Illyus Barrientos on Reinventing Himself After Illyus & Barrientos

2 weeks ago 6

A decade into Illyus & Barrientos, Illyus is going solo. He talked with us about nearly quitting music, falling back in love with it, and what comes next.

After being part of one of Glasgow‘s biggest house acts, Illyus & Barrientos, Illyus is going solo under the nearly identical moniker Illyus Barrientos. It all came unexpectedly when his partner, Ivan, decided to step away from the duo project.

Illyus was left trying to decide whether to continue on his own. It wasn’t until he opened his own coffee shop in Glasgow that he rediscovered his passion for music.

Surrounded daily by his record collection at the cafe, he began to find old songs that he’d forgotten about. He went back to exploring music again with no plan or pressure. That’s where “People’s Prty” came from, a track that quickly started getting played out by some of the DJs he respected most.

From there, Illyus Barrientos has created some real movement as a solo act, releasing “Deep Down” with Aden Rémei and “Right Here” with MALU, both on Mark Knight‘s label, Toolroom Records. His most recent single, “Thinking Of You,” came out a few weeks ago, and he has a new record coming out soon on Danny Howard‘s label, Nothing Else Matters.

We caught up with Illyus Barrientos to talk about this transition from duo to solo act and what it has been like to rediscover that passion. Read on to get a glimpse of what comes next for the Scottish DJ and producer.

Stream Illyus Barrientos – “Thinking Of You” on Spotify:

You were part of the duo Illyus & Barrientos for over a decade. What made you feel ready to step into a solo project, and what’s felt most different creatively since making that move?

My partner decided to take an exciting new step in his life. It was a great chance for him, and I was buzzing for him. If I’m honest, though, it also left me feeling a little lost. For a while, I even found myself wondering if it was time to walk away from this industry, too.

Around the same time, I opened my coffee shop. Music had started to feel uncertain to me. I wasn’t sure I had much left to offer, or whether I even had a place in it anymore. Ironically, it was the coffee shop that made me fall back in love with music. It’s part café, part record shop, so every day, I found myself surrounded by my old, dusty vinyl collection. I started rediscovering records I’d forgotten about and finding real gems that reminded me why I fell in love with music in the first place.

Without any pressure or expectations, I started making music purely for myself again. There was no plan, no strategy, and no thought of sending tracks to labels. I just wanted to create because I enjoyed it. Then I made “People’s Prty.” That record pulled me right back in. I sent it to a handful of DJs, and before I knew it, videos started coming through of people like Carl Cox and ANOTR playing it. Then came messages and support from artists I really respect, including Prunk and Hot Since 82.

More than anything, it gave me a huge confidence boost. It reminded me that maybe I’m not quite done yet. The whole experience opened my eyes. Sometimes the best thing you can do is stop chasing what you think everyone else wants and simply trust your own instincts. The passion comes back when you create on your own terms, for yourself first, and everything else is just a bonus.

What’s it been like moving from a well-known, respected duo project into a solo act? Does keeping a similar name help, or has it created its own challenges?

Keeping the name has definitely helped, and I have Ivan to thank for that. He’s an absolute legend. His exact words to me were, “I want this transition to be as easy as possible for you, mate.” That generosity is something I’ll never forget. Having an established name, both with labels and on dancefloors, makes a huge difference. It means that when I make music and send out demos, they actually get listened to and properly considered. I don’t take that for granted for a second.

I know how frustrating it can be when you’re starting out. You pour your heart and soul into making records, only to feel like no one’s even hearing them. It’s one of the hardest parts of being a producer. I’m incredibly fortunate that my music gets heard, and that’s only because I’ve spent years building a reputation. It didn’t happen overnight, and I never forget how lucky I am to be in that position.

You’ve spoken about nearly stepping away from music altogether before this chapter began. Looking back, what do you think you would have missed most if you hadn’t come back to it?

The people. That’s what it’s always been about for me. I love what I do because music brings together so many incredible people from all walks of life. There’s something really special about being part of someone’s night, their holiday, a festival, or a memory they’ll look back on with a smile. If the music I’ve made can play even a small part in someone having a great time, that’s an amazing feeling.

And then there are the people you meet along the way. Some start out as ravers, promoters, or fellow DJs, and before you know it, they’re lifelong friends. Those relationships are what make this whole journey so rewarding. At the end of the day, music connects people. For me, that’s always been the best part of it all. Nothing beats that.

Looking back at your career from Glasgow clubs to radio shows and touring internationally, what were a few key moments that really changed everything for you?

To a lot of people’s surprise, I actually started out in hip-hop. DJ Jazzy Jeff was my hero, so when he came to Glasgow, I had to go. Watching him cut up all my favorite hip-hop records was incredible, and it reminded me why I’d fallen in love with DJing in the first place.

At the time, I was already playing in clubs around Glasgow, but I wasn’t sure how to make the jump into production. There wasn’t much of a hip-hop production scene in the city, so I couldn’t really see a path forward. Then, the following week, a mate dragged me along to see Ferry Corsten. I’ll be honest, I didn’t really know much about him, and trance definitely wasn’t my thing. But there were free drinks involved, so I thought, why not?

Ferry started playing records that weren’t really my sound, while my mate stood beside me saying, “That’s Ferry’s classic… that’s his new remix… that’s his next record…” After the show, we ended up hanging out with Ferry for a while. What surprised me most was discovering he was a massive old school hip-hop fan. We spent ages talking about music, and something just clicked for me that night. I realized it wasn’t about making the same music as Ferry. It was about what he’d built. He was creating records that were unmistakably his, records he could take around the world and watch people connect with. He didn’t have to rely on a rapper or a singer to bring them to life. The records stood on their own.

That completely changed the way I thought about making music. I wanted to create grooves I could play in my own sets. I wanted people to dance to my records, not just the ones I’d been playing from other artists. Looking back, I think that’s always been the driving force. More than anything, I’ve just wanted to make music that brings people together and gives them a great time. If a record of mine can make people dance and forget about everything else for a few minutes, that’s a pretty special feeling.

The Essential Mix is another huge one for me. It’s an incredible honor in its own right, and it’s something so many DJs and producers dream of, but what makes it even more special is thinking about my son one day. I often imagine him looking back and saying, “My dad did an Essential Mix.” That thought means more to me than anything. Being asked to do one is something I never expected, and even now it still blows my mind.

What made your January release with Aden Rémei, “Deep Down,” the right track to launch your solo project?

More than anything, I think it was just about timing. It came at exactly the right moment and really cemented the direction I wanted to go. From then on, everything became much clearer. I wanted to make club records, music I’d genuinely want to play myself, that other DJs would be excited to play, and, most importantly, that people on the dancefloor would connect with.

That’s still the mindset I have today. If I believe in a record and can’t wait to play it, there’s a good chance someone else will feel the same. I’ve learned to trust that instinct.

Similarly, how did the track with MALU come together? Both singles came out on Toolroom, right? How do you like working with them?

I want to work with exciting, new talent more and more, and MALU is a perfect example of that. She’s been sending me music for a long time now, and from the very beginning, I could hear something special. There was always a real energy in her productions. On top of that, she’s just a genuinely great person, which makes working together even better.

“Right Here” turned into such a great record. It’s been amazing hearing so many DJs playing it throughout the summer and seeing the reaction it’s been getting on dancefloors. Toolroom has always felt like family to me. Everyone in that office is more than just someone I work with; they’re friends. I can pick up the phone and call pretty much anyone there for advice, help, or just to grab some dinner. Those relationships are rare in this industry, and I never take them for granted.

I also made myself a promise this time around that I’d only work with good people. It’s easy to get caught up chasing opportunities in this industry, but I’ve realized that who you work with is just as important as what you work on. Finding genuinely sound people isn’t always easy, but when you do, everything feels more enjoyable, more honest, and the music ends up being better because of it.

Dance music moves through trends fast. How do you stay inspired and motivated?

The simple answer is, keep it house. Don’t chase trends. Make the music that genuinely feels right to you and trust that everything else will follow. I’ve tried making records because they sounded current or because I thought that’s what people wanted. Every time, I found myself not enjoying the process, and if you’re not enjoying it, you’ll never give it everything you’ve got.

The biggest lesson I’ve learned is to stick with what comes naturally. Make the music that excites you, the music you’d want to play yourself. People can hear when something is authentic, and that’s what lasts far longer than any trend ever will.

When you play in North America, does the crowd energy or what people respond to feel different compared to Europe?

There’s definitely a different energy. When I play in North America, it often feels like the crowd is hearing the music, or even my set, with completely fresh ears. You can really feed off that excitement and curiosity, and before you know it the whole room has this incredible party atmosphere. The energy is infectious.

Europe feels a little different. The heads in the crowd make themselves more noticeable, and sometimes they can be a bit harder to read, especially in a club setting. But I actually love that challenge. That’s where my old school digging mentality comes in. I enjoy searching for records that catch people off guard, finding something unexpected that changes the energy in the room.

Both are amazing in their own way. They just ask different things of you as a DJ, and that’s something I really enjoy.

Anything you can tell us about what’s coming soon, whether that’s new releases, show announcements, or a live set?

I’ve got a big hip-house record called “Be Hot” coming on Danny Howard’s Nothing Else Matters imprint, and I’m really excited about that one. I’ve been playing it for months now, and it’s become one of those secret weapons in my sets. The messages I’ve been getting about it have been amazing, so I’m looking forward to finally getting it out into the world.

There are also some brilliant shows coming up: XOYO, Cova Santa, Ushuaïa Ibiza, and a tour of Australia, which I’m buzzing for. It’s shaping up to be a really exciting few months. There are a few more things in the pipeline I can’t talk about just yet, but life’s in a really good place at the moment, and I’m genuinely enjoying the journey.

Thanks so much for taking the time to chat with me, it honestly means the world.