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.
You’ve played in some incredible rooftop and terrace venues. How does the setting influence your music selection or energy in a live set?
It’s true that some venues, rooftops, or locations create a stunning atmosphere for my set. However, when it comes to my playlist selection, it’s more about the people I expect to have in front of me rather than the place itself. I try to anticipate how the crowd will react based on who I think will be there, but it’s not always predictable. Sometimes, the audience turns out differently than expected. Still, my playlist is always guided more by the energy and vibe of the people rather than the specific location.
Balancing influences from house, lounge, pop, and Latin genres, do you see Wimbo as part of a larger vision for your sound, or is it a standalone exploration?
My plan is to stay focused on Afro house with the tracks I’ll be releasing this year and next. However, to be honest, I don’t have a booking agent or agency yet, so I’m still reaching out to venues myself to secure DJ gigs. This puts me in a position where I often have to align with what the organizers or venue managers want. Sometimes, they ask if I can play different styles, since my press kit highlights Afro house, and I have to adapt. Hopefully, I’ll soon have a booking agent who can place me in venues where I can fully showcase my Afro house releases.
Afro house often incorporates complex rhythms and layers. Can you walk us through your approach to creating the rhythmic backbone of Wimbo?
Well, first of all, I’ve got African roots, ha ha! I guess that helps! But on a serious note, I’ve always been surrounded by those rhythms growing up, whether it was at weddings, anniversaries, or family gatherings. Another key factor is that we have access to so many great samples. Sometimes, a solid African drum sample is all it takes to spark inspiration when I’m working in Logic Pro. However, for this particular track, after recording the vocals, I layered the kick and snare in the traditional African style, and no samples were used at all.
How do your trilingual skills in French, English, and Spanish impact your work as a DJ and composer? Do they open doors to unique collaborations?
Since I’ve just arrived in France, most of my life was spent in Belgium, and I can definitely say that speaking multiple languages opens doors. Before focusing on my own career, I was working as a Latin music producer with two Dominican artists, El Chireno and Crash Nebula. Then I transitioned to house music and started writing my own lyrics. As you mentioned earlier, I often adapt to what the organizers or the crowd request. Belgium has a very multilingual audience, which has helped me connect with people—whether it’s Spanish-speaking crowds wanting their music, UK travelers asking for theirs, or the French audience with their own preferences. So yes, speaking different languages has been a huge advantage for me.
Remixing classics with a modern twist is something you’re known for. What’s the allure in breathing new life into old tracks, and how does that process compare to creating original works like Wimbo?
To be completely honest, using well-known, classical tracks as an artist with no audience was definitely a way to grab quick attention and start building a following. But over time, it became something of an addiction. Sometimes, while listening to playlists with my wife, I start imagining how those songs would sound in an Afro house remix, and that’s actually how my last two tracks came to be. Growing up, I was a huge R&B fan, so there are a lot of great songs I’d love to rework. Plus, when you don’t have a singer available, it’s an easy way to keep the creative process going.
You’ve been based between Belgium and France, where electronic music thrives in different ways. Have these contrasting scenes influenced the sound or reception of Wimbo?
This time, the story is more about my experience in France. It was there that I first discovered Afro house. In Belgium, some DJs introduced me to South African sounds and amapiano production. I thought it was nice, but it didn’t really click for me at the time. My first real connection with Afro house happened during a rooftop set in Lille, France. I remember it clearly—someone requested “Moth to a Flame” by The Weeknd, remixed by Moojo. When I played it, the crowd went wild, and even though I hadn’t been into Afro house before, that track completely captivated me. I was like, “Wow, this is incredible!” A few weeks later, “Premier Gaou” by Francis Mercier and Nitefreak started playing on the radio. I included it in my sets, and people loved it. But when I heard “The Boy Is Mine” by James Mac, Vall, and Rosalie, that’s when it hit me—I knew I wanted to be part of this movement. All of these experiences happened after I arrived in France, and Afro house has undeniably been a huge influence on me ever since.
Which Afro or Latin house artists have had the most significant impact on your journey, both as a DJ and now as a recording artist?
I definitely have to mention Nitefreak. His sound is truly unique. While I’m not exactly sure how he works his magic, you can feel the African groove in his music. The way he uses the kick and snare creates an authentic Afro rhythm, with basslines that follow the same groove. But what really sets him apart is his synth work—it’s incredible and reminds me of African-inspired sounds beyond just house music. He’s truly gifted. Another artist who’s caught my attention is Alex Wann. He’s different but just as impressive. His productions have this raw energy that takes me back to the early days of Swedish House Mafia. I really hope Afro house continues to evolve, with each artist bringing their own unique flavor to the genre. When it comes to DJ skills, though, DJ Shimza is on another level. His ability to create effects while mixing is incredible—you simply can’t resist dancing when he plays. I remember one night at La Clairière in Paris, I was on stage when DJ Arymé was performing, and I was blown away by the energy in his set. It was an unforgettable experience.
Wimbo has been described as creating a “lasting impression.” In your view, what makes a track truly memorable in today’s fast-moving music industry?
Honestly, I’m not sure what exactly makes a song unforgettable, but I believe authenticity should always come first. At the same time, it’s important to respect the rules of the genre. When I produce, I just try to give it my all. Sometimes, I feel really proud of what I create and get a good feeling about it. Other times, I’m unsure, and in those moments, I think it’s better not to force anything. Someone once said there are only two reactions to creative work: “Wow” or “Not.” I think that’s a great way to approach it—we should all aim for those two simple responses to our work.
From terraces to studio work, what has been the biggest challenge transitioning from live DJ sets to crafting a polished production?
That’s a really relevant question because, for most of my life, I’ve been a music producer, and becoming a DJ is still relatively new to me compared to that experience. I used to think DJs were just people who played tracks that other creators made. But once I became a DJ, I realized how artistic and challenging it actually is to get a crowd excited and engaged with your performance. Sure, some skills are similar—like counting beats in 4s, 8s, or 16s and hitting cues at the right moment—but there’s so much more to it. Finding tracks that work well together, knowing when to drop the next one, and how long to play a certain song was a whole new challenge for me. I remember thinking, “Wow, I’m really sweating now!” In the studio, you can press record, and if you don’t like something, just delete it. But on stage, if a transition doesn’t go smoothly, people might start wondering if something’s wrong, and you can’t hide that. That’s why when you asked about artists who impressed me, I didn’t mention the same names in different categories—it makes sense to separate DJs from producers because each role requires a different set of skills.
At the same time, DJing and producing influence each other. Now, when I’m in the studio, I think about what might work during a DJ set or for other DJs. I’ve learned how important extended versions can be for mixing. Sometimes, after a DJ set, I go home with new inspiration, based on how people reacted or how a certain transition worked. I also end up playing tracks during my sets that I don’t listen to much in my daily life, and later, they become some of my favorites. Being both a producer and a DJ gives you a more complete understanding of music, and that’s how I feel about my journey so far.
You often draw on global rhythms in your sets. Are there particular regions or musical traditions you’re currently exploring that could shape future releases?
Yes, I’m definitely thinking about incorporating some Spanish lyrics into future productions, especially since I have friends in music who speak Spanish. Sometimes, ideas just hit me spontaneously. But as I always say, I’m simply a lover of music, and exploring different genres comes naturally to me. When it comes to my DJ sets, I don’t limit myself to one specific genre. However, for my music releases, my plan is to stay focused on Afro house for this year and the next. After that, who knows? Trends always change, and I think it’s important to be open to new journeys and evolve with the music.
Wimbo is out now
Follow Patrick Kam:
▶︎SC: @patrickkam
▶︎IG: www.instagram.com/patrick.kam.music