A successful DJ, singer and jewellery designer, Hawaiian-born Kim Ann Foxman is one skilful soul who has managed to stay true to herself and her musical tastes during her journey thus far.

 

The in-demand producer will soon arrive in the country for a string of tour dates which includes the Sydney Mardi Gras Party. Although having previously DJ’d in Australia, as well as toured with former band Hercules and Love Affair, Foxman can’t wait to hit the decks this time around.

You can feel the excitement bursting out of her record bag and spilling forth onto the dance floor. She has plenty in store for party-goers, especially those prepared to go the distance.

“I am gonna give it to ’em real good. They are gonna expect a dance marathon full of all my favourite jams,” she explains.

Part of Foxman’s appeal is that she works with the crowd to deliver sets based on mood and feeling without compromising her own style for the sake of musical popularity.

“I only play music I love, but I also play what feels right in the moment,” she explains.

“Communication and vibing with the crowd is really important and I just do my best to do so within my realm and to make sure they have a blast. If the crowd is having a great time, then I am too! It’s a two-way connection for me, I thrive off an excited or wild crowd.”

Inspiration is key for Foxman, a house and techno enthusiast who grew up surrounded by music, spending much of her teens in metropolitan US cities after moving from her native Hawaii.

“I learned the most about my passion for dance music and my obsession for collecting records from my time being in San Francisco as a teenager; it’s the era that impacted me and inspired me the most; it’s basically what tuned my ear to all my inspirations for underground dance music, which drives me today.”

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[Image] Kim Ann Foxman in her days with Hercules and Love Affair

Among such musical influences are iconic women such as Ya Kid K from Technotronic, and most recently fellow female house producer, British-born Maya Jane Coles whom Foxman collaborated with on the 2013 smash hit ‘Burning Bright’.

Coles approached Foxman, with the two women embarking on a creative process, producing a sleek house track and accompanying video with Foxman’s catchy vocal arrangement.

“Maya is amazing, and I had such a nice experience working with her. She basically asked me if I wanted to write some vox for a song that was very special to her, that would be for her album and of course I was thrilled!! She is so much fun and so talented.”

In an industry dominated by males, Foxman feels encouraged as a female artist, even though she still represents the minority.

“Times are surely changing and you can find a bunch of amazing producers that are women. Being a female working in the industry, I do find people are very supportive, maybe because it’s a novelty to some people in a way and in the grand scheme of things is not as common.”

A prolific performer and producer, Foxman’s success stems from her willingness to learn and experiment, particularly on a production level, which has helped her in developing her solo career.

“I was actually in an electronic band in the 90’s in San Francisco, and that was my real intro to producing electronic music. I got my first drum machine and sampler and experimented with vocals. We played some shows and then I moved to New York, and got involved with Hercules and Love affair for some years which was a nice experience. Now I’m onto my own musical adventure developing myself as a solo artist, and I’m loving it so much.”

A consistent roster of touring and performance has been key in helping Foxman gather the nuts and bolts to hone her craft.

“Technically speaking, I learned a lot about performing and the industry, by experiencing touring live and DJing, after I moved to New York.”

“I am learning so much about producing. It’s always exciting, reaching new levels, and always growing nonstop.”

In an industry which is constantly evolving and rife with DJs it’s fundamentally the basics that really inspire Foxman.

“I prefer when DJs are mixing live, and not on a computer, it’s a whole other level of respect for me. Live elements are of course way more interesting than watching someone stare at a computer screen and that unflattering light, but if the music is good, I am dancing, and I don’t care what the DJ is doing really, or what they are wearing, or anything like that.

It really all just comes down to one thing.

“In the end, it’s all about feeling the music.”

First published on gay news network on 27 February 2014

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