Dual Personality : a conversation with Salomée

You recently signed with Roof Booking. How did this relationship come about, and what will it change for you?

Roof Booking had been following my work on Instagram for a while. We eventually got in touch, and they were very interested in my productions. When I found out, I was really happy, because it’s a roster I particularly admire, with artists I respect deeply.

I’m not certain what this will lead to just yet; this is my first time signing with an agency! There will likely be connections with other artists, producers, and people with real projects. It could be really interesting for my growth as an artist.

At the end of 2024, before signing with Roof Booking, you performed at the Badaboum in Paris, as well as in London and Madrid. How did you handle bookings like that on your own, without any agency?

Before signing with Roof Booking, I worked with Anna. She’s an amazing person and one of my best friends. She’s in charge of production at the IBOAT club and used to manage all my bookings. It was easier because someone else took care of the logistics and negotiations. What will change with Roof is that the agency will take on outreach, unlike Anna, who dealt only with incoming requests.

What role has the IBOAT played in your musical journey?

A huge influence! It’s the club that’s seen me evolve from the beginning. I started by doing a lot of warm-ups there to find my footing. After that period, I got a residency. Thanks to that, I was able to make many connections and invite artists who are close to my heart, all producers, like DJ Stingray or Danny Haze, whom I’ll be inviting soon. Some of them I’ve been following since my teenage years. Then came the year of the cross-residency with Rey Colino, which allowed me to expand my horizons with Kalahari and One Eye Witness.

I also signed onto a VA that will be released this year. All of this helped me build confidence, meet amazing people, and open up internationally. It also allowed me to connect the IBOAT with people outside of France.

How do you perceive the Bordeaux electronic scene?

Bordeaux lacks venues for expression. That’s something we’ve all noticed. Many of the venues still around are also at risk. Recently, the IBOAT was on the brink of closing.

It’s important to support these venues and the artists too, by looking at their programs, engaging with their events, and buying presale tickets! It’s one way to support local collectives. There are many new ones emerging in Bordeaux, with talented artists. But they struggle to develop, mainly because they lack places to express themselves.

You’ve also been involved with the record shop Gimme Sound. What did you gain from that experience?

I worked with Gimme Sound for over a year, until very recently. Today, I no longer work with them because I don’t have time. That experience was a turning point. It allowed me to discover a new side of Bordeaux’s electronic scene.

It was a time of meeting people who were really passionate about music but weren’t necessarily from the nightlife scene. It was an opportunity to forge connections. It also allowed me to plan new projects.

Regarding your productions, we saw on your SoundCloud that your last one is from January 2025. Do you have any upcoming or ongoing projects?

I have two releases planned for this year. One on a label from Brussels and the other on a label from the Netherlands. I’m also working on a project for a fashion show, the Couture Lab show (which took place on March 14th). It’s an association promoting fashion in Bordeaux.

What challenges did you face in producing music for a project related to the fashion world?

The context is certainly more restrictive. Not necessarily in terms of creativity, but in terms of your personal touch. Personally, it pushed me out of my comfort zone. Because up until now, I’ve always produced intuitively, which led me to create something that became my signature style. For this fashion show, however, I was given a guideline based on the styles expected for the show.

I naturally followed that style, but it taught me a lot in terms of aesthetics. About how to produce certain genres and how to approach them. And since it was a project that lasted about thirty minutes, it helped me work on larger projects and manage the workload and structure of those thirty minutes, which were closer to a live performance.

How do you perceive the relationship between production and mixing?

I don’t really see them as complementary in my practice. What drew me to production is that I’m 100% interested in creating. Establishing myself as an artist means starting from scratch and creating something, whether that’s in music, visual arts, or something else. It was important for me to offer something that was entirely mine, through production.

That’s why it’s very different from mixing. I produce things that I don’t mix. I produce things that are melodic and melancholic, while I play tracks that are more techno and colder. Both are different aspects of my personality.