“I felt like a kid going, ‘Yes, that’s the drop!'” Patrick Kam interview
Patrick Kam releases his debut Afro-house single Wimbo, drawing on his extensive experience as a DJ to create a cut ripe for melodic dancefloors around the world.
Based between Belgium and France, Patrick Kam brings a unique blend of Afro and Latin house to rooftops and terraces. His sets fuse global rhythms, mixing classic and contemporary sounds, and now releases is debut single, Wimbo.
Wimbo blends Afro house with elements of progressive and melodic house. Its rhythmic beats and evolving melodies create a deep, atmospheric groove and lasting impression, and is a striking debut single from this highly promising emerging artist.
As a DJ with extensive experience, how did that influence the production process for your debut single “Wimbo”?
Before becoming a DJ, I was a music producer, and it was during that transition that I began to understand much more about how music impacts people. For example, I realized early on that the drop in a track is crucial for getting people to dance and jump. But once I started DJing, I learned that how you lead into the drop is just as important. Using progressive percussion or effects to signal that something big is coming helps the crowd anticipate and prepare, making the moment even more powerful. This is an understanding I gained from DJing, and it’s something I now apply to my music productions, like with “Wimbo.”
It might seem obvious, but before I became a DJ, I never fully appreciated just how important extended versions of tracks are.
Your sets are known for blending Afro and Latin house. How do those styles complement each other in your live performances, and how did that influence “Wimbo”?
When you listen to African or Latin music, you’ll notice both genres are heavily driven by percussion, each with its own distinct rhythmic identity. While I love house music, I have to admit that rhythmically, it’s quite simple. So, when you incorporate percussion from African or Latin styles into house music, it blends naturally. Interestingly, many Afro house producers have recently started adding Latin vocals to their tracks, creating an even closer connection between the two styles. Mixing Afro and Latin influences in house music feels like a natural fit, which is exactly what I did with my single “Wimbo.” In it, you’ll hear powerful African tribal percussion, and you can expect to hear more Latin vocals in my future tracks as well.
On another note, I’ve noticed that Arabic influences are starting to appear in some music too, and I think I should explore that direction in the future.
Can you share how you approached the arrangement of this track?
Sometimes, you spend forever trying to come up with something, and nothing clicks. Other days, an idea just drops into your head, and everything flows faster than you can keep up. That’s exactly how it was with “Wimbo.”
The moment I heard the vocal, I went crazy for it. I knew right away what I wanted to do. I sat at the piano, played around, and everything fell into place. It felt so right that I decided to leave it as is. Then a few days later, my wife mentioned, “That track you started sounds really good,” so I took it more seriously and went back to work on it.
One night after a DJ set, I had this realization about how people react to music, and it hit me—that’s what I needed for my track. So I added a stop right before the drop, followed by a huge synth buildup. When that drop hit with those big tribal percussions and synths together, I felt like a kid going, “Yes, that’s the drop!”
How has being based between Belgium and France shaped your sound, particularly in the development of “Wimbo”?
Actually, I’m still new to France. Back in Belgium, I had a lot of DJ and producer friends who were really into amapiano, the South African house style. I thought it was cool, but I wasn’t fully into it at the time, you know? But last year, I heard a track for the first time called “The Boy’s Mind” by James Mac, and that’s when I was like, okay, this is something I’m really interested in.
When I moved to the north of France, I started going to clubs and bars where they played a lot of Afro-influenced music, and that’s when it clicked. I wanted to try something like this myself, and gradually, I made the switch. Honestly, last year I was working on a completely different house music project, but by the end of it, I had transitioned to something new. So, those places and sounds have really influenced me and shaped where I am now.
Global rhythms play a key role in your DJ sets. Which specific cultural influences were you tapping into when creating “Wimbo”?
We’re fully immersed in African sounds—the influence is undeniable. The voices, the percussion, all of it is rooted in Africa. But I have to admit, the majority of the people in front of me are actually from Europe. So while the music has strong African elements, it’s being embraced by a European crowd. It’s a blend of both worlds: European listeners vibing to Afro-inspired beats, which creates this unique fusion of cultures—and that’s something I love to see.
What challenges did you face transitioning from being a DJ to a producer for your debut release, and how did that impact “Wimbo’s” final sound?
Actually, I started as a producer before becoming a DJ, and making music has always been my true profession. I’ve worked across different genres, but becoming a DJ helped me realize how people really react to music on the dancefloor. It changed the way I produce, because if I was only a producer, I’d probably focus more on what works for radio. But as a DJ, you get firsthand experience of what moves a crowd and makes people dance.
For example, check the structure of “Wimbo.” You’ll notice there’s only one verse, and after that, it’s mostly a break, a stop, and then a long, dramatic build before the drop. That’s something you wouldn’t think to produce if you were only a producer. Without that DJ experience, the track would’ve followed a more traditional structure—verse 1, hook, verse 2, hook, bridge, and final hook.
How do you see Afro house evolving in the next few years, and where do you envision your sound within that space?
Afro house is undeniably the trend of the moment, and I believe it’s only going to keep rising. We’re seeing a fusion of influences, from Arabic to Latin sounds, creating a rich tapestry that keeps evolving. The African influence in music is expanding rapidly, so for me, 2025 is shaping up to be another great year for Afro house. But hey, who can really predict the future? As a music lover, I’m all about house music, and I’ll continue to create what feels good to me.
As an emerging artist with a promising debut, what can we expect next in terms of releases and musical direction?
When it comes to Afro house, I feel like I’m just at the beginning of my journey. Jumping into something new brings an abundance of inspiration—some days, I’m hit with fresh ideas in the morning, another wave in the afternoon, and yet another by evening. My computer is packed with demos, showcasing all these different directions I’m exploring. So, expect to hear a variety of sounds from me! Looking ahead to next year, I plan to dive into more specific and commercial tracks as well.
