“Leave Room for the Magic”: A Conversation with Tedd Patterson
Tedd Patterson
If you’ve been lucky enough to experience a Tedd Patterson set, you already understand: this is not just about dance music. It’s something deeper. His sets unfold with a kind of quiet power: immersive, unhurried, sometimes unexpected, and always deeply felt. There’s a tension between control and surrender, between tradition and risk. Whether it’s the pulsing heart of Battle Hymn in NYC, the dusk-to-dawn spirit of Panorama Bar, or the closing moments of Pines Party, Tedd brings with him a distinct presence—an understanding of music not only as sound, but as ceremony.
In the lead-up to Pines Party 2025, where Tedd will once again helm the closing set alongside longtime collaborator David Harness, I had the privilege of sitting down with him for an expansive conversation. What followed was a generous and honest dialogue about his upcoming album, his history as a producer and dancer, the evolution of nightlife, and what it means to stay true—to yourself, your sound, and your community.
Sainte Francis:
As sometime who fell in love with house music getting to witness you at Battle Hymn years ago—it’s an honor Tedd! Thank you for your time. I’ll start with: What have you been up to this year? What’s 2025 been like so far for you?
Tedd Patterson:
It’s actually been a great year. I’ve released a few singles, all leading up to an album that I’ve been working on—plus a ton of remixes. One was with The Illustrious Blacks, another with Joi Cardwell, one with Inaya Day. It feels like I’m finally getting to collaborate with people I’ve admired and loved for years, and now I’m working with them. It’s kind of a dream.
I’m also now a resident at Battle Hymn, which means a lot to me. Parties evolve—they should—and I feel like I’m in a moment right now where I can contribute something meaningful to Ladyfag’s vision, and to that room. Each of us residents have a distinct voice, often in opposite directions, but we meet in the middle somewhere. And that’s where the good stuff happens.
I also played Panorama Bar (at Berghain) a couple times this year, which was beautiful. I first played there back in 2012 or 2014 with Matt (Radio Slave), but I had taken some time away from traveling, so it felt really affirming to be back—and so well received.
Sainte Francis:
You mentioned an album. What’s the inspiration behind it?
Tedd Patterson:
Honestly, it feels like a beginning. I’ve been DJing for decades, but producing was always something I dipped in and out of. My first track came out in 1998, Welcome to the Magic Sessions, named after a party at Winter Music Conference that I did with Louie Vega and Tony Humphries. That came out on Strictly Rhythm. Since then, I’ve released music here and there, but I was a bit ambivalent, and I never fully stepped into it. My taste was always broader than what I felt I could technically produce alone, so I held back.
But now? I don’t worry about that anymore. I stopped obsessing over what House music is supposed to be. I just want to make what moves me. Collaborating with friends and artists I respect helped open that door. I’m finally comfortable in the producer’s chair and seeing my ideas through and into the light.
Sainte Francis:
Is there a sonic or thematic thread to the album?
Tedd Patterson:
[laughs] Definitely not. If I give myself a direction, I’ll overthink it and fail it. I’m a perfectionist. I collect from everywhere—Disco, Soul, 80’s Synth Pop, Deep House, Techno—and I follow the spark. It’s not about genre; it’s about creating something I would dance to.
I’m inspired by a lot of different things: Philly Disco, Funk, Soul. I started playing disco in 1979. That was my entry point. But then soon after I also fell in love with The Cure and The Cult, Yazoo, Depeche Mode. I used to play in an Atlanta club called Weekends, which was this amazing alternative queer space that shaped how I think about music and allowed me to play everything from Electro and Rap to Marshall Jefferson and Colonel Abrams. That genrelessness still lives in me. It’s all part of the same emotional language.
Sainte Francis:
Has there ever been a track you’ve produced that surprised you in how it turned out?
Tedd Patterson:
“Let the Music Set You Free” with The Illustrious Blacks. People are sleeping on it! It’s probably the one track I’ve made that I think is better than its reception. And I’m usually hyper-critical of my own work—I can barely play my own records. But that one? That one’s hot. It’s funky, dirty, soulful, high energy—everything a dance record should be.
When I dropped it at Battle Hymn, my DJ friend Tom Stephan came running over like, “What was that? I have to have it.” That told me everything I needed to know.
Sainte Francis:
Yes, I can attest, that record is a heater. I had the privilege of interviewing Manchild and Monstah last fall, right after it came out. I know they are just as excited about that track! Now, I’m curious to hear if your DJ preparation aligns to your production approach. What’s your process like when preparing for a set?
Tedd Patterson:
Oh, I plan. I over-plan. But here’s the thing—my best sets happen when the plan falls apart.
I was prepping for Battle Hymn not long ago, right after playing Panorama Bar. I had curated a whole folder of new tracks and loaded them onto my USB. Got to the club, plugged it in… and the folder wasn’t there. Gone. So, I had to improvise. And it ended up being one of the best fucking sets I’ve played in years.
What I’ve learned about producing as well as spinning is this: leave room for the magic. Quincy Jones used to say, “You have to leave space for God to walk into the room.” I take that to mean you can’t be too rigid. Spontaneity is the life of the party.
Sainte Francis
Let’s talk about nightlife more broadly. What’s your read on where the scene is at right now? What’s exciting you, and what’s not?
Tedd Patterson:
I’ll say this: technology has made it easier for more people to become DJs. That’s beautiful in some ways. It’s also made it easier to throw a pop-up party. Some are great. Some aren’t. But I’m not going to sit here and complain—I’ve done enough of that in my life.
What I can say is: I’m very picky about where I play. I get offers, and I turn down some. I’m not hungry in the same way I was in the 90’s. Back then, I’d play anywhere just to get my name out. But now, I want soul satisfaction. I want to play for people who are there for the music, not for me.
There’s this idea now that the DJ is the star. We’re on stages. There are spotlights. But that’s not what this is about. The DJ isn’t the star. The dancer is. I don’t want to be stared at. I want to create an environment where people feel free. Where they lose themselves. That’s what matters to me.
Sainte Francis:
That’s such a powerful statement. And it mirrors what Rimarkable told me: how this work is about healing, about spirit.
Tedd Patterson:
Yes. For me, my journey started with being shy. Terribly shy. But I discovered that behind the decks, I didn’t have to talk. I could just be, and be expressed playing music. And that made it a safe place. I was a disco dancer first. I competed. I lived for it. And when I found gay clubs, I was like—what is this? No one was yelling over the music. No one was hyping the crowd. It was just music playing and setting the scene. Long versions. Deep versions. Unreleased Versions. That was it for me.
Even now, when I approach the booth, I can still get a tremble. Still. But once I settle in, it’s therapy. It’s healing.
Sainte Francis:
You’re returning to play the closing day of Pines Party this year alongside longtime friend and collaborator, David Harness. Can you talk about what makes that party special?
Tedd Patterson:
Spontaneity. That’s the magic of Pines for me.
David and I, first of all, are besties. We don’t over-plan for it. We don’t know what the other is going to play. And we love that. I love playing music for him that makes him go, “What’s that?” And vice versa.
Last year, Joi Cardwell showed up mid-set. She had said she might come, and then suddenly she was there. I hadn’t planned for it. But I dug through my bag, found Club Lonely, and she grabbed the mic and sang. Completely spontaneous. And it was magic.
Also, I want to say this: as a Black person in that predominantly white space, I never imagined Pines would be for me. I didn’t think I’d be asked. When they did, I was skeptical. But they give us the space—me and David—to do what we do. And I’m grateful. It’s an honor, truly.
I don’t take that lightly. Representation in spaces like this matters. It sends a message. And what I felt was: they trusted us. They trusted two Black artists with this day, this community, this tradition. That’s not a small thing. I’ll always be grateful for that trust—and for the chance to pour everything I have into a dancefloor that’s ready to receive it.
Sainte Francis:
Final question—any advice for younger producers or DJs who are just starting out?
Tedd Patterson:
Work fast. Trust your instincts. When something’s flowing, don’t stop to eat dinner. Ride the wave until it’s done. That energy, whatever it is, isn’t always easy to access. Respect it when it shows up.
And don’t overwork your tracks. I’ve fixed the life out of too many songs. You end up losing the spirit. Save that first version, the one that felt alive. You can always edit later, but don’t chase perfection at the cost of the soul.
And most of all—do it for love. Do it for the community. Leave something behind that you’re proud of. That’s what I’m trying to do.
Catch Tedd Patterson at the Pines Closing Party on Sunday, August 3rd, 3-8pm with David Harness.
