Few DJs get to play venues like Coachella, Red Rocks, and Amnesia Ibiza during the early stages of their careers. But the success of Mary Droppinz is no coincidence. Having reached #1 on Beatport’s Electro chart with her single “Sandman,” she has set her sights on the future. Between touring, producing music, and livestreaming, Mary Droppinz discusses her EP, The Cycle, and how she puts in the work to make her dreams come true.
From Marketing to DJing
Four years ago, you were working in an office. Now, you play on some of the biggest stages in the world. What was the starting point of your career as a DJ?
I’m from Nebraska. I loved jamming on the piano and would drum all the time with my dad. Honestly, I thought the only way you could pursue a career in music is if you’re like Britney Spears. But then, I moved to California. I went to Coachella and all these underground events. Eventually, I started messing on some decks with my friends.
The second I touched the decks, I had this whole vision. I practiced for four months and thought, “You know what? I’m going to throw myself out there.” I was on the culture committee at my job in advertising at the time and was planning the summer party. They needed a DJ, so I decided to play. I put “Mary Droppinz” on the flyer. My co-workers didn’t know it was me until they came onto the roof for the party. That’s how it all started.
An Open-ended Path
What was the transition from that office lifestyle to being a DJ on the road like for you?
I was DJing on the side for five years before I quit my job. It was scary at first because I quit right before the pandemic. But having that experience in marketing and advertising, I knew how to push my brand. I started livestreaming. I had to keep my career going. When you work at a full-time job, you know where your path can go. In this, it’s so open-ended.
My first year as a DJ felt like I was in a washing machine. I went wherever the gigs were. San Diego, LA, Orange County—I was playing every weekend for $100 a show. I’m surprised I didn’t get burnt out in those first two years. But I love this musical journey that I’m on and feel like now I’ve found my balance with it.
"My first year as a DJ felt like I was in a washing machine. I went wherever the gigs were. San Diego, LA, Orange County—I was playing every weekend for $100 a show."
Strategy Meetings
What lessons did you learn from working in the world of marketing?
Having team meetings, being on top of my calendar—I’m good at doing all that. I used to conduct strategy meetings for social media for other brands, and now, I do that with my team.
How did you end up on the roster of Zeds Dead’s label, Altered States?
My manager showed them the music I was working on, and they loved it. They were the first people that were down to release my EP. I kept sending them all my music, and Altered States became my home.
Producing Music with the TR-8S
Was it hard going from DJing to producing original music?
No. I play the piano and understand certain things about classical training. And I love DJing in the studio, too. That’s why I jam on the TR-8S a lot. I twist some knobs, do a little sequencing, and get the groove going. I always start with the drums. When I was studying at the IO Music Academy, I noticed that my drums always sounded different than everyone else’s in class. I wasn’t making four-on-the-floor beats. Then, I started to go deeper into that. Now, I feel really confident with programming drums, and the rest makes itself. The TR-8S is great for that.
"I love DJing in the studio, too. That’s why I jam on the TR-8S a lot. I twist some knobs, do a little sequencing, and get the groove going."
What made you choose the TR-8S?
I was running a booth at NAMM, and I went to the Roland booth and tested out the TR-8S. It felt super intuitive playing on it. Selecting the kit, sequencing, the way things are laid out, knowing exactly where the toms are, I can go fast on it. And I love those faders.
The TR-8S seems to have played a major role in your upcoming EP as well. That performative feel comes through.
Yeah, for example, one of the new tracks, “The Cycle,” is all about my thoughts of the dance floor. And every time I test it, I hear that “Whoo!” from the crowd. When I was making this EP, I wanted it to sound like a sick DJ in that sense.
Speaking Through Sound
Could we say that what motivates you is seeing people dance to your music?
Absolutely. A lot of my stuff is very electro, which comes from techno. But I have some house and bass elements, too. If I’m jamming at home, it’s fast—140 bpm and up. But I like to keep it in that 130 bpm range. You know how some EDM artists get labeled as the “Alanis Morissette of EDM” or “the emo girl of EDM?” It’s like that with hip-hop for me. I have a hard drive full of drum breaks. I get this different energy when I play this music. It makes me feel confident and strong.
Channeling that confidence, you recorded some of your vocals for the first time for your new EP. Will we be hearing you sing live in the future?
I sing in private, but I get choked up in front of somebody. I think that comes from my past, having had a lot of toxic relationships. That’s why I love DJing. I can speak without speaking, let them know who I really am, through sound. But I had to get on the mic to talk to people and answer their questions during my livestreams on Twitch. Since I did that, I figured I might as well add some spoken stuff on my music. But I’m super open to singing. I need to write more to feel confident in what I want to say.
"I’m envisioning something like Cirque du Soleil meets EDM. All these people holding their umbrellas, they’re coming down. A lot of acrobatic dancers."
The Mary Poppins’ Realm of EDM
With that in mind, flash forward to several years from now. What does a Mary Droppinz live performance look and sound like on the biggest stage you can imagine?
I love that question. I’m envisioning something like Cirque du Soleil meets EDM. All these people holding their umbrellas, they’re coming down. A lot of acrobatic dancers. Maybe some rain and everything fully going into the Mary Poppins’ realm of EDM. And then, sound-wise, maybe I’ll be singing. It’ll still be breaks, a little more DnB, but some ethereal stuff, too.
