Today we’d like to introduce you to Spenser Williams
Spenser, we appreciate you taking the time to share your story with us today. Where does your story begin?
I’m coming up on my five year anniversary of working in dance music. I’ve dipped my toe into almost everything in the space – manager, DJ, videographer, tour production – if it’s a job related to electronic music I’ve tried it out at least once. Over the past few years I’ve found my lane as a creative director – building out these unique visual worlds to help listeners get immersed in the music.
This road began for me when I was 18 and just barely starting college. I knew a little about electronic music, but only on a surface level – I didn’t know anything about specific djs, or concerts, and had only really engaged with the space through the songs I would hear in call of duty montages and as outros in Minecraft videos. Songs from Monstercat, NCS, that sort of thing.
One random weekend home from school I decided to go to Porter and Madeon’s “Shelter” show in Los Angeles on a whim after finding a cheap ticket on Facebook, and the rest was history. That night changed my life, and really opened my eyes to what live electronic music can truly be – a one of a kind, deeply emotional, immersive audio visual experience.
Ever since that night I’ve been chasing that dream of creating experiences that can inspire new fans the way that Shelter inspired me – and it has brought me further than that 18 year old kid could have ever imagined. In the past five years i’ve created visuals for shows at The Kia Forum, The Hollywood Palladium, The Brooklyn Mirage, The Shrine (the venue where I saw Porter and Madeon in the first place!), and various festivals around the country.
We all face challenges, but looking back would you describe it as a relatively smooth road?
It has been anything but! One of the wild things about working as a freelance creative in music, especially as someone who came into the industry during the pandemic, is that there is no guide for how to do the job. I started working in a time when touring just didn’t exist anymore, at a time when the entire industry was turned on its head. I had no idea what I was doing when I first started, had no idea how to produce events, direct music videos, any of it! The only way to learn was by trial and error, which naturally comes with a lot of failure.
One of the bigger struggles I remember facing was EDC Las Vegas 2023 – my first time VJing the festival with Tsu Nami. I had never VJ’d a festival before at that point, I had barely ever vj’d at all really, and I was so unprepared. I had spent months fine tuning my gear in my studio, but getting everything working on a tv in my room felt like playing with a children’s toy when I was met with those giant LED walls in 100+ degree vegas heat. My laptop couldn’t handle it – the heat had completely fried it. Thanks to some last minute assists from some very gracious peers I was able to transfer our show onto a new machine and crush the festival. I’m still so proud of that set.
Thanks – so what else should our readers know about your work and what you’re currently focused on?
I am a creative director first and foremost. I’ve always been obsessed with art making, starting really with graphic design back as a teenager. My obsession is with translating artist’s songs into visual mediums, and the inherent relationship between visual art and music. I see both as two sides of the same coin, neither being nearly as strong on its own as both can be together.
I think what sets me apart is my obsession with every step of the process. Usually when working in creative roles I think it’s easy to hone in on a specific practice or medium, which has never really been something I’ve felt particularly drawn to do. I think this shines through on the projects I’m the most proud of: Club Tsu: 9-5, and Marshmello’s Lights On Music Video, two projects that I ran creative and logistics on.
Club Tsu: 9-5 was an immersive pop-up rave I directed and produced alongside Tsu Nami , a party set in the typically bleak landscape of corporate america. We invited guests to come dressed in their most professional attire, gave everyone their own unique ID badge, and passed out manila folders and notepads that quickly turned into these ironic fans and signs that mocked Club Tsu’s quarterly earnings and investor expectations. It was a really special experience.
Marshmello’s Lights On video was also really special. Mello really wanted to return to his projects roots both sonically and visually with the song. Taking a global superstar and grounding them back in Los Angeles warehouse rave culture was a unique challenge that I was incredibly excited to take on. I think the entire crew did a great job of executing on that vision, and I’m incredibly proud of the final video.
Do you have any advice for those looking to network or find a mentor?
Just put yourself out there, it’s never been easier to get your name in front of people. I got my first internship by replying to a tweet! I think social media is so important, if you power through all of its shortcomings and sift through the mountains of toxicity you can find these really beautiful and rewarding niche communities. Without soundcloud, or discord, or instagram, i don’t think I’d have the career I do right now.
I am also a firm believer that you don’t always need to be personally mentored to learn from others. I’ve gained such a wealth of knowledge by seeking out interviews and talks from the creative directors of my favorite artists, people like Ghostdad, Samuel Burgess Johnson, iglooghost. Another benefit of the internet is that a look into the minds of these one of a kind creatives are out there for free on Youtube just waiting to be found. It’s incredible.
Contact Info:
- Website: https://www.drink-soju.com
- Instagram: https://www.instagram.com/drinksoju_/
- Twitter: https://x.com/idrinksoju
Image Credits
Brandon Densley, Jose Reyes, Adrian Hernandez, Chris Love
