FEW ARTISTS BALANCE GLOBAL STARDOM WITH UNDERGROUND CURIOSITY AS EFFORTLESSLY AS APE DRUMS. BORN ERIC ALBERTO-LOPEZ IN HOUSTON, TEXAS, THE DJ AND PRODUCER HAS CARVED OUT A CAREER THAT SPANS SOLO RELEASES AND HIS ROLE AS ONE-THIRD OF MAJOR LAZER, THE POWERHOUSE COLLECTIVE THAT HAS REDEFINED WHAT ELECTRONIC MUSIC CAN SOUND LIKE. JUST BACK FROM A WHIRLWIND RUN OF SHOWS ACROSS THE U.S., HE’S ALREADY GEARING UP FOR A MASSIVE 2026 WITH A LONG-AWAITED RETURN TO COACHELLA AND NEW MUSIC THAT LEANS INTO AFRO TECH TEXTURES AND BRAZILIAN BAILE FUNK RHYTHMS. BUT BEYOND THE FESTIVAL STAGES, APE DRUMS IS THINKING BIGGER—CREATIVE PROJECTS THAT MERGE SOUND, DESIGN, AND SPACE INTO UNIQUE, ALL-ENCOMPASSING EXPERIENCES. WE CAUGHT UP WITH HIM AT HOME IN MIAMI TO TALK ABOUT PERFORMING FOR ENDLESS CROWDS, FINDING INSPIRATION IN COOKING, AND WHY TRUE ARTISTRY OUTLASTS TIKTOK TRENDS.
Left Shirt & tie Saint Laurent by Anthony Vaccarello, pants The Row, watch Rolex
Right Top Pearled Ivory, pants CDLP
Hey! Where are you right now?
I’m in Miami. Just got back yesterday, so finally have a little time at home to hang out.
Where did you get back from?
I was all over the West Coast—Vegas, Arizona, California. Basically, bouncing around for almost two weeks. It feels good to finally be back, even though I’m used to being on the road most of the time.
Left Top Maison Margiela
I saw the announcement that Major Lazer is coming back to Coachella in 2026 after 10 years. What do you remember most about that last performance, and how are you planning to top that experience next year?
Funny thing is, I wasn’t actually part of the touring group at that point. I was there, but more on the writing side—we had a house for a writing camp and were working on music. I was watching that show from the crowd, and honestly, I think it’s one of the best sets Major Lazer has ever done. The visuals, the dancers, the edits, everything was just insane. So for me, now that I’m actually on stage with the group, it’s going to be a kind of a full-circle moment.
Underwear CDLP
What’s the biggest performance you’ve been a part of, audience-wise?
That’s so hard to answer. We’ve done soccer stadiums full of people in Romania, massive festivals in Paris that felt endless. I don’t know the exact numbers, but there have been so many that I honestly can’t pick just one.
Top Vintage, watch Sarcar, pants Diesel
When you’re up there, do you actually notice the crowd, or is it too overwhelming?
I make it a point to stop for a second and take it in. It’s easy to get caught up in the adrenaline and focus on what you’re doing, but I’ll just look out and really take in people’s faces, the energy, the fact that I’m standing there playing for all these people. With Major Lazer, there are a few of us on stage, so nobody’s staring at just me. That gives me space to take those moments without looking awkward.
You’ve played almost everywhere, but is there a dream venue you haven’t done yet?
Honestly, as Major Lazer, we’ve checked off a lot of bucket-list stages. We’ve done parties under a tent in an alleyway in Paris, under a bridge in London, on a sandbar in Jamaica. I really wanted to play Brooklyn Mirage with the guys this year, but that didn’t happen. Still, if there’s a venue we really want to do, we’ll find a way to make it happen. That’s just how we work.
Right Swim CDLP
Your sound pulls from so many influences—dancehall, trap, electronic. Recently, what genres have been catching your ear?
For my solo Ape Drums stuff, I’ve been studying Afro tech for about four years now. It’s different from Afro house—it’s deeper, more technical, more complex. That’s what’s challenged me and reignited my excitement to produce. I can’t listen to music the way a regular listener does anymore—I immediately break it down, analyse it, decide if it works. But Afro tech has been the one genre that feels fresh to me again.
With Major Lazer, we’ve been diving deep into baile funk from Brazil, Carnaval/Caribbean sounds, anything that carries heavy drums and energy. We take those influences and fuse them with electronic elements to create music that hits hard at big shows.
Do you ever find yourself obsessed with random sounds and trying to work them into tracks?
All the time. I’ll hear something out in public and think, “Damn, I wish I recorded that.” Sometimes I’ll rip audio from a video and flip it into something new. Lately, I’ve been into robotic, machine-like sounds—stuff that feels like a giant Transformer is about to attack. I’ve used those in my Afro tech releases, and people react because it’s unexpected and hits hard.
Right Robe CDLP, sunglasses Nico
You said before that you can’t really “lose yourself” in music anymore. Is there something else in your life that gives you that feeling?
Cooking, for sure. I love cooking—it’s creative, it’s an art form. Same with fashion design, interior design, putting colour palettes together. I have albums full of pictures and inspirations. With those things, I can actually enjoy them without breaking them down the way I do with music.
Do you ever just go out and enjoy music without treating it like work?
Yeah, that’s actually one of the reasons I go out. When I’m off, I’ll head out at night, have a drink, listen to whatever’s playing in the background, and just enjoy being around people. It helps me separate work from just living.
I read that you’re also interested in creative direction and building multi-sensory experiences. What does that look like for you?
Yeah, I started something called JAAM, which stands for Just All About Music. At first, it was a way to release guest mixes from friends, design artwork every month, and give myself another creative outlet. We also did a pop-up at a bakery and at a café during Miami Music Week with curated DJ lineups. They were amazing, and the feedback was great. It’s on pause right now because things got so busy musically speaking, but it’s something I definitely want to return to. For me, it’s about creating spaces and experiences that go beyond just DJing and producing.
Top Pearled Ivory, pants CDLP
These days, music often blows up from 15-second TikTok clips. Do you think that’s good for artists in the long run?
It’s a double-edged sword. It’s great for labels and businesses, but it hurts artistry. Those viral songs don’t usually create real fans—they’re just temporary sounds for content. And the people who blow up overnight don’t usually have longevity, because it’s all built on one viral moment.
That said, if you’re a true artist who cares about the craft, you’ll last. People can tell the difference. And while TikTok songs fade fast, real records will always have staying power. It’s just about why you’re doing it.
Interview by Martin Onufrowicz
Photography by Torian Lewin
