
On Tour With Tkay Maidza







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If 1tbsp had 2 parents, who would they be?
What are you looking forward to on this tour?
With 1tbsp, I have been keeping it quite eclectic but on this tour I've been wanting to step it up even more. There's so much music that I listen to that normally wouldn't find its way into my DJ set and recently I've been inspired to try to make it fit in if I can. I didn't get that much of a chance to give it a try-out before I came here. So it's a bit of trial by fire, but it's been really fun and it's going well.
I'm playing at almost every tempo and shifting it around a lot so it's been really fun for me to try that out. Also, seeing the audience react really positively to hearing a lot of different things in a short amount of time without being overwhelmed.
Do you tailor every set to each city?
Yeah what I’ve found is before a tour, the work is just curating a huge playlist of stuff. I deviate from that but throughout a tour I find that I hit similar moments but how I get between them is quite different. Each set is different but jumping around a lot is constant throughout each show.
Do you mean also jumping between genres?
Yeah when I played in New York, I remember I started off at 140 BPM and then I took it down to 88 BPM, which was double time, so it was actually 176. Then I took it back to 90 and then up to 120. So I like shifting that a lot as well!
Do you do that to keep the crowd energized? How do you keep the crowd going throughout the set?
I think it's just good songs. I know if I'm losing people when I play some songs and I know that I have a bunch of songs that have worked in the past. So I might pull up one of those to bring it back together. But I'm not afraid of moments where you lose the crowd for five minutes or disorientate them a bit to then re-orientate them with whatever comes next.
I feel like that leaves room for the unexpected. Feeling those moments out. Is there any city or venue on the tour that you're especially excited about playing in?
Well, I was really excited for New York, because it felt like a nice bit of a step up. And I'm a big fan of DJ ADHD so it was an honor to play with him.
I’m also excited about playing in Mexico City. It's going to be a pop-up show on the rooftop of a heritage-listed building and it looks like it could be quite a special venue. The last time I played in Mexico City, the energy was just the best it's ever been so I'm excited to go back. At night, it's really nice sometimes to not be trapped in a sweaty club for five hours.
Makes sense. I also wanted to ask you about your work as Golden Vessel. What do you feel like is the main difference between this project and your stuff as Golden Vessel?
Golden Vessel is more of (well it didn't start this way), but it's become a songwriting outlet. It's just different palettes.
When I started to make the 1tbsp music, I asked a few friends about it and some of them said I should do it on Golden Vessel and some told me I should do it separately. But then I just had a gut instinct. I felt like I needed to separate them because there would just be too many different things going on in one area. It just made so much sense to split them up.
But there's still songwriting with 1tbsp and there's still electronic production in Golden Vessel. So there's crossovers, but I feel like every time I make a song, I know in the first five seconds which project it will belong in.
It's kind of like two parts of your musical brain.
Yeah, I feel like I could have four projects even. Well, actually I do have a band as well, which has kind of stopped existing, but it's called Lucky Idiot.
Wait, great name.
We did two EPs in 2021. If I had more time and more brain capacity, there could be even more projects with different identities, but two is already quite a lot to figure out.
True, true. I love that you have such different tastes in all different areas. Since 1tbsp started in 2021, do you feel like the sound has changed at all or has it stayed consistent?
It's definitely changed. I was quite inspired by Ross from Friends who has a lofi house thing going on and I wanted to make an EP in that style. The project's been really influenced by DJing. So as I started to DJ, I realized those songs didn't really fit into the type of stuff that I was playing.
In 2022, I became really obsessed and discovered this whole reggaeton, dembow, kuduro sound - just like Afro-Caribbean and Latin American music. And I kind of let that infiltrate into the sound. So that's kind of the shift.
Yeah, at your New York show you were playing a lot of songs that had that Latin influence. I’m so curious where did the name 1tbsp come from?
I actually can't remember picking it. I like to cook, so it's recipe jargon. But one thing I didn't think about which has become the best thing ever is that a lot of posters are alphabetical so I tend to be quite high up on the poster. So it’s actually the most perfect name ever.
That's so perfect. What type of stuff do you like to cook?
I’m a pretty free-form cook and I don't follow recipes. I watch a lot of youtube cooking videos and then I pick up techniques and make my own concoctions. It's kind of a relaxing thing for me to do. So I get a bit antsy on the tour.
Yeah, you know, you're getting out of your pattern. What's the most memorable thing you've witnessed at one of your shows in the past couple of years?
I sang a song at my friend's show. It was for my friend, BAYNK. He was playing in Berlin and I just happened to be there that night. So I was like, yeah, I'll jump up and sing! There was this couple and they both loved a song of his so they both individually had messaged him, saying, “Hey, we want to propose during the song” But they didn't know that they'd both messaged and they didn't realize that they were both going to propose.
Oh my God.
Yeah and all of their friends were there and they knew so they were really enjoying this confusing moment. My friend made an arrangement of the song that had this section that slowed down so they could propose in the middle. And then when it hit that spot in the song it was just crazy. It was the exact same moment in the same song. Then they both got on a knee for each other and were both like, “what are you doing?” And everyone in the crowd, obviously, was just having an awesome time because it was just like, how did this happen?
That's beautiful, I have goosebumps, wow.
Yeah, it was really sweet.
Sounds crazy. Are there any genres or sounds you haven't experimented with yet that you're trying to get into right now?
For 1tbsp specifically there's this type of music that's almost post-punk meets dance music. There's a really cool Swiss band called Grauzone from the 80s. I think there's room for something to exist there with dance post-punk music but I haven't found it quite yet. But in general I've never really played with hardcore music or metal and I don't know if I ever will but it's interesting. Maybe one day I'll come around to it.
There's a lot of things that, five or ten years ago, I said I’d never do and now I'm doing it. Like for some reason, I used to really not like strings. I just didn’t like strings at all. And now I'm obsessed with strings. So maybe I'll have an arc where I want to make hardcore music.
Hey, I'm ready for it. That would be really fun. Tastes just change over time as well.
Yeah, the most exciting thing about creating stuff is that your taste changes. Otherwise, it would be boring.
Do you remember the first musician that you idolized?
The first album that I became obsessed with was called Wolfgang Amadeus Phoenix by French band, Phoenix. I found it through their song 1901 when I was 12. It was on a car commercial. I just became obsessed with that record and watched every YouTube video I could find of Phoenix playing live and interviews. I think it still holds up.
Some of the music I listened to at 13 I listen to now and it's not good, but for some reason that album is still kind of perfect. I became pretty obsessed with those four French guys.
What's your antidote to creative block?
I actually don't really get creative block. Maybe having a bit too much on my plate is the problem rather than not being able to make something. I think adding more to my plate was the solution. I’ve just been in a good flow for the last few years where I’m pretty self motivated. So I just wake up and start making stuff. It feels like a habit now rather than feeling like “AHH I should make something.”
Sometimes it's good to just make something and have no expectations of it, too.
That's the only way to do it. To have no expectations. Unless I'm in the room with someone I'm excited to work with and bouncing off their creative energy and we only have one day so we need to make a good song. That's also a cool energy to have.
But for the most part, it's just like cooking, you just gotta do it. Sometimes the meal might not taste that good, sometimes it tastes very good.
With roots in Los Angeles, the singer-songwriter originally came onto the scene as one half of the treasured indie band, Girlpool. In exploring her solo career, she is giving all the sad girls exactly what they need right now. She shared with us that, “Where Strangers Go is such an intimate song for me— I wrote it about the painful true loneliness we have to accept in our lives and how even the deepest loves can change shape over time. It’s about the bitter sweetness of living." Her brave self-expression runs through the single in a way that feels comforting. It’s always nice to have music that can describe what feels indescribable and Harmony is definitely up for the task.
Check out Where Strangers Go here and keep an eye out for more from Harmony coming soon.
You were just in Texas, How was that?
I was opening for Justice, which was a dream because I love them and their shows are incredible. It was also great to be back in Texas—I used to go every year for SXSW but took a break because it started feeling repetitive. Austin has changed a lot. It’s growing, and tech companies are moving in.
Do you have anything you always bring with you on tour?
I always have three pieces of hardware, plus CDJs and a V10 mixer. My setup is a mix of live performance and DJing—I sing and interact with the crowd over my tracks, then switch to playing on machines for more hands-on parts.
Do you have any methods for "testing" your music before releasing it?
DJ sets have been a great way to test tracks for this album. Before, I only previewd new music in live shows, playing rough versions and evolving them over time. Work It was made like that—I wrote it quickly before touring, then refined it by performing it every night. Now, I mostly test new tracks in DJ sets before locking them in.
I first heard your music through Essaie Pas, your band with your partner. How does collaborating with him compare to working solo?
Essaie Pas is our first project, dating back to 2010. It started as a band—we’d jam live with machines, guitars, even my violin run through effects pedals. It was a different energy, very fluid and spontaneous. My solo work is more structured—I bring concepts and lyrics, and we produce from there. With City of Clowns, I wrote most of it myself before co-producing with my husband Pierre and later Soulwax in Belgium. It had more defined stages, whereas Essaie Pas was always more immediate.
Your music feels very unfiltered. Do you think you have an analog approach to making it?
Yes, completely. I don’t work with a computer when writing—I use hardware like synthesizers, samplers, and drum machines. I only touch the computer when remixing, which is why I like working with co-producers who can refine and push the music further.
You took a break from music to study herbalism. What drew you to that?
I got into medicinal plants and even applied to a naturopathic school. I really thought I’d commit, but once I started, I realized I’d have to give up music completely. That panicked me. At the same time, I was DJing again and loving it. It wasn’t planned—I just instinctively went back.
So DJing reignited your love for music?
Exactly. That came first.
You’ve mentioned having a complicated relationship with club culture, and Adieux au Dancefloor, the title of one of your previous records, translates to a goodbye to the dancefloor. How do you feel about it now?
It’s a lifelong relationship. I started clubbing at 16, sneaking into hip-hop clubs in Montreal, then moved into underground scenes. In 2012, I discovered raving, which completely changed my perspective on electronic music. But after years of living that life, it felt repetitive. I needed a break.
After the pandemic, I reconnected through DJing, but with a healthier mindset. Now, I see it as my job—I'm there to create the party, not just be part of it. I still love dancing anonymously in a crowd, but I don’t need to be out all the time anymore.
Has that shift influenced your new album?
It’s less about nightlife and more about the world we live in. But my body remembers—those years of clubbing are still in me.
Let’s talk about City of Clowns. What does the clown represent to you?
The clown questions power. But we also live in a world of clowns—politicians, corporations, tech moguls playing tricks on us. The real clown, though, has power through humor. In the king’s court, the jester was the only one who could mock authority. There’s vulnerability in that, but also strength.
"Sexy Clown" plays with the idea of being an entertainer—especially as a woman in nightlife. You’re both celebrated and ridiculed. I embrace that—it’s playful, but also subversive.
So there’s a sad clown element too?
Yeah, the outsider, the rejected figure. That’s why I am fascinated by Juggalo culture in the U.S.—people dress up as clowns and gather as a kind of anti-society. It’s raw, trashy, but powerful.
I find it intriguing how you balance humor with a dystopian feel. There’s this duality—one side is very humorous, and the other is quite dark. How do you ensure that neither element overtakes the other?
I tend to be introspective, always asking existential questions. I see a lot of darkness in the world, but it’s boring to focus solely on that. Over the years, humor has become a tool for me—it helps me navigate the world. I’ve been watching more comedy, like stand-up, and I think humor is a great way to be subversive and cultivate critical thinking.
That shift started around 2016, but humor has taken up more space in my work since then. It’s still dark humor, though, because the world is dark and absurd to me. We’ve managed to mess up a beautiful place. There’s enough wealth for everyone, but we haven’t figured out how to share it. Watching everything collapse is absurd.
That’s where humor comes in—it uplifts me first, and then I hope it does the same for others who might feel the same way. Humor is inclusive. I want to laugh with people, not just criticize from the sidelines. I want to critique, but I also want to enjoy life.
Music today is very tied to visuals. How do you balance making music with creating visuals that support your message? You’ve released two music videos so far for this albm, right?
Yeah, for Sexy Clown and YAM. My relationship with imagery has always been complicated. I believe sometimes it’s better to have no visuals than bad visuals. I’m selective because we live in a world that constantly demands images—social media makes it a necessity. You have to exist visually.
When I discover a new artist, I immediately get a visual impression—through a video or press photos. I feel like we’re wired to think that way.
Exactly. And I love visual art—film, painting, fashion, costumes. But it’s frustrating that sound has become a slave to image. I try to push against that by buying music on Bandcamp, making my own playlists, and listening to full albums. That way, I can connect with music without being bombarded by visuals.
That’s also why I’m careful about the images I put out. I don’t want to release things that don’t align with my music. That’s why we don’t have a ton of videos yet—there will be one for Demolition, but it’s taking time. I’d rather create fewer things that feel meaningful.
The same applies to press shots and fashion imagery. So many artists today just want to look hot. And I get it, but I’ve seen a million hot press shots. I want to see personality. I want to see a story.
That’s how I filter through artists too. Sometimes you don’t need visuals to create an image. Music can be so immersive that I can already picture the visuals just by listening.
That’s exactly what I want. I want people to create their own story, their own aesthetic in their minds. My music is cinematic in that way. I try to leave room for interpretation.
You’ve mentioned your love for Giallo horror and directors like Tarkovsky. Wasn’t he your first favorite?
Yes! Tarkovsky is still my first favorite. Though now, I’d say it’s a battle between him and John Cassavetes. Have you seen his films?
My partner really likes his work. She showed me A Woman Under the Influence.
That movie is a masterpiece! If you liked it, you should watch Opening Night.
I have to admit, shed did show it to me, and I struggled a bit. I can see why people love Cassavetes’ films, but i find the pacing challenging at times.
They are. But Tarkovsky is even slower.
For some reason, Tarkovsky resonates more with me. I don’t know why.
Maybe because he’s more European, while Cassavetes is very American. That could speak more to your sensibilities.
Outside of music, where do you find inspiration?
For this album, mostly books. The Age of Surveillance Capitalism by Shoshana Zuboff was a big one. Also, a specific translation of Tao Te Ching by Ursula K. Le Guin. She made it genderless, which gives the text a new depth.
Rick Rubin’s The Creative Act: A Way of Being also influenced me. It’s a simple book, but great for breaking artistic patterns. Rubin is interesting—he doesn’t produce in a traditional sense. He just listens, which is refreshing in an industry full of big egos.
Looking ahead, are there new themes or interests you’re excited to explore, wheter within music or beyond?
I’m interested in anything with a social aspect, like social work. I love music, but I’m really interested in people. I think we need to reconnect. A lot of people feel isolated, and we live in a culture that encourages that. I want to focus on real-life connections.