it’d be nice to have my own gang of people. We'd go around, we'd DJ, we'd have a laugh. It’s about having a laugh for me. It’s the most fun job in the world, I’m fucking so lucky. It’s the most fun, even now talking to you is fun.
And so with the label it was like, let’s just do it, create a gang, and have a lovely time.
"I am a raver, I wanna be in the rave, and I don’t want to feel disconnected from the people."
And that certainly seems to be a more common place thing, it’s not about booking a headliner it’s about curating a lineup and developing a relationship with fans…
Yeah of course. I’m all about relationships with the ravers because I’m a raver. I’m not even a raver at heart, I’m a fucking raver. For example, if you were a fly on the wall at Pete Tong’s pool party I was dancing more than anyone. Guaranteed.
I am a raver, I wanna be in the rave, and I don’t want to feel disconnected from the people.
Speaking of that, you have a big personality that’s lots of fun. Do you ever feel pressured to be something or someone on social media?
I hate social media, I hate the Internet. The internet has a fucking lot to answer for. But you know what, I wouldn’t have a career without the Internet, that’s the double-edged sword with the Internet.
It’s basically ruining the world, effectively. It’s making people stupid. There’s so much information out there. It should be making people more intelligent but it’s making people fucking stupid. People believe anything that’s written down, they don’t dig and that’s it.
There’s certainly a lack of media literacy…
That’s exactly it, they’re not media literate at all. They call it the echo chamber effect, and I’m guilty of it. I only follow people on my Twitter that I like, so when Donald Trump became President I was like, “How the fuck is this happen?” because everyone that’s I’m following thinks 95% the same as me. But there’s a whole myriad of people who don’t think the same as me, and then I’m baffled because of the echo chamber.
You also recently started your own radio show…
Yes. Well I’ve had my Global Radio show for a few years, but I’ve just started my BBC Radio 1 show.
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I fucking love it. I really really really love it, I didn’t think I would, but I love it. With the Radio One show it’s a proper thing. We do jokes, we’ve got this silly little thing called “Ding-Dong Pete Tong” where we say all this stupid stuff and then ask him questions and he tries to do a Bristolian accent and it’s fucking great.
And yeah so a lot of work goes into making it good and funny because I’ve never been about just playing music. The music is the most important thing but I also think it’s good to have a bit of humor and stuff in there. And dance music shows don’t really have that.
"...I put my heart and soul into every [gig] and I try to do as much as I can to make it stand out from everyone else."
How is it jumping between the big stage festival experience and the playing an intimate club, do you plan your set differently? Do you read the crowd differently?
There’s no real difference to me. There all gigs and I’m fucking lucky to be at them, I put my heart and soul into every one and I try to do as much as I can to make it stand out from everyone else. There’s only one other guy, Andres Campo, we’ve DJed back to back a few different times and when he’s DJing it’s literally like watching me DJ. I’m looking at him and he does something and if it was me DJing I would have done the exact same thing. We’ve got the same gear, the same FX pedals, same everything. And when we’re playing it’s like me but with 4 arms. It’s amazing having that kind of connection when you’re DJing.
What's coming up for you and Edible Beats in 2017?
We’ve got the next edible release, it’s Paul Woolford and is a fucking amazing EP. Absolutely amazing music.
Edible is gonna go from strength to strength, I think. It’s started really hitting top gear now.
I’ve got a million gigs in Ibiza. And lots and lots and lots of fun.
Playing stateside, Miami versus Ibiza, and everything in between. Is there anything that is your favorite or is it all fun?
It’s all fun, but Ibiza is everything. It’s it. It’s the best place to DJ in a way. Amnesia, Space, DC-10. Five of the best nightclubs in the world all on one tiny little island.
"And these people say, it’s not as good as 'back in the day' but for these kids it is as good as back-in-the-day’ because this is their back-in-the-day now! They’re living what we lived now. So it’s no less fun, but for us it’s different."
Do you think the closure of Space for the opening of the new Hï Ibiza is gonna change things a bit this year?
I think that Hï is gonna be good. Carl Cox is doing his thing at Privilege, which I’m fortunate to be on the bill.
But y’know what? Things change. Move on.
Nic Fancuilli said something really poignant to me that I had never thought about before. I was kind of berating Ushuaïa a bit and the ethos behind it. It is a wicked place and I am playing there, but when it first came it seemed a bit corporate.
And he was like, “Hey mate, these 18 year olds…this is the same for them as when we were going to Space in 1998. It’s exactly the same. It’s no different, just a different place.”
So these people are having just as much fun. And these people say, it’s not as good as 'back in the day' but for these kids it is as good as back-in-the-day because this is their back-in-the-day now! They’re living what we lived now. So it’s no less fun, but for us it’s different. But that’s not a bad thing, it’s a good thing! Evolution!