Sanouyer - Dance Like Paris

Photo by Art Davison

There’s something about house music that transcends geography— sound that speaks without words, vibrations that connect strangers on a dance floor. But how you first hear it, and where you grow up hearing it, can shape everything. In this conversation, I sat down with Sanouyer —three DJs born from the Parisian underground now finding their voice in New York City—to explore how house music is lived, loved, and understood differently across the world. We discuss culture, curiosity, and what happens when you swap song requests for real music.

Tune in: GrooveTheory; Live Mix by Sanouyer

T: You grew up in Paris, where electronic music was a huge part of your early concert and nightlife experiences. Do you think that shaped how you see house music compared to someone who grew up in the U.S.?

Hugo: Yes 100%. People in Paris grow up with electronic music. My first live music experience was seeing Justice perform when I was 13 and I realize how lucky we are to have grown up in such a musical bubble. It definitely shapes our ear and our tastes in a certain way

Miki: Paris and really Europe shaped my taste through club culture and the DJs I followed. The first time I went to Ibiza, I understood what music was really about. That kind of exposure just hits different - it stays with you.

Louis: There is definitely a more established and adopted underground scene in Paris. Cool clubs play underground music. So in some ways you’re a little forced to listen to this type of music going out. It’s an acquired taste.

T: Why do you think house music isn’t as mainstream here as it is in Europe? What is it about Manhattan’s music culture that makes it different?

Hugo: The US is very rich musically. You have hip hop, country, pop, …. US artists dominate the world in those genres and I think it’s normal that people primarily listen to that kind of music. France is way smaller and musically the only spot where we can rival with the US and other countries is electronic music. Daft Punk, Air, Justice, all the French Touch movement: those are our biggest successes musically on the international stage and that’s inspired generations of both really good producers and very picky listeners. And you can see that difference going out in the US vs going out in Europe or France.

Miki: I think house isn’t as mainstream here because the U.S. has always had different musical priorities hip hop, rock, pop. Meanwhile in Europe, house is just part of how people go out—it’s in the culture. That said, the U.S. is still where house was born Todd Terry, Marshall Jefferson, Larry Heard, Frankie Knuckles so it’s in the roots. In Manhattan though, a lot of the scene chases what’s trendy. People go where the hype is, not always for the music. And house has never been about hype, it's about the feeling. That said, places like Detroit, Chicago, and Brooklyn definitely know what they’re doing. The culture runs deep there.

Louis: There is too little place for curiosity and exploration, especially if you keep giving people what they ask for

T: Have you come across any unexpected spots or crowds in NYC that give you the same feeling as the scene back home?

Hugo: OuterHeaven for sure. It’s the most music-forward place in Downtown Manhattan in my opinion. In Brooklyn I think Public Records and Nightmoves have the same approach to music than some places in Paris

Miki: For me, those are the spots that feel closest to the scene back home: Good Room, Outer Heaven, Nightmoves, Public Records, Resolute, Gabriela. They all have that no-ego, all-vibe energy. The kind of nights where you just let go and dance.

Louis: To me there is nothing similar, really. European/French house has its scene, its people, its vibes, its aesthetic. I think NYC offers something different, especially in the rave scene.

T: When you're curating a set, how do you introduce people to “really, really good house music” if they’re not familiar with it?

Hugo: We try to keep it approachable. Not by playing songs that people know or singalongs, but by making sure the music is great, makes people dance even if they don’t know the song and by creating a progression where they’ll start the night with house tracks with disco accents and end up dancing at 145bpm on a super housey track. My personal biggest pride is when I see people use Shazam during our sets.

Miki: When we are curating a set, it’s really about reading the room in real time. We go in with a rough plan, but the goal is to guide people, mixing what the crowd needs with what makes us happy. I love throwing in rare house gems and watching someone react to a track they didn’t see coming. It’s not about dropping hits - it’s about building a vibe, earning trust, and maybe even initiating them into a higher BPM journey… eheh.

Louis: I guess it starts with playing something that sounds mainstream but is quite unknown. Once you get the crowd then you definitely get more freedom to play what you want

Photo by Art Davison

T: What’s been the biggest challenge in bringing your vision for house music to Manhattan?

Hugo: Honestly, the biggest challenge has been with clubs. Most Manhattan clubs don’t care about the music, they just care about getting people to spend money at the bar. I can’t really blame them, it’s their business but I think that makes all those clubs interchangeable - and honestly not very cool. People just flock to wherever is new, or where the people are hotter. If these clubs had a clear sound identity and were constantly playing music, I think they’d be more successful at retaining a tasteful, eclectic audience. I think Nightmoves is doing that very well in Brooklyn.

Miki: For me, the hardest part has been finding spaces that actually care about the music. A lot of Manhattan clubs feel copy-paste, same crowd, same vibe, no real identity. We’ve been asked to play super commercial stuff before, and that’s just not us. I get that clubs need to make money, but when music becomes background noise, it kills the energy. What we’re trying to build is the opposite - something with intention, where the sound leads the night, not the other way around.

T: Have you ever had a moment where you saw someone completely change their mind about house music—like they walked in skeptical and left converted?

Hugo: yes it happened the other day with the owner of a club we played at. He was very specific about us playing commercial tunes, instead we did our thing and he was super happy. The crowd loved it too.

Miki: For sure. It’s the person who had no idea who we were, stayed till the end, and came up just to say thank you. Or the owner who gave us a shot and ended up dancing in the booth. Even the girl who asked for Drake and ended up going off to a pure house track—those are the moments that remind us why we do this.

T: If you could design your ideal house music night in Manhattan, what would it be like?

Hugo: just friends, music and vibes

Miki: I’d start the night in a hi-fi bar somewhere in Brooklyn with a great sound system, warm lighting, and space to really listen. Then you’d slip into a back room—darker, more clubby, just a proper dance floor running on vinyl. No phones, no flashy lights, just good music and people who came to move.

Louis: steamy night going from one place to the other, distortion of the light because of the mushrooms

T: What is Sanouyer?

Hugo: Sanouyer is the name of our DJ group. Historically it’s also been the name of our parties because when we started DJing, we had to throw our own events because no one would book us on a line up - but now that’s changed.

Miki: Sanouyer is just the three of us - friends with different styles, but the same love for house music. We didn’t overthink it, we just started playing together and realized something special happens when we do.

Photo by Art Davison

T: Beyond just throwing events, are you thinking about building something bigger—a community, a movement, something more long-term?

Hugo: Yes 100%. We’re big on making sure we build a community of people who come and have fun at our parties. Great people and great music, that’s the combo.

Miki: It’s definitely in the works. We’ve seen our community grow with us, and it’s been really special. Seeing familiar faces come back to our parties—it means we’re doing something right. It’s more than just events now, it’s starting to feel like a real movement.

Louis: Continue on a music journey. That’s what it’s always been about. Play the tracks we discover and love. Evolve in our respective genres.

Photo by Art Davidson

T: Who are some DJs, producers, or collectives that inspire the way you’re shaping this project?

Hugo: Musically we all have our different styles and I think that’s one of the things that make us unique and that people like. Being able to build a set that makes sense musically from our three different styles is what makes it interesting and we’re always looking at people that manage to do it consistently (whether 2 or 3 DJs).

Miki: We all bring different influences—maybe a Paris local DJ, an ’80s disco track, some Brazilian house, or something completely random. We don’t just stick to house—we’re always digging through different sounds. We spend a lot of time just hanging out and sharing music with each other. What inspires us most are certain labels, duos, trios, and individual artists who have their own sound and keep things fresh. ex: Kolter, Demi Riquisimo, M-High, Luis Radio, Kx9000

Louis: Felipe Gordon, Leo Pol, Kevin Yost…

T: What’s one thing you wish more people in Manhattan understood about house music?

Hugo: It’s not that complicated, just come dance, have fun and discover

Miki: House isn’t just boom boom - it’s a vibe, a journey. If you see our name, just know you’re in for something real.

Louis: Take a moment, be patient and listen

Coco’s Corner:

Coco: If your sets had a dress code, what would it be?
Hugo: Sanouyer Hats and T Shirts! We did a few drops last year

Coco: What’s your unofficial band motto or inside joke that somehow always follows you into the booth?
Sanouyer: 🍄

Coco: What’s the most ridiculous song request you’ve ever gotten mid-set?
Hugo: We got asked to play Oasis at 2am in the middle of a house set

Why This Residency Feels Different: N/UM

At Laissez Faire, we’re lucky to call the underground of The Beekman Hotel home—a space that allows us to go all in on sound, lighting, and atmosphere to create something special with our favorite artists, musicians, & DJs.

If you’re reading along, I suggest taking it further and tuning in to some of their stuff on soundcloud. Really good for scrolling and vibing.

Here’s the link: https://soundcloud.com/numlive

I was recently connected with three of those artists, who go by N/UM. (rhyming with "bloom"): /nuːm/ and they are fresh off a live recording at Picture A Wave, where they shared the stage with Juan Atkins and Moritz Von Oswald. Their set took a different turn—ambient, spacious, completely improvised—especially with free jazz legend Daniel Carter jumping in. We talked about that night, their upcoming releases (including a remix from Satoshi Tomiie), and what they’ve got planned for their residency at Laissez Faire.

What was the energy like at "Picture A Wave"? How did it feel to share the stage with legends like Juan Atkins and Moritz Von Oswald?
The energy in the room was beautiful. The live visuals were opening up a whole new dimension and the vibe from the people was so attentive and joyous. A very special experience.
It was an honor to be on the same stage as these pioneers and legends. They played incredible music, showing how they can create super interesting soundscapes and affect the groove with such thoughtful and effective tools. Their music was fantastic. And super humble and friendly humans as well. A true honor to be part of that night.

How did the collaboration with Daniel Carter come about, and what was it like having him play with you?
Daniel is a legend and staple in the New York Free Jazz scene since the 70s. He plays all kinds of horns and has an openness and curiosity to music and sound, that is one of a kind. Jeremy does a lot of recording and mixing/mastering work with the label 577 Records, which showcases a lot of Daniel's music, so they know each other pretty well. And Elias has also played some free jazz gigs with him.
It was definitely a very special experience to play with him. The music took a much more exploratory direction. Daniel played saxophones, flute and trumpet. His sound and playing is never the expected... always reaching for the unknown and discovering new soundscapes.

You played a more ambient, open-format set—how did that shift your approach?
We took our time in developing the ideas and really got into a meditative mood. Even though there are parts that have a groove to it, we stayed very much clear of the clubby/ravy four-on-the-floor grooves and buildups and drops.
The three of us are very comfortable improvising together (all our performances are improvised), so whenever we add another person to the music, we all have to be ready to follow the music into even more uncharted territory than we might have ventured into on our own.

What moments from the recording stand out to you the most when listening back?
All the horns that Daniel is playing are adding such a beautiful element of unexpected melody and almost an eeriness to the music, while still sounding very inviting and gentle. And since there is a lot of space in the music it also gives for example the mono/poly synth a lot of room to fill the music and create a huge and full sound.

How does this live album differ from previous releases?
They are both definitely very different. The vibe is more relaxed and meditative. Almost dream-like. It has some very deep bass but not so much of the usual driving kick and SH101 that characterizes much of our music. This music is definitely more about closing your eyes and going on a sound-journey than dancing. Even though this album is divided into different tracks in the post production it's really one continuous musical experience (the way we played it live, there are no parts edited out). And the sound and emotions that Daniel brings to the music open up a whole new layer, that is at the same time very original and unexpected as well as soothing and melodic.

Your label, Ninetofire, is releasing The Reservoir with a remix by Satoshi Tomiie. What drew you to work with him?

We have always loved Satoshi’s work as a producer but also as a Dj, he has an approach to producing that is coming from a musician’s perspective that resonates  deeply with us.

What does Satoshi’s remix bring to the track that wasn’t there before?

We where very interested to see where he would take our music, and what direction he would choose in terms of vibe or style, he ended up making a dubby version of our track that we really love. 

You’ve jammed with him—any standout moments?

Yes we have played several times together, what came across the most with him, is his sense of musicality and space while improvising with us, his fluidity is exceptional, flowing from keyboards to drum machines or any other instrument in the studio, finding any musical idea that would complement perfectly our jam.

Any dream collaborations on the horizon?

Of course! The performance aspect is crucial for us as a trio since we constantly interact with each other, having sort of a musical conversation, we tend to work better with the musician/producer who is comfortable improvising. We recently played with Daniel Carter who is truly a magician in the avant-garde Jazz scene Daniel plays any wind instrument from flute, saxophone clarinet to trumpet. He added a total different color to our music in the most cinematic way.

Can you tease anything about the label partners for the live album?

We haven’t announced anything officially yet since we are still finalizing the record and in the mixing process, we want to release a dolby atmos immersive mix as well as the vinyl and are really looking forward for that release to come out in a few months! 

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With an EU tour in the works for August, how do you approach performing for different crowds in different countries?

This is probably the most fun part for us! It always takes us a minute to warm up to the crowd and see how they react to the sound, what tempos or what styles they respond more to, if they are expressive how they dance to the music etc, it is every time a big surprise for us and so interesting. Luckily we improvise on the spot so we usually try a few things out during the first part of the set, and land on something that resonates with the crowd.

You’re playing for Resolute at Movement Festival in Detroit—what makes that festival special for you?

Detroit is of course a place with a deep music history across many genres and decades. The annual Memorial Day weekend trip there feels almost like a pilgrimmage. It is no-frills, straight to the point and parties are just filled with genuine electronic music lovers and practitioners of the art. It’s unlike any other festival really. The off-festival parties are just as much a part of the experience as the official stages and it is just a great time to play there and reconnect with community.

How does performing in a club setting like Laissez Faire compare to larger festival settings?

Club sets and festival gigs come with differences in how close we can get between audience and performer and each have their differences and challenges in terms of sound, how it travels and what works musically. Many things are also the same. Musically we approach them the same. Our formula is to start with open minds, opening ourselves to the audience, the environment and setting, letting go of expectations and building a connection instead with a group of people on the other side of our setup table, whether there are 50 or a thousand or more people there.

Your quarterly residency at Laissez Faire is exciting for me and the team here. What are you hoping to explore musically in this space?

We are really excited about starting our residency at Laissez Faire. A residency allows an artist or group of artists as we are to build something over a much wider timespan. It allows audiences to really get to know your music, your approach and artistic fingerprint on a much deeper level because they are able to almost return to an experience they’ve had and relive it but also experience how different the music is from one show to the next. Our shows will have no repeated songs at all and all the music will be composed and performed on the spot but still there will be very much a red thread going through it and for those who return each time the experiences will likely merge in their memory over time as well.

Without giving too much away, what excites you most about your future sounds.

We are really excited to move more into the world of immersive sound both in live settings and also releasing records in various spatial formats like Dolby Atmos. This is a development we have followed and been part of developing and exploring as artists over the years and it is something that is finally hitting a point where it is blossoming and entering a mature stage where it can reach large audiences. For us as a multi-instrument live improvisation group it has some fantastic possibilities that we just can’t wait to roll out.

What keeps you going?

Inspiration comes and goes. The important thing is to be working and playing when it arises. We sometimes play and feel great for one hour, then loose our way and feel like things are not inspired for 40 minutes. Then suddenly out of nowhere everything magically builds into an effortless, groovy, dynamic and perfectly structured composition without any explanation. Those are the terms of the agreement we have made with music.

Some take aways from 2024 releases?

There are some pretty elastic and bouncy things to sway to in there from this last year, a lot of driving polyrhythms as well as some sunrise songs to take along on a long trip. There should be a few words of encouragement to unveil in there for the keen listener but apart from that it is just about the joy of listening

Coco’s Corner

At the end of every interview, our beloved Coco swoops in with a few fun, last-minute questions—because why not?

If your residency at Laissez Faire had a signature cocktail what would be in it? 

Lots of spirit and passion

Any pre show rituals/superstitions? 

One shot of tequila, together.