Will Sass Talks New Single, Musical Memories And More

When did you begin songwriting?

 

I started songwriting while I was still interning at a music studio. Being in that environment—watching incredible songwriters like Mike Campbell create magic in real time—was a turning point for me. I remember him strumming just three chords and landing on a hook that instantly felt timeless. At the same time, I had melodies and lyrics constantly running through my head, recording them into my phone whenever inspiration hit. But it was witnessing that level of creativity up close that gave me the confidence to take my own ideas seriously and start shaping them into real songs.

 

What is your earliest musical memory?

There’s a photo in my family’s living room of me as a toddler, strumming a toy guitar and putting on a show for my grandma’s friends. I don’t remember the moment itself, but that image perfectly captures the spark—me, performing with all the confidence in the world before I even knew what music really was. So if I had to pick my earliest musical memory, it’s probably that little living room concert.

You have your new single ‘Out Your Head’ featuring Emilia Ali released on 23rd May 2025. What was the story/inspiration behind the track?

At the time, I was exploring different lanes of electronic music—just chasing ideas with energy and tempo I could bring into my DJ sets. The track came together pretty naturally. We were in LA, I found a sample on Splice, and Emilia just started singing “I can get you out your head” over it. It immediately sparked something, so I dragged it into the session and we started building out the verses around that moment. I fleshed out the production and added this bass sound on the drop that’s actually become a bit of a signature in my newer stuff—it all started with this session.

 

How did the collaboration with Emilia Ali arise?

 

I was heading to L.A. for two days of sessions before a gig in Vegas, and I’d been hearing amazing things about Emilia Ali. So I reached out, and she pulled up to the studio. From the moment she walked in, her energy was electric—super creative, spontaneous, and contagious in the best way. I honestly credit a lot of the airy, lightheaded feeling of the track to her presence and vocal style. She really brought it to life.

 

Do you have any interesting, funny or memorable stories from the recording sessions?

 

That session was chaos—in the absolute best way. The energy was electric. We were bouncing ideas off the walls, literally running around the studio like kids on a sugar rush. No overthinking, just chasing the vibe and having a blast. It’s one of those sessions where you’re so caught up in the fun that you don’t even realize you’re making something special. That playfulness ended up shaping the entire track—it’s light, feel-good, full of life, and it always hits when I play it live. The crowd really connects with that energy, and I think it’s because it was born from such a joyful moment.

Did you use any particular instruments, microphones, recording equipment to help you get a particular sound/tone for the record?

 

When we first wrote the track, it was super stripped-back—just a MIDI keyboard and an SM7B mic. Honestly, that’s usually all I need to capture the core of a song. I’m a big fan of keeping the writing phase simple so the ideas flow. Later, I brought the session back to my studio and really dialed in the production. I layered up the original drums, added bass and textures, and brought in some extra elements like Mellotron, vocoder, and strings to give it more depth. Plugin-wise, some of my go-tos on this track were Soundtoys EchoBoy, Serum, Oxford Inflator, and Soothe—they really helped shape the tone and glue everything together.

 

 

 

Was it a difficult song to write? 

 

Surprisingly, the writing came together really quickly—within an hour or two we had the full song sketched out. It just flowed naturally, which is always a good sign. The production, though, is where I get meticulous. I’ll spend weeks, sometimes months, fine-tuning every detail—layering sounds, adjusting textures, making sure every moment feels just right. That part of the process is where the track really finds its identity.

 

Which of your tracks hear you at your a) happiest, b) angriest and c) most reflective?

 

Out of the tracks I’ve released so far, I’d say ‘Into the Blue’ captures me at my happiest—it’s euphoric and uplifting, and really taps into that feeling of freedom. ‘Deep Theory’ is probably the angriest—it’s darker and slightly more intense. And ‘Happiness’ is definitely the most reflective. It’s introspective and honest, and explores the idea that happiness isn’t constant—it’s fleeting and found in the little moments.

 

Do you have any further music releases planned for 2025?

 

Absolutely—this is just the tip of the iceberg. I’ve got a lot of music lined up for 2025, including collaborations with some incredible artists. One I’m especially excited about is an upcoming track with Malou, which feels really special. I’m also working on my second EP, plus a few more projects that will drop later in the year. 

 

 

What two things do you hope to have achieved once you have left the stage?

 

DJing is my foundation—you’ll usually find me spinning late-night sets in Brooklyn, and that’s where I feel the most alive. Once I step off stage, I hope two things have happened: that I’ve truly connected with the crowd, and that I’ve taken them on a journey. That’s always the goal. Over time, I’ve started to blur the lines between live performance and studio work—I even approach producing like I’m playing to a room full of people. As I grow, I’m building toward a live electronic setup that brings that energy to the stage in a new way. For me, it’s all about that moment of shared feeling.

 

Do you have any favoured stage instruments, effects, pedals, microphones etc?

 

For my DJ sets, I keep it classic—CDJ 3000s and the Pioneer DJM V-10 mixer. It’s a clean, powerful setup that lets me stay fully in the moment with the crowd. When it comes to my live electronic rig, I lean on the Sequential Prophet 6, the OB-6, and the Behringer Pro-1. Each of them brings a unique texture and tone that’s become a big part of my sound.

 

 Where is your hometown and could you please describe it in five words?

 

I was born and raised in New York City. If I had to describe it in five words, I’d say: electric, diverse, inspiring, gritty, and chaotic. It’s a city that constantly moves—and it’s shaped so much of who I am as an artist.

 

You are given the opportunity to write the score for a film adaptation of a novel that you enjoy. Which novel is it and why?

Great question. I’d probably say “The Prestige” by Christopher Priest—even though Nolan already adapted it, it’s one of my favorite films and I think I could bring something new to the sonic world of that story. The themes of obsession, illusion, and duality really resonate with me, and I’d love to score a version that leans into darker, more experimental electronic textures.

That said, a totally different direction that excites me would be something like an “Alison Wonderland”–inspired film. I recently read Adventures in Wonderland by Sheryl Garratt, which dives into the rise of rave culture in the UK and its roots in NYC and Chicago. It made me imagine a surreal, emotionally-driven film set in that era—with a warm, trippy, hallucinogenic electronic score to match. So yeah, somewhere between psychological thriller and euphoric rave dream—those are the worlds I’d love to score.

 

Do you have and UK/European live dates planned for 2025?

Yes! I’ve got some exciting UK and European dates coming up this summer. I’m planning a few shows across the UK, a rooftop set in Paris, and I’ll also be performing at SXSW London in 2025. Can’t wait to bring the energy overseas and connect with new crowds.

 

Who are some of your musical influences? Do you have any recommendations?

 

Some of my biggest influences are RÜFÜS DU SOL, Kevin Parker, Mark Ronson, Kaytranada, SG Lewis, and Disclosure. I really connect with artists who blur the lines between electronic and emotional—those who create not just tracks, but full sonic worlds.

 

What makes Will Sass happy and what makes you unhappy?

What makes me happiest is being around the people I love—family, friends, and good energy on the weekends. And of course, getting lost in great music. On the flip side, I start to feel unhappy when I lose touch with my purpose. Burnout can sneak up on you, especially in a creative career, so I’ve learned how important it is to carve out space to reset. I think every artist goes through that—it’s part of the rhythm.