Nashville-based DJ and producer merchant discusses his Jamaican roots and ambition to share Afro-Caribbean sounds with a broader audience.

The modern dance music landscape is rich with Caribbean influences, permeating genres from house to bass and beyond. One artist at the forefront of promoting these Afro-Caribbean sounds is merchant, a DJ and producer originally from Jamaica, now based in Nashville.

While Nashville might not be the first destination that comes to mind for success in the dance music scene, merchant has flourished there over the past few years. His remixes of tracks like Damian Marley’s “Welcome to Jamrock,” John Summit‘s “Where You Are,” and Bad Bunny’s “Monaco” highlight his creative studio techniques, quickly garnering attention. Renowned artists like Francis Mercier, Themba, and Pete Tong have endorsed merchant’s work, indicating he’s poised for significant career advancement.

On February 21, merchant is set to release his latest single “Tu Ta Le,” a collaboration with London-based producer Hoax (BE) and Kenyan artist Idd Aziz, further emphasizing the global nature of his music. Before the release, merchant took the time to discuss his Jamaican heritage, the Nashville scene, and more. Don’t miss his exclusive guest mix and the full interview below!

Stream EDMID Guest Mix 457 || merchant on SoundCloud:

Hi merchant, thanks for joining us. Let’s start with your background. How did your journey in music begin, and who were your influences?

My Jamaican upbringing was pivotal in developing my love for music. Surrounded by reggae and dancehall, I grew to appreciate rhythms from an early age. During my teenage years, I discovered electronic music that incorporated those familiar percussive elements—artists like Major Lazer and early Diplo, as well as UK producers blending Jamaican sounds with electronic styles. This fusion ignited my passion.

As I delved deeper, I experimented in my home studio, layering Afro rhythms atop traditional dancehall and reggae beats while integrating electronic elements authentically. Each discovery expanded my love for the genre.

Your new single “Tu Ta Le” features collaboration with Hoax (BE) and Idd Aziz. How did this collaboration come about?

“Tu Ta Le” embodies the idea that Afro House is a global genre—a melting pot of cultures. Hoax (BE) and Idd Aziz contributed their unique styles, and the synergy was electric. We exchanged ideas through social media, sharing voice memos and loops. Hoax laid a solid foundation, while Idd’s vocals added an East African warmth that elevated the production. My role was to infuse Jamaican/Afro-Caribbean elements, resulting in layered percussion and a cohesive rhythm.

Despite being separated by continents, it felt as though we were collaborating in the same space. We communicated via calls, exchanging melodic ideas and refining our contributions until everything clicked. The digital collaboration landscape is fascinating, showcasing that genuine chemistry can be achieved, even with those you’ve never met in person. “Tu Ta Le” encapsulates that energy beautifully.

Your remixes, like John Summit’s “Where You Are” and Damian Marley’s “Welcome to Jamrock,” have gained attention. What draws you to these tracks for editing?

I seek tracks that resonate with my Jamaican background or align with my Afro-inspired vision. For “Where You Are,” the catchy vocal felt perfect for a deeper, rhythmic interpretation. “Welcome to Jamrock,” with Damian Marley’s iconic voice and raw dancehall essence, holds a special place for me. When I hear a track that inspires creativity—be it a captivating melody or a vibe that could mesh with Afro House—I’m eager to explore it. My goal is to honor the original while injecting fresh, percussive energy.

How does it feel to receive support from influential figures in the scene, such as Francis Mercier and Pete Tong?

It’s surreal. When respected figures in the electronic music world support your work, it validates your instincts. Francis Mercier’s advocacy for Afro House on mainstream dance floors is significant, and having Pete Tong’s endorsement feels monumental for striking a balance between underground and mainstream. Their support is both humbling and motivating, pushing me to explore new sounds and continue evolving.

What has been your biggest challenge in your career, and how have you navigated it?

Initially, I struggled to merge my Jamaican heritage with electronic music without it feeling contrived. There weren’t many precedents for this blend, and I worried about whether labels or promoters would embrace it or if it would be too niche. However, I persisted in refining my sound, trusting that audiences appreciate authentic music that offers a fresh perspective.

As I began to witness genuine crowd reactions to my fusion, my doubts diminished. Now, I view it as my unique niche rather than an obstacle. Sometimes, pushing boundaries requires stepping into the unknown, but a strong foundation will ultimately help you find your audience.

Jamaica has a profound musical legacy, influencing many contemporary electronic genres. How do you view its contributions, and can the scene do better in honoring them?

Jamaica’s influence on global music is profound, from reggae’s inception to shaping modern dancehall. Various styles, including UK jungle and certain EDM subgenres, heavily draw from Jamaican rhythms. It’s a bittersweet reality; while the influence is clear, the credit is not always recognized. However, I sense a shift, with more producers acknowledging their Jamaican roots.

The scene can certainly improve. I’d love to see more collaborations with Jamaican artists, increased recognition of the island’s musical pioneers, and educational initiatives at festivals to showcase the origins of these rhythms. Celebrating the source while continuing to evolve the sound is essential.

Being based in Nashville, a city known for its country and rock roots, how has your experience been within the local electronic scene?

Nashville surprises many. While it’s renowned as “Music City,” the electronic scene is gaining traction. I want to highlight key players like Austin Knight and his Night We Met team, who are pioneering dance acts in unprecedented ways, along with Blake and Joel Atchison of Full Circle Presents, who have created vibrant festival experiences with top-tier artists.

With less saturation than places like LA or Miami, there’s ample room to carve out a distinct space. It’s a semi-blank canvas, allowing me to merge my Jamaican heritage with Afro House without conforming to a specific mold. Although smaller, the scene boasts a tight-knit community, genuine creativity, and a shared passion for innovation.

Looking ahead to 2025, what goals do you have? Are there more releases and performances on the horizon?

I plan to release more collaborations that push my sound further—possibly working with vocalists from various parts of Africa or the Caribbean while continuing to blend global influences. Live performances are also a priority; I aim to participate in more festivals, showcasing the Afro House vibe on larger stages and illustrating the connection between Jamaican culture and electronic music.

Additionally, I’m focused on cultivating a Caribbean House movement. Artists like Sparrow and Barbossa have begun exploring this space, and as a Jamaican, I feel compelled to carry that torch. It’s not about overshadowing others; it’s about amplifying the blend of rhythms, vocals, and energy deeply rooted in our culture.

My goal is to highlight emerging talent from the islands, possibly through a curated label or events. I believe 2025 represents a pivotal moment for Afro House and its various offshoots, and I’m excited to be part of this movement, advocating for the culture and showcasing the richness and vibrancy of this sound.

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