RUMPUS talks new EP and White Lotus feature [DMNW Interview]

With a playful sound and an unmistakable presence behind the decks, RUMPUS has been steadily building a name for himself in the global house music scene. Known for his infectious energy and genre-blending beats, he’s back with a new two-track EP that shows off two very different sides of his sound. From studio sessions with close collaborators to the inspirations behind his latest tracks, RUMPUS opens up about his creative process and what keeps him moving. Read on for the full interview and get an inside look at the rhythm behind the artist.

DMNW: You’ve got a new EP dropping on April 22 — what can you tell us about it?

RUMPUS: It’s been really good! It’s been getting playlisted quite a bit, and the streams have been really flying already this week, which is awesome. It was exciting to put those two tracks together on an EP, because they’re both very different from one another, and it’s nice to put out a body work that shows two different sides to my sound.

Was there a moment or feeling that kicked off the creative direction?
The first track, which is the lead track on the EP, is called Body Moving. I was in the studio with my friend Stund — we’ve worked on tracks together before, and we really enjoy collaborating. We’re good buddies, and he’s an amazing producer. We got into the studio and asked ourselves, ‘What should we write?’

At the time, I was really inspired by a lot of the music Black V Neck was putting out. So we took some inspiration from that and blended it with our own vibe and sound. We wanted the song to evolve into something that represented both of us — our styles and energy — and that could also work well for party settings.

As for Party Favors, I was really into some amazing Acid House tracks that were coming out around then. I was playing them in my sets and thought, ‘I want a track like this of my own — something to play at peak time.’

When I find myself repeatedly drawn to a track in my sets, that’s often a cue for me to try making something in that vein, so I can have my own version. Around that period, Acid House was really speaking to me, so I sat down and decided to write a track in that style — something that fit perfectly into those moments in my sets.

Your edit of RÜFÜS DU SO’s Interbloom has been getting a ton of love — and now your track Set It Off just landed in White Lotus. How did those moments come about, and what’s it been like seeing your music reach that kind of audience?
The RÜFÜS DU SOL remix was something I actually never planned on releasing. I just love that song — it’s one of my favorite electronic tracks of all time. I’ve always been a huge fan of RÜFÜS DU SOL and their music. I was playing the original in my sets, along with other remixes, and I had this moment — similar to what I talked about with the EP — where I realized, if I’m going to keep playing this, why not create my own version with my sound and vibe?

I originally made it specifically for Envision Festival, because RÜFÜS DU SOL had headlined there in past years, and they’re a big part of the festival’s identity. I thought it would be special to debut my remix there. After that, I shared it with a few DJ friends—one of them was Martin Hørger, who started playing it regularly and really encouraged me to release it.

I didn’t expect it to blow up the way it did. But then Don Diablo played it at Tomorrowland, and it was featured on Tomorrowland’s main page. From there, it just took off — kind of a snowball effect. Suddenly, DJs like John Summit, Kaskade, Nora En Pure, and even Tiësto were playing it. Tiësto has been especially supportive — sharing it on his profiles, stories, and even giving me shoutouts. It’s been amazing. I never expected that level of attention from a remix I originally wasn’t even going to release. But it’s brought in so many new fans and given me a ton of momentum.

As for the White Lotus feature, that track had actually been out for over a year. I figured it had run its course, and I was moving on to the next project. Then I got word that White Lotus was considering using it for a party scene in one of their episodes. I didn’t know for sure until a couple of days before the episode aired. Once it did, the song got a whole new life. It introduced my music to a much wider audience — people who may not normally listen to electronic music. That was really cool, because it brought in listeners who might never have found my work otherwise. It’s been amazing to see my music reach beyond the typical electronic crowd and connect with a broader audience.

That all sounds really cool, especially having Tiesto shout you out! Does it feel unreal in a way?
It really does feel surreal. When I started making music — maybe ten years ago — if someone had told me that the biggest DJs in the world would be playing my tracks on the biggest stages, sharing my music on their socials, and shouting me out… people like Tiësto? I would’ve laughed and said, “Yeah, okay — sure. Thanks for the encouragement.”

But now, after all these years of putting in the work, staying true to myself, and building a career out of this, it’s wild to see it actually happening. It’s such a cool feeling.

What’s especially meaningful is when artists as big as Tiësto take the time to support smaller artists and give us a platform. They don’t have to do that — but when they do, it can really help launch careers. It says a lot about the kind of people they are and the kind of community this industry can be.

If I ever reach that level, that’s the kind of artist I’d want to be—someone who lifts others up, creates space for new talent, and helps others rise. So yeah — huge shoutout to Tiësto. It’s been incredible.

You’re not just behind decks — you’re on a full drum kit during your sets. How did that setup evolve, and what kind of response do you get from crowds seeing that for the first time?
I’ve been drumming since I was about 12 years old. I grew up playing in punk bands and even toured with Warped Tour, so my musical roots are really in that world. Later on, I got into electronic music and started DJing and producing, but I didn’t immediately bring my drumming into it.

One day, a friend asked me, ‘Why aren’t you incorporating your drumming into your live electronic sets?’ And I thought — yeah, why am I not doing that? So I went to the music store to check out what kind of new tech was available for live electronic performance. I looked into Roland gear and found a drum pad that I could program and start working into my sets.

But my real dream was always to play a full drum kit live again — that’s my true passion. It was on my bucket list, but I needed the right moment and stage to debut it. When I got the offer to play the main stage at Bass Coast 2023, I knew that was it. That was the opportunity I had been waiting for.

I ran the idea by the organizers, and they were totally on board and excited about it. That show became the debut of my full live setup. Now, I perform in three different styles depending on the space and vibe. One is a straight DJ set for smaller venues. The second is a hybrid set, where I bring drum pads and integrate them into the performance. And the third is the full live show, where I play a full drum kit and move between the decks and drums throughout the set.

As far as how it’s received — fans who already know my music definitely feel like it elevates the experience. But what’s really interesting is how it draws in people who might not even be into house music. They might just be fans of live instrumentation, and seeing drums being played live grabs their attention. I’ve had people stick around for an entire set just because they were curious — and that’s been really cool. It’s a different kind of connection, and it’s helped me reach new audiences who might not have discovered my music otherwise.

Can you tell us about Warped Tour? Who were you drumming for there?
Yeah, this was quite a while ago, but I was in a band called Weak At Best. I played in a few different bands during that period, but that was the one I was with when we played the Ernie Ball Stage on Warped Tour.

I remember being a big fan of this other band on the tour called From First to Last. After their sets, we’d sometimes hang out and chat with them — super nice guys. Funny enough, the singer of that band ended up being Skrillex.

Back then, we were both just punk kids in bands, crossing paths on the tour. We weren’t close friends or anything, but we’d talk backstage and I’d always go watch his sets. It’s wild to look back now and see that we both came from that same punk background around the same time — and now we’re both in the electronic music world. It’s kind of a full-circle moment.

It seems like there’s some kind of pipeline from punk to electronica.
Yeah, I find the punk scene to be a bit more edgy, sure — but overall, the mentality is really similar to the rave scene. Both are rooted in this idea of acceptance: be who you want to be, everyone’s welcome, and we’re all just here to have a good time, no matter where you come from.

That kind of energy — open, inclusive, and centered around a love for music—is what drew me from the punk scene into the rave scene. It felt like a natural transition, because the sense of community and shared joy is so strong in both. That’s the biggest similarity for me, and it’s what’s kept me connected to both worlds.

You’re heading back to Shambhala, Bass Coast and Burning Man this year — do those festivals mean something special to you?
Yes, definitely. For me, Shambhala was where it all started. I remember standing in the Fractal Forest for the first time, looking up at the stage and thinking, ‘Someday, I want to play here.’ That moment planted a big personal goal and career milestone — being up there was a dream.

Bass Coast, on the other hand, is just such a special festival with an energy that’s hard to explain. There’s something about it I deeply connect with, and I was incredibly honored to be invited to play for the first time. This year will be my fourth time returning, and honestly, my sets at Bass Coast have been some of the most meaningful of my entire career. They feel like the purest expression of my sound and where I’m at musically at that moment. If you want to hear the rawest, truest version of a Rumpus set, catch me at Bass Coast — or Burning Man.

Burning Man is in a category of its own. There’s nothing else like it in the world. It’s the ultimate party, but more than that, it’s a culture and community. Whether I’m there as an attendee or performing on art cars and at camps across the playa, it’s my way of giving back — to share something joyful with others, just like they’ve shared so much with me over the years.

All three festivals are very different, but each holds a really special place in my heart.

Last year, Shambhala unveiled the new Fractal stage, what was it like playing on that?
The new Fractal stage is super cool — really fun. Fractal Forest has always had this amazing vibe, but because the stage is built to have people on it, it can get really packed. You’ve got friends, other artists — everyone’s up there—and sometimes it just gets too tight. So it was great to play on the new setup. It looks and sounds awesome, and it opens up more space on the dance floor, especially for those really busy sets. There’ve been times in the past where you couldn’t even get into the Forest because it was so full, especially with the old, more centralized design.

I think the redesign makes the experience better for everyone — not just for the artists but for the crowd, too. And from what I’ve heard, they might even be adding more to it this year. I don’t think what we saw was the final version, so I’m excited to see how it continues to evolve.

Outside of music, what’s keeping you inspired or grounded right now?
Honestly, I’m kind of a homebody. I just got back from Australia about 48 hours ago, so when I’m not touring, I really enjoy keeping things simple. I love spending time at home on Vancouver Island with my dog and my partner, going fishing, and taking little road trips—places like Tofino or other beautiful spots around BC. I moved out here about four years ago, and I’m absolutely in love with it. I think BC is one of the most epic places on the planet.

Since I spend so much time on planes and travelling for shows, it’s nice to just jump in the car and go camping or get outdoors. I really enjoy the nature here, the chill vibe. It’s the perfect way to recharge after the craziness of the road.

If someone’s never heard your stuff before, which track would you point them to first — and why that one?
Yeah, I’d say go check out my track Freak. It really reflects where I’m at right now with my production. I actually did the vocals on it myself — with a lot of processing, of course — but it’s my voice. It’s definitely one of my favourite tracks to play in my sets lately. It’s high energy, which is kind of the vibe of most of my sets these days.

If you’re looking for the most popular track, Feel the Beat — the one I did with Smalltown DJs and Neon Steve — is probably the best-known. That one has the most streams and is a crowd favourite for sure.

Whether he’s cooking up bouncy house anthems in the studio or lighting up festival stages with his signature flair, RUMPUS is clearly having fun — and taking us all along for the ride. His latest EP is another vibrant step forward in a career that’s all about movement, creativity, and community. Keep an ear out for more surprises from RUMPUS this year — and in the meantime, hit play and let the rhythm do the rest.