“The production and overall scale of every single show has been gigantic. It’s been a lot of fun and surprising for me.” Performing for throngs of “monsters” not educated in EDM has clearly been an eye opener for the increasingly savvy Leclercq. “I’ve played every night in arenas to a non-electronic crowd and it’s actually very different but very satisfying. People are paying attention to what you do and reacting to everything.” Appearing before such a cross-section of people in various cities has afforded the DJ-producer new avenues of exposure. “I know a lot of the people don’t know who I am, so I need to show them what I’m all about, not compromise and convince them. It’s very thrilling to walk out and think I’ve convinced a person or two.”
Continuing his worldwide journey, Leclercq will be making his return to Australian shores, following a set at Stereosonic back in 2011, performing at Future Music Festival next month. “I’m excited to be back with the experience I’ve gained, plus it’s for Future Music.” After spending some time in Canada recently, his enthusiasm for getting over to a warm climate is another motivating factor. “I miss the summer, so thanks for being behind, guys,” he says with a chuckle. “I want sun and people sweating in the heat in the middle of the day.” Rapidly becoming a music festival veteran, he clearly misses the large scale outdoor setting. “I do love playing all the festivals and I’ve missed it a bit over the past couple of months. I’ve got a great set time for Future Music as well, playing on the main stage.”
With wisdom beyond his years, Leclercq has made the decision to avoid pandering during his sets, relying on his intuition and skills as a DJ. “I made a point when I started to tour that I really wanted to be able play anything, playing a set that is very much mine and playing songs that I actually love.” As a DJ with long-term ambitions, he doesn’t see the benefit in playing a set purely for the adulation and instant recognition. “The easy thing would be to pander and play a very commercial set and get a reaction. But then those fans get to your real shows and they can’t connect. I want to get fans and people who are interested and know what I’m about. [On the Lady Gaga tour] I’ve been playing a pretty similar set to what I would at a festival, trying to include a couple of recognisable moments, so the audience can follow.”
A typical set may include his energy-packed remix of Blur’s Song 2, getting the crowd to join in on the “woo hoo”, before he drops into a lesser known groove. “It’s very cool to be able to do both and I try to balance it in a way that keeps it exciting,” he says proudly. “I do 40 minute sets, so I have enough time to structure something that is snappy and efficient.” While he aims to educate his audiences, Leclercq understands the importance of a concise set. “Many people of my generation have a shorter attention span so I’d rather make it tight than play a boring, self-indulgent set.” His fusion of commercial and more underground elements is easy on the ears and has made Madeon a household name, yet it’s an approach that came naturally. “I’m a big fan of pop but I’m also a big fan of producers that are not the most well-known, so my music is a combination of both. It’s not sitting down and trying to strategically balance the two for commercial success, it’s more about a genuine love for pop music elements as well.”
First experimenting with music at age 11, Leclercq originally found himself taking more of a purist approach before allowing all of his influences to come to the forefront. “When I started to produce music more intensely I was going in an entirely different direction. I decided that as Madeon I wanted to have a career and discography and sound that works together and I’ve been exploring those ideas and emotions.” One of the catalysts for this open-ended approach was the success of his signature anthem Icarus. Originally produced as a club track it went on to became a top 40 single in the UK. “Sometimes the audience can be completely unexpected. You really can’t predict what it’s going to be like, so it’s not a bad strategy to just do what you like. That way you can stand behind it and support it.”
This approach is now following the enterprising Leclercq into his next career endeavour. “I sort of gave up music and have started painting now,” he jokes. Expanding on his production skills, he is actually prepping his debut studio album. “It’s the next step for me, I want to expand my sound and show all the things I can do.” As opposed to feeling pressure, he believes it’s the natural progression for his career. “The album used to be necessary and an obvious step but nowadays it’s really not. It’s sort of a proper creative decision to sit down and work on an album and that’s what I want to do. I feel like the music I make is appropriate for the format, which is why I found it attractive. The plans are coming together but I can’t quite announce anything yet.”
BY ANDREW ‘HAZARD’ HICKEY
