“Joy Is a Form of Resistance”: A Conversation with Chris Cruse
Chris Cruse
Chris Cruse is one of those rare DJs whose presence radiates intention — in his sets, in his collaborations, and in how he shows up in the world. His work bridges the ecstatic and the political, moving dancefloors with equal parts sleaze, joy, and soul. From massive queer gatherings like Glastonbury and World Pride to community-rooted projects like the Stonewall Jukebox, Chris is always listening closely — to the crowd, to the cultural moment, and to the deeper pulse underneath it all.
Ahead of his Pines Party debut, Sainte Francis caught up with Chris to talk recent highlights, resistance on the dancefloor, and why dreamscapes are exactly the point.
Sainte Francis:
You’ve had a huge year so far — Glastonbury, World Pride, SNAX. Can you give us a quick tour of your 2025 so far?
Chris Cruse:
It’s been a really exciting stretch. I just got back from Provincetown, where I played FAG BASH — it’s this wild party that runs from 9 PM to 1 AM, and it was amazing how intensely people threw down in such a short window. It felt like the entire village showed up and raged, then dispersed into house parties across town. Pure energy.
Right before that, I played Glastonbury, specifically in the Block9 queer area, which is honestly one of the most inspiring spaces I’ve seen in dance music. Four different stages, and I played at The Meat rack as part of NYC Downlow — the whole thing is set up like a meatpacking district factory-turned-nightclub. It feels like a tribute to late-’70s queer liberation, filled with disco and house and a sense of release. Those are the moments that really stick with you.
Sainte Francis:
That’s such a powerful through-line: joy, liberation, community. How does Pines Party fit into that for you?
Chris Cruse:
I haven’t played the Pines Party before, but I actually went many years ago — I think it was 2013 or 2014 — and I have such vivid memories of that trip. It’s special. And what excites me now is looking at the lineup. DJs I really admire, like David Harness, Tedd Patterson, Holographic, and of course, The Carry Nation. The curation this year is stellar.
Also, the theme — Dreamscape — couldn’t be more aligned with what I’ve been playing lately. I’m really drawn to sounds that are psychedelic, tunneling, and a little surreal. I think this set will be intense but fun, with some fantasy layered in.
Sainte Francis:
You’re playing the final leg of the main event, right? Through sunrise?
Chris Cruse:
Yeah, which I love. I really enjoy those transitional sets. There’s a cadence to them, a sense of narrative. You're inheriting a crowd that's been pushed to the edge, and your job is to land them — waking them up from the dream in a nice way, to a nice day ahead. That liminal space between night and day is where you can really play with contrast.
I played 6 AM to 10 AM at Black Party last year, which was similar in that way. You’ve got people who’ve been going hard all night and others who are just waking up and wandering into the dancefloor — that mix of energies is so rich. For Pines, I’m imagining something with some bounce, a little sleaze, a touch of sentiment.
Sainte Francis:
You mentioned recently road-testing some new tracks. Are you planning to debut anything at Pines?
Chris Cruse:
Definitely. There’s one in particular that I made with Pines in mind — specifically for that sunrise moment. I’ve been testing it out and I think it’s ready. It’s very much in my style and I’m really curious to see how it lands on that beach.
Sainte Francis:
I love hearing about the thought process behind your productions. What’s your creative approach when you sit down to make something new?
Chris Cruse:
It usually starts with the beat and a bassline. Sometimes it’s a sample, like a voice note from a friend that gets my brain turning. I try to stay open to where the inspiration is coming from, but I’m also pretty disciplined about finishing tracks. Even if I don’t end up playing them out, I like to complete the idea. That sense of closure helps me move forward creatively.
Sainte Francis:
That’s real. Otherwise, you end up with 500 half-finished ideas and nothing to show for it.
Chris Cruse:
Exactly. I’ve been there! But yeah — beyond original tracks, I’ve always loved making edits. Especially of older material that feels a little dusty but still has something to say. I want to make them playable in my sets while keeping their soul intact.
And I’ve been remixing for friends, too, like Kim Anh and Jorkes. I also have a project with a friend who played Pines last year, Massimiliano Pagliara, we called it Couple Looking, four tracks that are all really different, but you can hear our shared DNA in the way they’re constructed. That felt really fulfilling.
Sainte Francis:
You’ve played massive events, but you’re also deeply connected to more underground and intimate scenes. How do you navigate those shifts in scale?
Chris Cruse:
I try to stay tuned to the room, wherever I am. Who’s there? How’s the energy moving? What’s being asked of me in that moment? That never changes, whether I’m in a basement or on a festival stage.
But Pines is definitely unique — playing outdoors, on the beach, as the sun comes up. It’s going to be beautiful. It’s not a flash-in-the-pan moment. It’s the kind of night where people are in it for the long haul. That gives you permission to tell a story.
Sainte Francis:
You also have a deep connection to activism and community organizing. How do those values filter into your work as a DJ?
Chris Cruse:
To me, they’re inseparable. I think it’s a really difficult moment in the world right now, politically, socially, environmentally, and I’m constantly inspired by the people in my life who are doing the work. From nightlife to protest spaces, I’ve got friends organizing, building coalitions, staying engaged.
And I think the dancefloor can be part of that. It’s not just escapism — it’s also where we find each other, where we recharge, where we share messages through music. I try to bring that energy into my sets, to energize people and remind them that joy is a form of resistance.
That’s another thing I love about Pines: it’s a party with a purpose. The funds raised go to organizations like the Stonewall Community Foundation, the Pines Foundation, and the Seashore Defense Fund. That balance between fun and impact feels essential.
Sainte Francis:
You mentioned the Stonewall Jukebox Project earlier — I’d love to hear more about that.
Chris Cruse:
It was a collaboration with Honey Dijon where I was asked to research music and she did the curation for the jukebox at the Stonewall National Monument Visitor Center might play. But instead of recreating the exact 1969 playlist — which had some questionable entries, honestly — we dreamed up something new. A fantasy jukebox filled with queer icons, songs of resistance and liberation, and moments of pure joy.
I did a lot of the research for it, and I’ll be presenting the project in Berlin before Pride, at a listening venue called After. We’ll play a bunch of the 45s on high-fidelity gear and I’ll share some of the stories behind them. That project means a lot to me.
Sainte Francis:
It’s such a beautiful concept: queering the archive through sound. Any other highlights coming up after Pines?
Chris Cruse:
I’ve got Pride in Berlin, Club Raum in Amsterdam, and then working at Honcho Campout back in the U.S.— I’ve been part of the crew there for years. It’s always a wild and wonderful time.
Sainte Francis:
Any last thoughts heading into Pines?
Chris Cruse:
Just excited to be back on Fire Island. It feels like it’s become more and more of a cultural magnet over the past few years, and I’m looking forward to seeing what people bring — the looks, the energy, the shared dream we get to build together. Dream big, right?
Catch Chris Cruse at the DREAMSCAPE: The Beach Party on Saturday, August 2nd, 10pm-6am with Someone From Berlin and Eli & Fur.
