Ron Trent: A Legacy in Motion

These days, Ron no longer wants to talk about deep house, and why should he? He has said everything there is to say across an impeccable, genre-defining discography that will always stand up. Instead, this interview explores a range of themes including his evolution since then, the state of modern dance culture, and the deeper philosophies that guide his work.

While reflecting on his 35-year career, he discusses personal growth, critiques the American club scene and reflects on the importance of preserving dance music’s heritage while also explaining how his new album pays tribute to house music’s infinite and eclectic influences.

It is a wonderful insight to go with an equally wonderful new record.

It’s almost 35 years since you released your debut EP. Can you still recognise and relate to those earliest sounds? 

“Indeed, it already has been about 35 years since my first release, ‘Altered States’. In the process of my production years, I have carried the vocabulary of sounds that have been formed throughout my particular soundscape. Nothing left behind. Time being one of the teachers, my goals have been dictated by what has presented itself on my path. The source of why I do what I do has not changed.”

What have you learnt about yourself, the music scene and your homeland after touring largely at home for the last five years, and what if anything did you miss about playing more globally? 

“This is a very loaded question, being that I work on myself daily, music, art and culture are only a part of my intake, as you will know life is happening all the time. As far as my homeland, the US is concerned I have learned that we still have a long way to go in terms of presenting environments for music especially stateside there’s seems to have been a big gap in between what set the pace for dance floors and what revolutionized the global culture vs a surface philosophy that has been portrayed by a lack of knowledge and social media. There is a lot of hype and a lack of substance. Over the years, there has become a lack of proper sound systems engineering techniques and a lack of what this culture is all about. Although there has been a rise in listening bars, which were first developed in Japan, it’s more concentrated on aesthetic versus solid good sounding rooms. Outside of connecting with the global audience, being able to find great sounding rooms with the right sound personality is something that I may have missed to a certain extent.”

What is your relationship with modern dance music like? 

“I’m always collecting new music and checking for new things in terms of being inspired by new sounds and searching for new talent. Primarily though I pay attention to the news media and social politics, I really try to stay away from certain things that I feel hinder the progress of this culture that I’ve been a part of building. Some people seem to be more about concentrating on things that don’t matter to a certain degree. At the same time, there are some good points that are being brought to the forefront that have always been there. Speaking up about certain things is a good idea, but there also needs to be constructive action. Certain things I believe while slanted to the agenda of some, leaving out the truth.” 

So why now for a new album? 

“Why not a new album? It wasn’t a matter of feeling like I had to say anything, this album was birthed out of the idea and concept of doing a compilation, which then turned into more of an album project of my productions, mainly based from my hand, versus a compiled compilation album and a traditional sense. The owner of Rush Hour Records, Antal, had asked me to do a project based on a series that he was doing which was featuring different artists and their compiled influences. We took our time, when it was all crafted, it seemed to be more towards a thematic artist presentation. So we took it to that level. This project is about the various styles that live inside the DNA of House Music as you know it today. The eclectic world of the dance, the mood, and the eccentricities that moved us throughout the years. A tribute to the ancient future.”

In the tradition of greats like Sun Ra, this new record feels both ancient yet futuristic, spiritual and ritualistic but otherworldly. Was drawing on the history of Afrofuturism part of the aim from the start? 

“Of course there’s a message in the music and the intention is to move things forward from a traditional past the aim from the beginning of this album was not necessarily to do an Afro futuristic album though a lot of my works tend to get deemed to be after afro futuristic this was not necessarily the intention because more or less this is what I do anyway. The merging of sonics together to transport you.”

What were the joys, pleasures and the challenges of writing this new album? 

“To be honest, there were no challenges per se. The process either flows or it does not. I have a specific channel that I am tuned into while in creative mode and I do my best to let it come through. Now, whether the song or instrumental composition requires a certain degree of ingredients is denoted by the path the composition is taking. Genre is never really the focus. It’s more if it’s danceable or for listening intentions.” 

Tell us about your respect for Leroy Burgess, why you wrote a track with him and how you went about it – what are the things that made it suited to him? 

“Leroy Burgess is one of those foundational figures whose spirit you can feel in the DNA of this music. His work has always resonated with me, not just sonically but energetically. There’s a certain authenticity in his voice and his writing that carries the lineage of soul, funk, and the deeper vibration of Black music culture. Working with him wasn’t just about crafting a track; it was about honoring that legacy and tapping into something timeless. 

When we wrote together, it was about creating a space where his natural essence could shine. I approached it like a conversation, letting the music breathe and speak in a way that felt organic to him. The groove, the instrumentation—it all had to align with his frequency. The result is something that feels like it could exist in any era, which is exactly what makes it right for him.” 

You mentioned that you wrote some of the music on Lift Off with specific singers in mind. Is this the first time you have worked in that way? 

“This wasn’t the first time I’ve worked with specific voices in mind, but it was the first time I was this intentional about it. Some voices carry a certain emotional weight, a texture that needs the right environment to thrive. It’s almost like tailoring a suit—the cut, the fabric, the style, all have to complement the person wearing it. 

The process unfolded organically. I’d think about what would make that vocalist feel at home and inspired. It wasn’t about over-directing but creating a foundation they could build upon. Once the music was there, the conversation became about how they connected to it, what stories they wanted to tell. That back-and-forth shaped the final compositions.”

You will always be associated with Chicago house, but anyone who listens closely to your discography can hear a much wider world of sound from disco and boogie to new wave. What was an initial route into these sounds, was it hearing them in clubs or on the legendary WBMX? 

“Chicago house is my foundation, but my musical curiosity has always been global. Growing up, it wasn’t just about what you heard in the club. Radio stations like WBMX were gateways to a broader sonic universe. You’d hear disco, boogie, new wave, all these genres blending and influencing each other. That’s where the fascination started. 

Being in clubs, you could feel the energy of different sounds and how they moved people. It wasn’t about sticking to one genre but about the feeling, the vibration. That openness has always stayed with me. I see music as a spectrum, and I like to move across it.” 

And on this album, what were the specific inspirations, which eras, labels, artists? How do you go about feeding those influences into your own musical language in the most authentic way possible? 

“This album is like a sonic journal, pulling from eras and styles that have always spoken to me. There’s influence from late ’70s cosmic jazz, early ’80s boogie, and even some European electronic aesthetics. Labels like Prelude and artists like Roy Ayers, Patrice Rushen, and even Japanese city pop played into the atmosphere of the album. 

But it’s not about replication. It’s about absorbing those influences and letting them filter through my own lens. There’s a track on the album where the bassline is a subtle nod to the kind of groove you’d hear in a Leroy Burgess record, but with a modern twist in the rhythm section. I like to layer those nuances—things that might not be obvious but add to the depth of the sound.” 

What do you hope listeners take away from this album? 

“I hope listeners walk away with a sense of timelessness. Music that feels both familiar and new, like it’s part of their life story even if they’re hearing it for the first time. After an album is done, there’s always a moment of release. It’s a relief but also a kind of letting go. I like to let the music breathe, see how it lives in the world before diving back into the studio. Creativity is a cycle, and it needs that space to renew.”

Does dance music do enough to preserve its heritage, do you think? Do we respect and give space to the founding artists as much as, say, rock & roll does? 

“I think dance music could do more to honor its pioneers. We celebrate the music, but sometimes forget the people who laid the groundwork. Rock music has its shrines, but in dance music, the history can get lost unless we actively preserve it. That said, I’m grateful for the legacy I’ve built in deep house. It’s part of me, but I’m always evolving. Being tied to the past is a blessing if it’s used as a foundation, not a limitation.” 

How engaged are you with American politics right now, and what does it feel like to be living under a Trump presidency once more? Should dance music be politically and socially conscious as some of it has been over the years? 

“Politics is an undercurrent that’s always there, whether we choose to acknowledge it or not. As an artist, I can’t ignore what’s happening around me. These times are a catalyst for reflection and, sometimes, action. Art can be a form of protest, but it can also be a form of healing. 

Dance music has always had a political edge—from disco’s role in liberation movements to house music’s roots in marginalised communities. I think it’s important we don’t lose that. Music should reflect the times, but it should also offer escape and connection. The dance floor can be both sanctuary and statement, depending on how you approach it.”

Buy the new two part album HERE and HERE.