In Conversation: Lee Burridge And Tim Green

Taking solace in uplifting music can be more important than ever to some in today’s climate. DJ and producer Lee Burridge is well-known for creating this style of melodic, dreamy and emotive music, and he is considered to be a pioneer in spreading this genre globally through his label and touring event by the same name, All Day I Dream. The open-air techno and house event originated on a sweltering Brooklyn rooftop in 2011, and the event has since transformed into a world tour that combines Burridge’s lighthearted style of music with draped fabric, lanterns and fairy lights in an environment focused on inclusion. The label also boasts artists who create a similar style of music, such as DJ and producer Tim Green. 

Today, Green released his remix of Slow Hearts’ “Eyepads,” and the remix follows his full EP debut on the label with Vacation To Life, thus solidifying his close bonds with the imprint as he continues down this uplifting, daytime-focused musical path as opposed to the club leaning music he initially created. Burridge and Green are friends outside of making music together in the studio, so Forbes took the time to chat with them together about Green’s latest remix, where their inspiration stems from when making music and more. 

Lisa Kocay: Tim, you’re releasing your remix of Slow Hearts’ “Eyepads” on April 24th. Can you talk about your take on the track? 

Tim Green: “Yes. I mean, I think Lee, I think you…What did you say to me? Like you basically said, I got this track and you wanted it more ‘dancefloor,’ is that right? And you had the original track and you said something like, ‘alright, make this more like a danceable version.’” 

Lee Burridge: “Tim makes the best grooves for me. The original of the track is amazing—it’s got a different energy to it. I felt that it could be redirected towards more dance floors than just some of the daytime parties or, you know, playing in the desert, so I just asked him to sort of basically create a bit more rhythmic version of it. And then he does it again. Even better.”

Green: “Oh, it was a funny one—I was never sure with it. In the end, I think Lee wasn’t either. And then I think we both played it out and then realized that actually it’s really good. I mean, it’s funny how sometimes music does that, you know? I can spend all the time I want in the studio and it might sound great or it might sound terrible in the studio, but until you actually play it out in its kind of optimum or, you know, prime setting, i.e. like in front of the crowd, you don’t know what it’s going to sound like. Sometimes it’s just the opposite, and I felt like that’s what this remix was. I was happy with it, but I just wasn’t sure if it was complete enough or something. But it worked great and people reacted to it really well, which is nice.” 

Burridge: “I actually initially thought it was too complete and Tim had gone a little bit too far because it added another melodic element to it—this kind of string section as well, as it was in the set in the middle of the track, but it actually makes that version of the track.

“Initially when I heard I think I was having a grumpy day at home, sitting in my chair listening to new music and I was like, ‘really Tim? Too much.’ And then I said, ‘why don’t you take it out and feel it?’ And there was a reaction from people as well—kind of completes the circle of a track, I think. And for me, and for you Time, right? You know, the largest element is seeing how people respond to it.” 

Green: “Intriguing. You’re so detached, you know? Obviously when you’re in the studio and it’s not, you know…you think you don’t write music in front of the crowd sort of thing. So it’s a lot of projecting and trying to use your imagination: ‘I think this will work. I think it’s going to get a good reaction.’ You just put in your passion and soul and everything into it, into songs. So yeah, you never know. It’s that kind of full circle where you see that the result is great.” 

Kocay: So the style of music that you both create can really uplift and connect people regardless of what’s happening around us, which is more important than ever right now. Where does your inspiration stem from when you’re making music? 

Burridge: “That’s kind of easy. It’s a very quick answer to me: it’s all about love—of each other, of the music, of the community. I mean, it just starts with that. I always think that music is about bringing people together, and that’s love to me. That’s it. Short and concise answer.” 

Green: “I think mine’s a little bit more selfish, perhaps, but I guess I get I’m talking from a point of view where when I write music, it’s kind of for me. I worked more and more while like, psychoanalyzing myself, that the best music that I write is because I’m sort of drawing upon old memories a bit.

“I’m really melancholic, so I have to like a lot of amazing memories of being with friends or loved ones over the years, and they kind of give me these instant feelings and emotions that I can remember. I guess it’s kind of hard to describe, but it’s like having those happy places you can jump into in your own mind. I can use those emotions a lot then to sort of, I guess, daydream and almost think of future situations or environments or I’d like to hear my music with those emotions as well—if that makes any sense. Maybe I’m talking rubbish. It’s just I sort of draw upon those feelings and it’s that emotion, that kind of response. And I can project that into my music, I guess, in some kind of a way, if that makes any sense.” 

Kocay: All Day I Dream events—they tend to attract a certain crowd, one that feels free to express themselves and connect with one another. What’s your take on why that is? 

Burridge: “I think it was conscious on my part from the very first event to make it feel like a comfortable place for everyone in, you know—if it’s the deck or the music, it is very welcoming. I don’t know, ever since my first ever dance music party I went to, which was in a field outside of London in ’87, there was such a diversity in the crowd and it stuck with me. I spent time in China and Hong Kong, or anywhere I’ve really played, I liked it the most when there was a sort of mixed crowd of different types of people. Music is one language that everybody understands and speaks, you know? No matter where you’re from. So I think it was always a conscious thing to build a community around the idea. And I think by not putting the music at the forefront of that, people came not only to dance, they came to hang out with each other or to meet like-minded people. That sort of became the essence of people’s experience. And also the people felt that it belonged to them a little bit. It was never about, ‘come see me as a DJ.’ It was about, ‘comes to our event. It’s really nice.’ And you got different things from the experience during the day, not just you went and danced to the music and that was it. 

“So it’s really open. I think it really had a knock on effect when people brought their phones. We never really showed it to them. So it sort of spread out slowly and became what it was over time. And it wasn’t just a brand that was cool and sold to people that you should come to it. So I think that connectivity in that community is the reason why it’s a place to come and have a drink with your friends [and] watch the sun come down. Watching the sun go down is as much a part of the experience as everything else. I think it just happened organically, naturally. And people feel free, you know? They feel happy. They feel at their own center and comfortable. Those were always intentions off the bat.” 

Green: “It’s only been recently that I’ve joined the [All Day I Dream] family. And so, I’ve always seen the effect that it has on the crowd. And you know, I’m DJing most weekends as well, and I’m not someone who always chooses to go to a club mostly. But any time All Day I Dream is happening, that’s the night that I’ll choose to spend my personal time to go along because I want to meet with [Lee], and because I love the music and the environment. It’s just so different in such a nice way, and it’s positive. And he can definitely feel the effect if you walk through the crowd and speak to anyone. It’s a completely different energy [compared] to a lot of other places, that I’ve found, anyway.” 

Kocay: And the All Day I Dream parties—they obviously take place during the day. Can you talk about the shift towards rave life in the daytime? 

Burridge: “I think there’s a few reasons. I mean, the basic appeal to me is that, firstly, the music sounds different when you play outdoors. I learned in Thailand that just sort of adds to the listening experience because, I don’t know, if you’re under a beautiful blue sky listening to really fun, funky, cool, sexy, good music with all your friends, or you’re in a dark club with intense strobes, the feeling is very different. I just like that magical energy that daytime, or actually sunset or sunrise, presents you with, too. We had daytime stops earlier in the day, so people get a little sunshine, vitamin D walks, you know, and I think the fact that people can see each other really has an effect as well. There are so many smiles at you. You’re going to see the outdoors and you make a connection with them. And, I don’t know—you can also see how people dressed and see that creativity. It allows you to connect differently, I think, and that’s why I think there was definitely a rise because people suddenly had a different experience yet [were] attached to electronic music. 

“And there’s another reason actually—my crowd was always a little older, and I think the appeal of going to a nightclub once a week or twice a week until six in the morning dwindled a little. Or maybe they had a family, their job dictates that they can’t stay up late anymore or they just didn’t want to. But it didn’t really mean that they stopped liking music. There just wasn’t really a place for them to experience it that they wanted to go to as much. So the daytime parties really allow that. You get everything—you get to hang out with your friends, you get to hear the music, and you get to go home at 10:00 at night on a Saturday/Sunday and, you know, feel great the next day and actually have a normal day without sleeping through it and having somebody shouting at you that you have to get up and take the kids to the park. So, it’s just in general, I think it’s just a different vibe during the day rather than the night. And I think it’s actually appealed to people of all ages. Of course. So yes, I think the rise of day events can do a few different angles, but those being the main ones.”

Kocay: Are there any songs that you two are listening to right now to help calm you during these concerning times that we’re living in? 

Burridge: “I actually went through a few weeks of not listening to anything. I find it very difficult to listen to music. And I guess, you know, there’s such a transition between music and everything in my life for decades and then suddenly not traveling at all. No gigs in the future at all, and I think I needed to go through that sort of moment of pause myself. But after that, of course, the complete back catalog of All Day I Dream because it’s so soothing. 

“Actually, I think ‘80s music: Pink Floyd, Nils Frahm [and- Guilty Pleasure. They need to release the album. Tim, you going to say cooler things now that I look like an uncle?”

Green: “[Laughs] Maybe. Most times when I’m listening to stuff, I’m not listening to electronic music. Being a guitar player in a band and everything, I grew up with lots of different sorts of [genres], jazz or whatever. But the first thing that comes to mind is this really great Icelandic band called Amiina. They did a really good album almost like over 10 years ago called Kurr. That album is just beautiful and very, very relaxing, very feel-good music. But it’s not just the same songs, like chill out or anything, but that’s like an album that I think anyone should listen to. And I’d be surprised if no one can become down after listening to that album.”

Kocay: Is there anything else you think I should know? 

Burridge: “We’re going to start an All Day I Dream sunset session. It’s going to be every Sunday. But I couldn’t quite fathom out how to do it initially, and I think that people have got kind of a short attention span for it. So, I think starting maybe in a week on Sunday, we’re going to be doing 7 p.m. in GMT with one DJ, 7:00 p.m. East Coast Time and 7:00 p.m. West Coast time so we catch like three sunsets. And that’s three different artists playing an hour and a half of music each. So it won’t be one continuous long All Day I Dream party, but we’re going to kind of give people a Sunday afternoon into evening moment that they can maybe hang out online with their friends and listen to some nice music.”