"I still have my ticket stub from Lady Gaga’s Fame Ball tour when she played Metropolis in Montreal on March 28, 2009. It was right around the time she released 'Poker Face' and really started to explode, so it was one of the last times you could see her in an intimate venue like that. And as an emerging artist, she had no budget back then, and I remember between songs she would lie down in the fog and pretend to disappear and we were like, 'Umm, we can still see you!' It was delightfully low-fi."
"I should probably start with the DJing and the music production, but right now I'm all about escapism. I feel like it's fairly likely the world as we know it is going to end soon — maybe Trump, maybe some kind of massive social upheaval caused by decades of unchecked neoliberal capitalism — so I'm trying to just enjoy stuff like food, my partner, my friends, and my consumer electronics."
"I was blessed enough to work with Aaliyah and her choreographer, Fatima, on a dance scene in the film Romeo Must Die. Being so young, the cast as well as directors didn't mind me chilling all day on set with each of them."
"I Saw Sigur Rós at the Greek theater in Berkeley about eight years ago, and it was an incredible show. When they began playing their final encore, the drums were pounding and at the exact moment they released confetti it started to pour rain. Everyone screamed out of joy and people's faces were turing pink and yellow and orange because of the confetti that was getting wet. I cried, it was pure magic. When I think about it I still get goosebumps."
“I see music as a language. Before I saw it as a thing. When I go to a show, I look at the person and I’m like, ‘what are you trying to tell me? What’s your story?’ But it’s deep because you can do it through rhythms and through melodies and it’s a really complex language.”
From A Great Height: Melissa Buwembo
