Hello: Oliver Osborne

How do you entertain yourself away from music?

I sleep.

If you had the power to make change to the music industry in Asia, would what it be?

I can send you my business plan if you want.

One major thing that affects all of Asia (and to some degree the world) is tough licensing laws.

Whereas in the UK, any venue can have DJs playing without the need for special licensing (I believe if you have 3 or more performers you need to apply for a specific license) as such it makes it easier for grassroots parties to spring up.

Alcohol licensing, and the difficulties getting ad hoc licenses, can also be a deal blocker.

So if I could change any one thing it would be the licensing laws. With this climate it would amazing to have sunrise parties every weekend. I am increasingly staying off the booze until I’m done with my professional responsibilities, so I’m often having my first drink at 3 or 4 in the morning. I would love to be able to go out afterwards for a drink and a dance somewhere and watch the sun come up. I’m sure many of the thousands of people that work in nightlife would also like that kind of option.

I, in large part, fell in love with house and techno at the Kubicle after parties at Public Life in London. They started at 6am on Saturday and Sunday, and 3am on a Monday. I feel like part of the reason there was such a great vibe was because, being one of the few after parties in the area, there was a broad cross section of people, not just your straight up house and techno heads. There is also something magical about dancing as the sun comes up.

What five songs could you play in your sets forever?

Rick Sanders, Larry Cadge ‘Niagara (Dub Mix)’ - for just it’s raw grooviness.

Crystal Bandido ‘ Work It’ - the “work it” sample becomes like a mantra and gets in people’s heads. I kind of treat this track like a tool.

Dimitri Andreas ‘Midnight (Stefano Ritteri Remix)’ - because I’ve played it on the beach during the day at 115bpm, and in front of 6000 people at night at 125bmp and it has worked superbly in both instances.

Kenny Brian ‘Travesias’ - for its haunting vocal and stripped back punchiness.

Luca Lento ‘Mein Juice (David San Remix)’ - because it represents everything that is good about the minimal that’s being released at the moment.

Living in Singapore and playing all over Asia but coming from partying in the UK, you’ve experienced it all. What do you think are the most unique and standout features that distinguish Asia’s music scene from the rest of the world?

Opportunity and the climate.

I often find myself telling people how the things that can be frustrating about the industry out here are, for the most part, the same things that make it so exciting.

We don’t have decades of electronic music culture here, we don’t have convenient laissez faire licensing laws, but it means that this is the perfect time to be doing things for the first time. It’s exciting to be part of something that is breaking new ground, and introducing people to new ideas and sounds.

As for the climate, I have heard various people over the last few years say that Bali has the potential to be a massively significant spot for music. It has even been said that it could, with the right conditions, be Asia’s Ibiza. And if it could achieve this, with the weather being the way it is in Bali, the season would pretty much never end. And to talk from a dry business standpoint, think how much more money Ibiza would generate if the season lasted all year?

Over pretty much the whole of South East Asia there are these great outdoor venues, beach clubs, rooftop bars and massive stages in the jungle. Most of Europe doesn’t have the climate to support these kinds of spaces but over here we can use them almost all year.

Once you’re inside a windowless club you could be anywhere in the world but these outdoor venues are inherently tied into the identity of the region.

Singapore is also the last city in the world one would imagine as being a hotbed for techno considering its tough stance against drugs and hard partying but its actually developed quite a robust scene when compared to other cities in Asia. Why do you think this happened?

The kids just love techno!

I think it comes from not having a lot in the way of an indigenous house and techno scene. This has meant that people have had to create it for themselves. This in turn has lead to a strong feeling of enfranchisement from the people around them. The friends and early adopters get a lot out of being the first to go to a particular venue, or to be at that one off pop-up, and enjoy the successes of the people around them that are in the industry.

For years now you’ve been throwing parties in Asia, where things don’t always go as planned. What’s the most amusing ‘Only in Asia’ moment that’s happened while throwing a party?

Honestly I haven’t had anything happen to me that hasn’t happened to me or other people I know back in the West. However at a friend’s night the police came in to check the venues license, which involved going into the office and looking at the relevant paperwork for 10-15 minutes. What was odd about the way it went down is that the police had the GM turn on the lights and turn the music off, only to disappear into the next room to do what he needed to do.

That kind of ‘guilty until proven innocent’ modus operandi would not be acceptable in Europe.

House vs techno?

That’s like choosing between my parents!!

I feel like you need a lot in the bank with people that aren’t really tuned into the music to get away with full blown techno over here, but when it’s done right it can really go off.

My sweet spot is where tech house meets minimal, which I guess puts me on the techno end of spectrum. That said I like it when it when a set has for the most part an upbeat, positive emotional register vibe to it. Which I will concede can be tricky to do without being over the top, but I think that makes it all the more enjoyable, finding that zone that is upbeat without being too sugary sweet.

What do you do to prevent the endless party loop from getting old?

Great new music. Every week. I take on over 100 tracks a month, so there are always a bunch of tracks I am super excited to play out each weekend.

I love it most when…

I take risks behind the decks and it pays off. Like bringing track in super quick, or playing 3 records at the same time, or just playing a real curveball of a track but people going nuts for it.