Shay Shaz isn’t your average DJ—he’s a theatrical force channelling queer joy, 80s glamour, and raw emotion into every beat. His latest project Tok Tok, created with London-based producer COHN, dives deep into the world of 90s house and queer club freedom. With nods to Patrick Cowley, fashion runways, and his own childhood dance obsession, Shay crafts tracks that aren’t just made to move bodies—but souls. We caught up with Shay Shaz to explore the layers behind Tok Tok and the vibrant storytelling that drives his sound.
Let’s start with ‘Tok Tok’. What drew you to collaborate with COHN on this particular project, and what clicked between you musically?
We met through a mutual friend and instantly clicked. Our musical worlds are very different – COHN is deep, structured, and highly technical. I’m emotional, theatrical, impulsive. But somehow, it just worked. When we stepped into the studio, everything flowed. I recorded the vocal for “Tok Tok” in one take. It felt free, full of joy. We weren’t trying to fit any mold – just letting the music lead us.
The EP captures the spirit of 90s house and queer club culture—how do those scenes personally inspire your sound and style?
I grew up dancing. Literally – as a child I was always moving. In my teens I fell in love with 90s house and queer club culture because it felt like a space where you could be wild, soft, sensual, loud – all at once. That duality is in everything I do. When I produce or DJ, I always try to channel that energy – not just sound, but freedom. I want people to feel safe to let go and become more themselves on the dancefloor.
Your track on Tok Tok nods to your roots in the 80s fashion markets. Can you tell us more about that influence and how it shaped your creative voice?
Fashion was my first stage. I started out in beauty and fashion – working on photo shoots where music shaped the entire atmosphere. I was obsessed with the glamour of the ’80s – high heels, shoulder pads, power, elegance. That era taught me that identity is something you create and perform.
So when I made “92 Lorimer,” I brought that attitude into the sound. It’s campy, sexy, and dramatic – like strutting down an imaginary runway in a Brooklyn basement.
Patrick Cowley’s legacy clearly echoes in the EP. What does his music mean to you, and how do you channel that retro energy into something fresh?
Patrick Cowley changed my life. When I was 20, living in Williamsburg, I had all of his records. I used to play them on fashion shoots, in my room, everywhere. His music was sexy and futuristic – but also emotional. As a queer person, hearing someone make music that felt both liberated and vulnerable was huge. “92 Lorimer” is named after that time in my life. It’s my personal thank you to him.
Butter & Wine prides itself on genre-defying releases. How did the label’s ethos align with your vision for this EP?
They gave us total freedom. That was the magic. There was no pressure to sound like anything else. Butter & Wine believed in the raw, weird, beautiful thing we were building. As a queer artist, I don’t want to be boxed into one idea of how club music should sound. This label let me stretch out and be everything at once – playful, emotional, unpredictable.
Your 2024 release Joy was full of vibrant storytelling. How do you balance narrative and rhythm in your production and DJ sets?
For me, rhythm is the structure – but narrative is the soul. “Joy” was about letting go, but also finding meaning in movement. Every time I DJ or produce, I imagine a mini-journey. I build tension, then I break it. I want people to feel like they’re inside a movie – sometimes dramatic, sometimes flirty, always alive.
‘Be yourself’ is the mantra behind the title track. How do you personally interpret that message within the context of nightlife and identity?
Being yourself on the dancefloor means showing up with no mask. And that’s not easy – especially in queer spaces where there can be pressure to fit into certain aesthetics. “Tok Tok” was my way of saying: come as you are. Heels or no heels. Loud or shy. You’re allowed to take up space. When I DJ, I try to hold that space for others – the way the club once held it for me.
Finally, what’s next for Shay Shaz? Any new sounds, remixes, or dancefloor chaos we should keep an ear out for?
More music, more chaos, more beauty. I’m working on a new EP that’s a little darker, sexier, but still rooted in joy. I’m also building a visual world around it – inspired by 80s mannequins and futuristic fashion dolls. And of course, I’m planning shows where I can bring all of this energy to the stage. I want people to dance, cry, laugh – all in one night.