Artist Interview: Shell Robinson | Musician, DJ & Producer

SHELL ROBINSON ARTIST BIO "Shell grew up playing piano & knocking on neighbors doors asking to sing. She creates sonic journeys that transcend genre boundaries, weaving progressive house, melodic techno, and trance into immersive experiences. Specializing in extended sets, she crafts intricate musical narratives that balance darkness and light, allowing stories to unfold naturally over time. A classically trained musician turned electronic artist, her productions on UV Noir, Juicebox Music, Future Avenue, and InU Records demonstrate technical precision and emotional depth. She has shared stages with influential artists including Paul Oakenfold, John Digweed, John 00 Fleming, Saeed & Palash, Behrouz, D:FUSE, and Keoki, establishing herself within electronic music's evolving landscape. As host of HouseCall, she explores the artistry behind electronic music through conversations with fellow creators, contributing to the global house music community. Her approach to music—whether performing, producing, or connecting through dialogue—reflects a commitment to sophisticated, authentic experiences that resonate across generations."

ARTIST INTERVIEW

Tell us about a project you worked on you are especially proud of?

Thanks for asking! I'm especially proud of multiple projects that represent different aspects of my growth as an artist. My mentoring relationship with Redspace has been invaluable – each project taught me different aspects of production, arrangement, and mixing that have significantly advanced my skills.

Beyond these collaborations, I'm particularly excited about my solo work emerging from my sessions with my production coach Jason Brown ("Jaybird"). These past six months of focused studio time have been transformative. I'm currently finishing a track called "Keep Hope Alive" that represents a major milestone – it features my original melodies, layers, and bassline, which are newer skills for me outside of sampling. The result is a fun, uplifting summer song that I'm really proud of. Stay tuned!

I'm also very proud of the mix I recently created for "Balance Selections." Being selected for this prestigious series was an honor, and I put tremendous care into crafting a journey that represents my sound and approach. A huge thank you to Walter at Balance for the opportunity – it's been a dream of mine for years to contribute to a series that has influenced me so deeply as both a DJ and listener.

What's the biggest misconception about DJing and producing?

One of the biggest misconceptions is that DJing and producing are primarily technical skills rather than deeply creative and emotional pursuits. People often focus on the equipment and software, thinking that access to the right gear is what makes someone successful.

The reality is that both DJing and producing are fundamentally about emotional storytelling. Technical skills matter, of course, but they're in service of creating meaningful experiences for listeners. A great DJ set isn't just about perfect transitions – it's about reading a room, understanding the emotional arc of a night, and creating moments that resonate deeply with people.

Similarly, production isn't just about knowing every feature in your DAW – it's about having something genuine to express and finding the most effective way to translate that feeling into sound. The technical aspects can be learned relatively quickly, but developing your unique voice and understanding how to connect emotionally with listeners – that's the journey of a lifetime.

How would you describe your music production style and genre?

My production style sits firmly in the progressive house realm, but with elements that reflect my classical piano background and appreciation for emotional depth. I'm drawn to creating tracks that balance technical precision with genuine feeling – music that works on the dance floor but also rewards deeper, more attentive listening.

I focus on crafting evolving landscapes where melodic elements interact with driving rhythms. My tracks typically feature rich atmospheric textures, emotional chord progressions, and subtle variations that unfold gradually. There's often a certain melancholy beauty in my work, even in more energetic pieces – that interplay between light and shadow is central to my sound.

Genre-wise, I identify most strongly with progressive house, but I'm influenced by melodic techno, deep house, trance, and even film scores. I've been told by DJ and producer friends that my productions have a "nostalgic" quality, which resonates with me. I'm deliberately aiming for that sweet spot where something feels simultaneously familiar yet new – creating an emotional connection that's rooted in the rich history of electronic music while still offering something fresh.

I'm less concerned with strict genre boundaries and more interested in creating immersive journeys that evoke specific emotional states. If I had to describe my sound in a phrase, it would be "emotionally intelligent dance music" – at least that’s the long term goal. I haven’t arrived yet - tracks that move both body and mind.

What styles of music do you usually DJ?

My DJ sets center around progressive house, but I approach the genre in its broadest and most inclusive sense. I love building journeys that breathe and evolve, typically starting in deeper territory and gradually building energy throughout the set. You'll hear everything from deep, atmospheric progressive to more driving, melodic techno in my longer sets.

I'm particularly drawn to tracks with emotional resonance – pieces that balance introspection with momentum. My selections often feature rich, textural elements, hypnotic rhythms, and melodic components that create those special moments on the dance floor. I'm not afraid to incorporate unexpected influences or the occasional classic reworked in a contemporary context.

What remains consistent across my sets is the narrative quality – I'm always telling a story through the music, creating a cohesive journey rather than just playing tracks. The emotional arc of a set is something I plan carefully, whether it's a two-hour club set or an extended podcast like my recent Balance Selections mix.

As a DJ, analog or digital and why?

I embrace both analog and digital approaches, finding value in each for different reasons. I learned on vinyl with Technics 1200s, and there's something irreplaceable about the physical connection to music that comes from working with records. The tactile experience of cueing a record, feeling the resistance of the slipmat, and physically manipulating the music creates a certain intimacy with the sound that I deeply value.

That said, digital technology has created incredible possibilities that weren't available in the vinyl-only era. The ability to carry thousands of tracks, loop sections on the fly, and layer multiple elements has expanded the creative palette enormously. My recent upgrade to the Pioneer DJ XDJ-RX3 has added new dimensions to my performances while maintaining the hands-on quality I love.

Ultimately, I see the analog versus digital question as less about purity and more about mindful choices. What matters most is the musical story you're telling and the connection you're creating with the audience. I still keep my Technics 1200s with a Pioneer 600 mixer in my setup, and I'll choose the right tool for each specific performance context. The best approach is the one that serves the music and the moment most effectively.

What do you like most about music production?

What I love most about music production might surprise people – it's actually working through the frustration. There's a certain creative struggle that's consistently part of my process. I'll start with a clear vision of how I want something to sound, but it inevitably goes in a different direction. There's almost always a phase where I hate what I'm making, abandon it, return to it later, sometimes start over entirely, and then somewhere along the way, it begins to sound right – even if it's not what I originally planned.

This might partly be where I am in my learning journey, or perhaps it's the "imposter syndrome" that occasionally kicks in, but this pattern happens almost every time. The magical part is when I push through that frustration and create something I genuinely love and feel proud of. There's an incredible satisfaction in that persistence – the grit and resilience it takes to see a track through from concept to completion.

I also treasure those breakthrough moments in the studio when after hours of experimentation, something clicks and the track suddenly takes on a life of its own. That sensation of "yes, this works" after wrestling with doubt is uniquely fulfilling.

Finally, there's the connection production creates – both to yourself and to others. The studio process often reveals aspects of my own emotional landscape I wasn't fully conscious of, and then sharing those finished pieces creates unexpected bonds with listeners who connect with something in the music. That cycle of self-discovery and connection makes the challenging parts completely worthwhile.

How long have you been producing and DJing?

My journey with DJing began in January 2000, when I first heard progressive house at That Groovy Little Nightclub in Cleveland. I was immediately captivated and started learning to mix shortly afterward. Within about a year, I was playing my first gigs at the same club where I'd had that initial inspiration. So I've been behind the decks for over 24 years now, with varying levels of intensity as life has evolved.

Production came much later for me. While I'd dabbled with basic music-making software over the years, my serious commitment to production is more recent – within the last few years. Coming from a classical piano background gave me a strong foundation in musical theory, but translating that knowledge into electronic production was a whole new learning curve.

This less conventional path – being a DJ first for many years before diving deep into production – has actually informed my approach in interesting ways. I've spent thousands of hours listening critically to dance music, understanding what works on a dance floor, and developing my ear. Now I'm bringing all of that accumulated knowledge into my production work, along with the musical training from my earlier years.

What's your typical work process when producing a new track?

My production process usually begins away from the computer – often while hiking or playing piano. I'll capture melodic ideas or emotional concepts as voice notes or quick piano recordings. These seeds contain the core feeling I want to express, which guides everything that follows.

Once I'm in the studio, I typically start by establishing the fundamental groove and bass elements. Getting the foundation right is crucial – if the rhythm doesn't feel good, nothing built on top will work. I might spend several hours just refining these core elements until they have the right energy and movement.

From there, I build outward with harmonic and melodic elements. My classical background influences this stage heavily – I'll often work through chord progressions and melodic ideas on piano before translating them into electronic sounds. This helps me focus on the musical essence before getting caught up in sound design.

Arrangement comes next, mapping out the journey of the track. I visualize the energy flow almost like a landscape with peaks and valleys. The arrangement phase is where I make decisions about tension and release – how to introduce elements, when to pull back, and how to create those special moments that elevate a track.

Mixing and mastering remain areas I'm actively working to refine. This phase has been a significant focus in my recent development as a producer. I'm learning to pay particular attention to creating space and clarity, ensuring that each element has room to breathe while still forming a cohesive whole. I've found that getting the technical aspects of mixing right – proper gain staging, thoughtful EQ decisions, and careful dynamics processing – makes all the difference in whether a track translates well across different listening environments. This is an area where my coaching with Jason Brown has been invaluable.

I also review my productions during hikes, listening objectively and making notes about changes – getting outside the studio environment gives me fresh perspective. Throughout the entire process, I constantly check in with the original emotional intent. Does this track still express what I set out to capture? That north star keeps me from getting lost in technical details and ensures the finished piece has authentic emotional resonance.

Tell us about your studio setup.

My studio centers around Ableton Live running on a high-performance Windows laptop that I've optimized specifically for audio work. I've kept my setup relatively streamlined and focused on what I actually use rather than accumulating gear for its own sake.

For monitoring, I use Audio Technica headphones for detailed work, which have become essential to my process. The studio also features a great Mackie Thump speaker system that gives me a different perspective on the sound.

Interestingly, my car has become an extension of my studio – the Mark Levinson audio system has become a crucial testing ground for tracks in progress. I also regularly check mixes on my Technic studio earbuds. I've found that listening across these different systems is essential for identifying issues that might only be apparent in certain environments – that's where I'm focusing much of my growth right now.

This multi-system approach might partly be due to some hearing damage from those powerful early 2000s sound systems! But it's become an important part of my workflow – revealing different aspects of a mix that might be hidden when listening on just one system.

The studio also houses my DJ setup – a Pioneer DJ XDJ-RX3 (recently upgraded from my 2012 XDJ-AERO) alongside my original Technics 1200s with a Pioneer 600 mixer. Having both production and DJ equipment in the same space creates a natural flow between creating music and thinking about how it will work in performance contexts.

What makes this setup particularly effective for me isn't necessarily the gear itself, but how it's organized to support quick capture of ideas and smooth workflow. Everything is arranged to minimize technical friction so that when inspiration strikes, there are as few obstacles as possible between the initial concept and its realization.

Can you share one DJ tip?

My top DJ tip is deceptively simple but profoundly important: only play music you absolutely love – tracks that give you a physical reaction, that make the hair on your arms stand up. When you genuinely connect with the music you're playing, that authenticity and passion transmits to the crowd in ways that technical perfection alone never will.

On the technical side, focus intently on developing your ear for blending between songs. Clean, musical transitions are fundamental to creating an immersive experience. Learning the Camelot wheel system for harmonic mixing was a game-changer for me – it provides a framework for understanding which tracks will naturally complement each other tonally.

Beyond technical skills, approach your sets with narrative intent – take people on a genuine journey with emotional peaks and valleys. Build them up, hit them hard with energy, then surprise them with emotional depth. This dynamic approach keeps audiences engaged throughout longer sets and creates memorable experiences that transcend individual track selections.

I should add that having a giant music collection is both a blessing and a challenge! I wish I had mine organized better. The key is finding a system that works with your thinking process – whether that's by energy level, sub-genre, or emotional quality. Different organizational approaches work for different DJs, but the important thing is consistency and regularly revisiting how you categorize music as your collection grows.

The best compliment I've received as a DJ wasn't about a specific track I played, but about a journey I created over hours – how the entire experience felt cohesive and meaningful. That only happens when you approach DJing as storytelling rather than a series of individual moments.

What other musicians or music producers inspire you?

I find inspiration from a diverse range of artists both within and beyond electronic music. Within the progressive house realm, pioneers like Sasha, John Digweed, and Hernan Cattaneo have been formative influences – their approach to crafting extended musical narratives rather than just stringing together tracks continues to inspire my own creative approach.

Dave Seaman's work has been particularly influential – his balance of accessibility and depth, commercial appeal and underground credibility, shows how progressive house can be both emotionally direct and intellectually satisfying. The way his mixes and productions evolve over time has shaped how I think about musical storytelling.

Outside the electronic world, film composers like Hans Zimmer and Ólafur Arnalds inspire me with their ability to create immersive emotional landscapes. Classical influences remain important too – Debussy's impressionistic approach to harmony and Chopin's emotional expressiveness through relatively simple patterns both resonate with elements I try to bring to electronic production.

I'm also continuously inspired by newer artists pushing progressive sounds in fresh directions – producers like Nora En Pure, who brings organic elements and distinctive melodic sensibilities to her work, or Yotto, whose sound encompasses both accessibility and depth. What connects all these influences is a commitment to emotional authenticity and musical sophistication without sacrificing immediacy and connection.

What are some upcoming events or projects you are excited about?

I'm particularly excited about several productions currently in the pipeline. I have a two-tracker coming on Big Bells in mid-April that represents some of my most confident work to date. There's also a single dropping on Natura Viva (date TBD) that explores a slightly darker, more driving side of my sound while maintaining the emotional core that defines my approach.

Collaboration continues to be an important focus – I'm currently in the studio with Bud Cahill and VORA on separate projects that are pushing my production in exciting new directions. These collaborative relationships have been invaluable for my growth as a producer, each bringing different perspectives and techniques to the table.

On the performance front, with my current focus on the studio work my touring schedule has been out of focus. I've been working with the FUSE Collective in San Francisco, with our most recent event at Bergerac.

The HouseCall podcast continues to grow, with some fantastic guests lined up for upcoming episodes. What started as a way to have deeper conversations with fellow artists has evolved into a platform for exploring the human stories behind the music. I'm particularly looking forward to some episodes that will dive into the intersection of music, technology, and wellbeing – topics that feel increasingly important in our current cultural moment.

Where can we find out more about your music and DJ schedule?

The best way to keep up with my music and upcoming events is through my Linktree.

https://linktr.ee/djshellrobinson DJ SUPPORT on Beatport! Artist Page: https://www.beatport.com/artist/shell-robinson/1188748

For more frequent updates and behind-the-scenes glimpses into my production process, I'm most active on Instagram (@ShellRobinsonDJ). I often share snippets of works in progress and insights into my creative approach.

My SoundCloud page hosts all my releases, mixes, and HouseCall podcast episodes, making it a great resource if you want to dive deeper into my sound. All official releases are also available on Beatport, Apple and Spotify.

For those who enjoy longer-form content, the HouseCall podcast is available on YouTube

I genuinely love connecting with listeners and fellow music lovers, so please don't hesitate to reach out through any of these channels. The community around this music has been so important to my journey, and I'm always grateful for the chance to expand those connections.

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Artist Interview: Shell Robinson | Musician, DJ & Producer | San Francisco US

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