Contributing WriterThere are moments in an artist’s career when progression stops being about making better records and starts being about understanding exactly why you make them in the first place. For Geoffrey, that realisation became the foundation of JATS.
After more than 20 years behind the decks and in the studio, he spent the early stages of the project questioning his direction, moving away from the melodic techno sound he had become associated with and searching for something that felt more personal. What emerged was a musical identity built around groove, emotion, energy and, increasingly, interaction.
Now, JATS is entering one of its busiest chapters yet. Five releases in just a few months, the launch of his own label SAINT FER, the SOHO event series with Moarasiá, and the growing response to Power have all added momentum to a project that is becoming increasingly defined by its relationship with its audience.
In this conversation, JATS talks about the creative breakthrough behind Power, why simplicity can be one of the hardest things to achieve, the importance of finally thinking like an artist rather than simply a producer, and why he believes the strongest music comes from resisting the pressure to follow trends. He also looks towards the future of JATS—and the community he sees as the beating heart of everything he’s building.
Hi Geoffrey, thanks for taking the time to speak with us. How’s your summer been so far?
It’s a pleasure to be here and to have the opportunity to introduce my artistic project, JATS.
My summer has been amazing so far. Since the end of May, I’ve released five tracks that have received incredible support. It’s been a huge source of motivation, but also an opportunity to meet wonderful people through music and play some great events where I’ve been testing my upcoming releases.
It’s also been an exciting period because I’ve launched my own label, SAINT FER, as well as our SOHO event series alongside my friends and fellow artists Moarasiá. So creatively, it’s been an incredibly inspiring few months.
Every producer has a different definition of success. When you finished Power, what made you feel you’d achieved what you set out to create?
When I finished Power, I was happy because I felt I’d brought a new colour and a new concept into my music by placing the audience at the centre of the experience.
I loved listening to it because it carried such a contagious energy, but I don’t think I truly realised what I’d created until I played it in front of an audience.
Watching people instantly understand the concept and naturally become part of the track was an incredible feeling.
Then, when artists like Solomun, DJ Chus and many DJ friends started playing it, I realised the reaction was always the same, wherever it was played. Seeing crowds raise their fists and shout “POWER!” together showed me that the concept was working exactly as I’d imagined.
That’s when I truly felt I had achieved what I set out to create.
Your music combines groove with emotional warmth. Is that balance something you consciously chase in the studio, or does it happen naturally?
For me, groove is what makes the body move, while emotion gives meaning to the music and carries the story I’m trying to tell.
Those two elements have always been inseparable in my productions.
Finding the right balance happens quite naturally because I constantly put myself in the listener’s position. I experiment with different structures, arrangements and ideas until the music feels exactly the way I imagined it.
I’m always searching for the version that communicates the emotion and the energy as honestly as possible.
The vocal hook in Power feels deceptively simple, yet it’s central to the record. What attracted you to that call-and-response concept?
Until now, my creative process had mostly been driven by emotion and visual imagination. I often compose while imagining scenes or music videos playing in my mind.
With Power, my goal was completely different.
I wanted the audience to become part of the music itself.
The idea of using a call-and-response immediately felt exciting, but the real challenge was making it elegant, simple and instantly understandable.
That’s what attracted me the most.
It’s actually a very subtle concept because, if it’s not done carefully, it can sound gimmicky very quickly.
I wanted it to feel natural, powerful and genuinely musical, and finding that balance pushed me to explore completely new creative territory.
Your catalogue has moved across several respected labels before arriving at Stereo Productions. How has your sound evolved over that journey?
I’ve been producing music and DJing for over twenty years, so my musical journey has never stopped evolving.
Three years ago, when I launched JATS, I spent six months stepping back and rediscovering who I wanted to be as an artist.
At first, my sound leaned much more towards melodic techno because that’s where I’d spent the previous seven years. But deep down, I knew I needed to find something that felt more personal.
The labels I released on reflected that evolution, and I’m grateful they believed in my music and helped me reach a wider audience.
Then I reached a point where I no longer wanted to create music driven mainly by melancholy. I wanted more energy, something that reflected what I personally wanted to hear and play.
That search eventually led me to where I am today, with a much clearer artistic identity.
Now, the message always comes first. The groove, the emotion and the production are all there to strengthen what I’m trying to communicate.
Whether it’s the Afro-Tech spirit and the message of unity through dance in Dance Is Resistance, the feeling of surrendering to the music in Nightfall, or the old-school hip-hop influence behind Power, where the MC creates interaction like during a battle, every record is designed to create a unique experience where the audience becomes part of the music.
Rather than following trends, your records seem designed to have a longer lifespan. Is timelessness something you think about while producing?
In a way, yes… although I try not to think about it too much.
I don’t want to put unnecessary limits on my creativity.
But I do believe that when you stop chasing trends and simply create music that feels true to yourself, it naturally has a better chance of standing the test of time.
At least, that’s what I hope.
You’ve received support from DJs with very different musical identities. What do you think connects all of them to your music?
That’s probably a better question for them! (Laughs.)
What I try to create is music that brings people together.
No matter which style I’m exploring, my goal is always to unite a crowd and introduce something that feels fresh while continuing to develop my own musical language.
As DJs, we’re constantly searching for new music to surprise people, but at the same time, audiences also need familiar reference points.
That’s one of the reasons I’ve produced several unofficial remixes over the years. They allow listeners to enter my musical world through songs they already know, and I find that process incredibly rewarding.
Has there been a piece of advice or lesson that’s fundamentally changed the way you approach production?
More than a specific piece of advice, it was a change of mindset.
The day I truly started seeing myself as an artist rather than simply a producer, everything changed.
Giving myself permission to develop my own sound instead of chasing trends was probably the most important decision I’ve ever made.
It made me feel creatively free.
The music industry often pushes artists towards a more uniform sound, especially emerging artists.
But I feel like we’re finally seeing more room for individuality again, and I think that’s something really positive.
Looking beyond this release, what excites you most creatively about the direction JATS is heading over the next year?
What excites me the most is the way people have embraced Power.
It confirms that exploring this new direction was the right decision.
It gives me confidence to keep developing this new colour within my music, to explore new interactive concepts and continue building a project where the audience becomes part of the creative experience.
I often describe my logo as a living circle.
That circle represents my community.
It’s constantly growing, interacting, evolving and giving life to everything that JATS is becoming.
That’s the journey I’m most excited about.