Columbia / Mad Decent
Known for assembling phenomenal collaborations and partnerships throughout his career, Dillon Francis has always been about charting the unconventional course to success. His humorous, adventurous approach in a multitude of social media and short film undertakings (including his cameo in the ‘Scouts Guide To The Zombie Apocalypse’) have earned him the reputation as inventive visual artist and playful observer of pop culture. Initially recognized for helping to bring the tribal dance movement Moombahton to the forefront, he’s scattered the dance music landscape with numerous influential releases throughout his career. Read More...
Known for assembling phenomenal collaborations and partnerships throughout his career, Dillon Francis has always been about charting the unconventional course to success. His humorous, adventurous approach in a multitude of social media and short film undertakings (including his cameo in the ‘Scouts Guide To The Zombie Apocalypse’) have earned him the reputation as inventive visual artist and playful observer of pop culture. Initially recognized for helping to bring the tribal dance movement Moombahton to the forefront, he’s scattered the dance music landscape with numerous influential releases throughout his career.
“The great thing about all these projects is they intrinsically align with the attitude of my music,” he says. “I think my fans appreciate that I’m using social media and video as a fun way to communicate crazy new ideas rather than just trying to stay trendy or to hype things.” His Columbia Records/Mad Decent debut,Money Sucks, Friends Rule arrived in 2014 as the capstone to an innovative career that has never been content to straddle the status quo. Hailed as one of Rolling Stone’s ‘Top Electronic albums of 2014,’ tracks included the smash hit “Get Low” with DJ Snake, the anthemic “Love in the Middle of a Firefight” featuring Brendon Urie (from Panic! At The Disco), “When We Were Young” featuring Sultan + Ned Shepard VS Chain Gang of 1974, and “Set Me Free” featuring producer/DJ Martin Garrix, among other tracks. Notably, “Coming Over” ft. James Hersey has gone on to be one of Dillon’s most successful singles with nearly 100 Million streams across all platforms.
Dillon then released his #1 EP This Mixtape is Fire (his first time snaring the top spot of the Billboard Dance/Electronic chart), signaling new heights climbed and conquered for the talented artist/producer/DJ. The lively follow-up to his acclaimed 2014 full length album debut has been hailed as a star-studded offering (high-profile guests include Calvin Harris on “What’s Your Name,” Skrillex on “Bun Up the Dance,” Chromeo on “Lies,” as well as appearances by Bro Safari, Kygo, James Hersey, and others) marking an inspired return to Francis’ Moombahton roots. But the affable Dillon says he’s always been passionate about keeping his influences within reach. “I don’t think I ever left Moombahton; if you listen to the album (Money Sucks, Friends Rule), you can hear it in places there. For this EP, I went through a bunch of old records – like what Munchi was doing and I was doing – and maybe reincarnated a bit the sound from around ‘Bootleg Fireworks’ (Burning Up, his 2012 offering.) But I’m always trying to mix it up. I’m never going to forget my roots just like I would never do an entire album that was straight Moombahton. This was just a fun record to make. Anyone who follows my career knows I thrive on surprises.”
Dillon’s latest single “Anywhere” ft. Will Heard, praised for by Entertainment Weekly for its “airy, indie-pop production,” has been yet another successful release for Dillon, seeing over 13 million Spotify streams and capturing the #1 spot on Dance radio airplay. Today, Dillon continues to live up to his reputation as one of the most engaging festival acts, performed to record crowds in the UK, Brazil, Argentina, Chile, France, Australia, as well as drawing acclaim for his appearances at Lollapalooza in Chicago and the Reading & Leeds Festivals in the UK.
Even from his earliest beginnings when he first attended art school, and then became a ‘trainee’ in a photography studio – the L.A. native had a sense music would be the true spark to all creative destinations. “I always knew I wanted to play and make music, kind of knowing I was going to have to ‘make’ the music I wanted to hear.”
After spending some time in Atlanta interning for Cory Enemy to get to know the dance music scene, he would move back to L.A., and from there it was his discovery of Moombahton that initially inspired him: “I was introduced to the artist Munchi because he had done a remix for Steve Starks on the same song (“Git ‘Em”) I did, except his was ten times better. I started scouring his SoundCloud, listening to everything. The tracks that were genre labeled “Moombahton” were the only tracks I couldn’t figure out the tempo of by just listening to them,” says Dillon. “So I started experimenting with my own productions.”
Later, Dillon would play a cut of his own for DJ Ruckus, who he was working for at the time, slowed down to 110 bpms. Ruckus loved the track (‘Masta Blasta’) so much, Dillon convinced his manager to send the track to Diplo.
“And that was my break,” he says. “I’m so fortunate to be branching out into all this other stuff. I just try to stay genuine in everything I do.”
- Dillon Francis featured in Beats Music Superbowl App with Ellen Degeneres
- Dillon Francis and Moombahton featured in the Washington Post
- Dillon Francis questioned by Billboard
- Dillon Francis LA Weekly Interview
- Dillon Francis DJ Mag USA Cover
- Dillon Francis' "Masta Blasta (The Rebirth)" nominated for MTV Clubland Pick of the Year
- Dillon Francis in Complex Magazine
- Dillon Francis: From Dick Artist to Skrillex Signee in SPIN
- Dillon Francis on The Creator's Project
- Dillon Francis featured on BBC's Newsbeat