We recently had the chance to connect with Luis Barrios and have shared our conversation below.
Hi Luis, thank you so much for taking time out of your busy day to share your story, experiences and insights with our readers. Let’s jump right in with an interesting one: What makes you lose track of time—and find yourself again?
What really makes me lose track of time is when I’m in flow state while creating music or engineering music. I’ll go hours without moving or taking breaks and simply craft away, trying to bring the ideas and thoughts from my brain to this physical plane.
This is something I’ve been working on and practicing for years, and I’ve gotten better at it as time progresses.
In this state, I ignore the world around me — so much so I’ve even forgotten to eat or do tasks that I maybe planned on doing before I opened the projects up.
I’ve been working on balancing it out and not just diving off a cliff and “waking up” when I’m done, like taking breaks.
Through this getting lost in time and exploration of creation, I’m able to tap into a part of myself that isn’t activated when I’m not creating: my expression, a culmination of built-up thoughts and ideas that I’m able to channel.
I really don’t know where I would be today if I couldn’t create or work on music. I truly can’t imagine.
Can you briefly introduce yourself and share what makes you or your brand unique?
My name is Luis, though I often go by Luie.
I’m a producer and audio engineer.
I’m head of the Artists & Repertoire department for Groove-ism Records.
I’m a resident engineer at “Catch One” venue and also work at “El Cid” in Silverlake. Currently, I’m adding another venue to the rotation that’s in the works – I’m pretty excited about that, so stay tuned!
I recently just released two tracks on Detention Records, a sub label of HomeWorx records, which includes 2 tracks that are very true to my sounds. It’s available everywhere. One is a latin Tech House tune, the other is a fast Techno House tune, made for invoking the holy ghost on the dance floor. IYKYK.
As a producer, I’m here to elevate artists, whether through creative direction or technical aspects. I focus on exhibiting artistry for myself, clients, and colleagues.
I try to be the person I needed when I was starting out, or even the person I needed two weeks ago. When I was a novice producer, I had many questions that often the internet didn’t have answers to, especially related to DJing and production. I put myself back in those days and help bridge the gap as much as I can.
The industry has changed so much since I first started making music. The standard is a lot higher.
As A&R for Groove-ism, my goal is to acquire and maintain relationships with the artists we sign to the label. There is so much music that comes through, and we have to make tough decisions on who to release. We take a constructive approach, uplifting and bridging the gap between producers and their goals. Being producers and engineers ourselves, we know what it’s like to submit to labels, so we try to take an alternative approach and get producers closer to their goals, even if we don’t sign them right away.
Groove-ism has been throwing monster shows here in the states and in Canada that include top leading DJs in the industry today, including artists such as Offiah, Maxinne, Rewire, Crussy, Tommy Sunshine, Curbi, L.A. Riots; just to name a few. The record label side of that is a strong complement to the promotional side of things.
As an engineer at the clubs, our team’s focus is to execute the best production for the show. It’s all about the patron experience.
The energy in spaces like that is palpable, and those who are keen to it know exactly what I’m talking about. The production team is often one of the first on duty, working with talent, promoters, and managers before doors open, preparing for the show. Whether it’s working with promoters to make their visions realities, dialing in soundchecks to be well prepared for an amazing show, or something as simple as being hospitable before the show to keep the room’s vibration at bay.
Great, so let’s dive into your journey a bit more. What was your earliest memory of feeling powerful?
Haha, well, lowkey thinking back, the first time I felt that was when I got to march in the Armed Forces Day parade playing the snare drum. Man, I was living a DREAM.
The town I grew up in, Torrance, would hold an Armed Forces Day parade every year. I think they still do.
Every year they would shut down the main boulevard and all the people in town would line the streets to watch the parade, and we would all ride our bikes, skateboards, scooters up and down the boulevard and be free.
I lived in Torrance my whole life and would watch the bands parade down the streets with my parents, and with my friends as I got older.
I would always admire the drum line in the bands because they’re the ones that continued to play the cadences, even after the whole band stops playing tunes. A cadence is a drum beat or groove that the drum line plays in between songs to keep the rhythm of the march.
I remember hearing those kevlar-head snare drums that sounded like gunshots and stick cracks, and being marveled at the sound of the whole drum line, their grooves, and I would tell my mom that I had dreams of playing the drums in the Armed Forces Day parade. My parents definitely always believed in me no matter what.
I think marching in the parade playing the drums, and apparently working at the toys section of Target so I could play with all the toys, was probably the earliest dreams I had.
Fast forward to middle school. I was an active member of the bands, and in 7th grade, Madrona Middle School got the chance to march in the Armed Forces Day parade. Shout out to anyone reading this who was in that band! We really did that haha!
We would practice at 7 a.m., zero period, with our civil war drummer boy head aszk drums (not kevlar head) with the one strap across the shoulder. Mr. Lewis, God rest his soul, was such an amazing person for teaching us that. I could never forget that.
When the time came to finally march in the parade, OH MAN, I was nervous and excited – which I know now to be the same feeling, just different perspectives.
We staged right next to my childhood neighborhood, and it was such a surreal experience.
When I counted off that 1, 2, 3, 4 and we started marching down the street… MAAANNNNNN, I was on cloud nine y’all. I couldn’t believe it was happening. Once we got to the main part of the street, the jets flying overhead, the people cheering for us…oh man, what an experience. I get emotional just thinking about it.
Furthermore, when I got to high school I was in the drum line, first as a bass drum, then as a snare drum, and THAT… THAT was another level of my dream coming true.
Marching with a high school band, playing the professional kevlar snare drum, playing the cadence grooves, tossing the sticks from hand to hand with a perfect march in the Torrance Armed Forces Day parade — man, little Luie was actually living a lifelong dream, and it’s one of my fondest memories I have.
What did suffering teach you that success never could?
The suffering in this journey of being in the entertainment industry has really been the fuel and roadmap to my successes. Every single no, every closed door, every setback, every pitfall has been a step closer toward success.
In the moment, they seem so daunting and debilitating, but it’s not until you look back that you realize those are the moments that shape you. These are the moments that make up your experience. Without failure, you cannot succeed.
From those failures, setbacks, or pitfalls is where you learn how to avoid them in the future or navigate away from repeating them.
Imagine if you only succeeded – you would be ill-prepared for experiences that don’t align with success. Your wisdom comes from those failures and setbacks. It’s power.
Anybody who’s looking to get into this entertainment industry, just know that every setback is a stepping stone toward your success. It’s wisdom. It’s knowledge. Im still learning, still failing, still getting back up again. It doesn’t stop.
Even if it seems like it’s the end of it all— DO. NOT. GIVE. UP!
Next, maybe we can discuss some of your foundational philosophies and views? Is the public version of you the real you?
No.
What everyone sees are the highlights, the achieved goals, the finish lines. Nobody sees the work it takes to get there: the long hours, the failures, the pitfalls.
The saying “blood, sweat, and tears” — for me, that’s a reality. I’ve bled for this, I’ve sweat for this, and I’ve shed tears for this. You never saw any of that, and you may never see it. There’s so much that’s unseen or unknown. Those in this industry know exactly what I’m talking about. You’re only seeing the tip of the iceberg.
Something I hear often is, “You’re so talented.” I take it as the compliment it’s meant to be, but over the years I’ve come to see it differently.
To me, it can sound like I was just naturally gifted at what I do — but the truth is, what people call talent is really the result of countless hours of practice, years of trial and error, failing and getting back up again each time, and the will to keep going even when quitting seemed like the move.
Talented? Maybe a tiny bit, but resilient is what I actually am. Successes isn’t about raw talent, its about relentless work.
I can’t tell you how many times I’ve thought about giving up, but something inside me doesn’t let me. No matter how big the setback or how long the plateau, I always find a way to carry on and prevail.
Okay, so let’s keep going with one more question that means a lot to us: Are you tap dancing to work? Have you been that level of excited at any point in your career? If so, please tell us about those days.
Am I skipping to work? Nah. But I am always very excited to walk into the shows. I often can’t believe that it’s my job to help produce the shows that happen. I take it as a privilege. I get to work the shows.
My “days off” are spent producing or engineering music. It’s amazing.
I’ve worked for shows that I used to pay money to go see, and now I’m the audio engineer, and sometimes even the lighting designer for them. It’s a huge privilege that I don’t take for granted.
I’ve gotten to work with some HUGE names like The Mary Jane Girls, Jeremih, La Sonora Dinamita (sheesh), just to name a few.
There’ve been years of praying, not wanting to go to a 9 to 5 anymore, hating my job, what it carries, questioning myself and my purpose — and now, there’s not a single time where I’m dreading work of any kind. My hobbies have turned into my career, and I’m very grateful. I don’t take it for granted.
Even on my most low-energy days, as soon as I get to the show, everything kind of washes away, and we’re in go mode. I think it’s the creative energy. At the end of the day, it’s all creative. Don’t get me wrong, it’s hard work, it’s physically and mentally taxing, but it’s certainly not digging holes in the sun, if that makes sense.
Getting to make mixes for clients, mastering for clients, producing music for them has been one of the greatest accomplishments I’ve gotten to do — all while making a living. It’s an indescribable feeling.
People visit these environments for fun, on their free time; and while I’m not there on my off time, I get to make a living doing what I love to do, and it’s been a dream come true. Whether I’m behind the board of a console or behind a computer, music is the common factor in it all. Making a living doing music has been a lifelong goal, and I’m enjoying every bit of it.
Contact Info:
- Instagram: @luiebeat
- Twitter: @luiebeat
- Facebook: https://www.facebook.com/luiebeatt
- Soundcloud: https://www.soundcloud.com/luiebeat
Image Credits
Photos: @BrianGallardo
