Mike Dean

Tyler Chan*

Wherever Mike Dean is positioned in a room, no matter how big or small, he wields all the power.

You might not have spotted the top-tier hip-hop producer and multi-instrumentalist at the top of Atlanta’s 71,000-person-capacity Mercedes-Benz Stadium two months ago, but he was there, playing the music Kanye West presented to the world during the listening parties for his record-breaking Billboard 200 No. 1 album Donda. At the end of August, it was still hard to make out his cloaked figure amid the thick haze -- a combination of machine-generated fog and clouds of THC smoke Dean himself produces -- and blinding multi-colored strobe lights, while he was center stage at Los Angeles’ 780-person-capacity Echoplex.

Dean, 56, hosted two sold-out concerts at the L.A. venue on Aug. 21 and 22, improvising synths and performing songs from both of his instrumental albums, 2020’s 4:20 and 2021’s 4:22. The mega-producer also released the 21-track ECHOPLEX (Live 2021) visual album, directed and produced by Jonathan Josell and executive produced by Dean, John McGuire and Eric Gorleski, exclusively on Apple Music Sept. 3 -- while the standard, audio-only project is available on all digital and streaming platforms. For the casual listener, it feels like living inside the outro of a Kanye or Travis Scott song for an entire hour and a half.

Those two artists' discographies, which include a combined 13 Billboard 200 No. 1 albums that Dean contributed his Midas touch to -- plus his work with legendary musicians such as 2PacSelena QuintanillaMadonnaBeyoncéJay-Z and The Weeknd -- have cemented Dean as one of the best producers of the 21st century. Dean, also known by his legion of devoted followers as the “Synth God,” is a household name just like the acts he works closely with.

"I hate when interviews start with 'Kanye West producer Mike Dean,'" he tells Billboard over Zoom from his California home studio, its setup bearing similar resemblance to his Echoplex shows, where the synths revolve around the one who breathes life into them. "I’m Mike Dean."

A man subject to many Donda memes, Dean has seen them all about West calling him in the middle of his second Atlanta listening event (which Dean confirmed was because of a mixing mistake, in a since-deleted tweet) as well as Dean allegedly being held hostage at the Mercedes-Benz Stadium until the long-awaited album was finished. He’s had the last laugh. Now, the six-time Grammy-winning producer is getting back to work.

He's currently splitting his days between working with Don Toliver on his highly anticipated sophomore album, the follow-up to his 2020 debut LP Heaven or Hell, and with Christine and the Queens on her third album, which will be released in early 2022. Singer Rahim accompanied Dean on stage at both of his Echoplex shows and is featured on the live visual album track "RAHIM LIVES." The other two albums he’s working on belong to 070 Shake and Scott. He has a method to his madness that’s less structured and more instinctual, much like his improvisation.

Billboard caught up with Dean about his work ethic, ideal collaborators and source of energy during his and other artists’ live performances.


Take me through a day in the life of Mike Dean.

Kind of smoke weed and just look through my hard drive of s--t I’ve got to do, and decide what I'm gonna work on every day. I don't really have much of a schedule, I just kind of write s--t down and try to split my time up between technical s--t, updating computers, and learning new s--t. Creating and mixing, kind of three different jobs in a way.

You’re working on Don Toliver, Christine and the Queens, Travis Scott and 070 Shake’s upcoming albums. How are you managing all of those projects?

Very carefully. [Laughs.] I kind of bounce people around as much as possible, you know? I've got people that are moving schedules around for me now -- like Shake and Don Toliver both had to move their release dates because of Kanye. And Christine and the Queens actually had to wait about six weeks to work. Just have to be patient, I guess.

I’m really excited for those to come out, especially since Shake, Don and Tame Impala were my top artists from last year.

I need to get with Tame Impala.  

If you and Kevin Parker were in the same room together, I feel like it would just explode.

We’ve been on stage together, it’s fun. It was on SNL with Travis.

I remember that – it was amazing. But have you and Kevin been in the studio together?

 

No, it’s always like mailing in stuff.

With the Donda stadium events, it felt like Kanye toured an unfinished album, and each time the album was presented, it was being delivered like a rough draft. The crowd gave their reactions like revisions, and then a new one was presented until the final product was presented. Have you ever approached music, especially for another artist, so influenced by others’ reactions?

It’s kind of how I did my live stuff. My live streams I was doing on Twitch, kind of getting input from people from that. They kind of influenced how my 4:22 album came out.

For Donda, that rollout strategy certainly paid off since the album debuted at No. 1 on the Billboard 200. You also landed in the top 10 of Billboard’s Hot 100 Producers chart as well as the Songwriter/Producer tallies in the Rap, R&B/Hip-Hop, Christian and Gospel genre charts. Do you feel like those rankings better position you as the “Synth God” as fans have come to know you by?

I don’t really give a f--k [Laughs]. Not too much. Especially the Christian/Gospel, I don’t even know how the album landed there. I guess 'cause there’s no cursing?

A singer who claims Jason Derulo sexually harassed her and then turned “deeply hostile” when she rebuffed his advances has resurrected her previously dismissed lawsuit against the platinum-selling artist and Atlantic Records by filing it in New York.

Emaza Gibson, known professionally as Emaza Dilan, first sued Derulo and Atlantic in October 2023 in Los Angeles, but a California judge dismissed the complaint last year, ruling that Gibson had signed artist agreements with clauses agreeing that all legal disputes would be confined to New York courts. Gibson’s new lawsuit, filed Thursday in Manhattan state court, includes the same allegations but now cites New York laws for her claims of discrimination, retaliation, hostile work environment, breach of contract, and intentional infliction of emotional distress.

“This case arises out of a recording deal gone wrong due to egregious sexual harassment, broken promises, and retaliatory career sabotage,” the new 49-page lawsuit obtained by Rolling Stone alleges. “What began as a dream opportunity quickly descended into a nightmare of quid pro quo sexual harassment and intimidation.”

In the new complaint, Gibson, 27, alleges that Derulo reached out to her via direct message in August 2021 and said he wanted to sign her for his new joint venture linking Atlantic Records with his own label, Future History. Gibson claims Derulo, 35, promised he would personally mentor her and collaborate with her on multiple albums, which caused her to feel “over the moon” at the prospect of Derulo “leveraging his star power to boost her introduction to the market.”

Gibson says the professional relationship took an unexpected turn when Derulo allegedly pressured her to drink alcohol with him during late-night meetings and purportedly made sexually explicit comments to her on Nov. 2, 2021. She claims Derulo told her that if she wanted to “make it” in the music industry, she would have to take part in what the lawsuit describes as “ritualistic sex acts.” Gibson says she made it clear she wasn’t interested, and Derulo “became increasingly disinterested and aloof” after that.

Lawyers for Derulo, Future History, Atlantic, and Derulo’s longtime manager, Frank Harris, did not respond to requests for comment. Derulo previously denied Gibson’s claims against him, stating in an Instagram post that the allegations were “completely false and hurtful.”

With her refiled lawsuit, Gibson clearly is not backing down. “Derulo exploited his power, implying that plaintiff’s success was conditioned on participating in degrading sexual rituals and cocaine use,” the New York complaint states. “When plaintiff resisted Derulo’s advances and later complained about his misconduct, defendants retaliated by withdrawing support, stalling her music releases, and ultimately terminating her contract under pretextual circumstances.”

The lawsuit further alleges Derulo “physically intimidated” Gibson “by lunging at her and screaming in her face without provocation.” Gibson claims Derulo “deliberately sabotaged her dream and career when she didn’t submit to him sexually, an abuse of power that likely any reasonable member of the community would find despicable.”

Speaking with Rolling Stone when she first filed her claims in 2023, Gibson said her alleged experience with Derulo dashed her dreams. “This is super devastating for me. [Professional singing] is something I always wanted to do since I was a little girl. Jason was one of my favorite artists on the pop scene. I accept this amazing offer only to find out the person I looked up to would put me through such a traumatic situation,” she said.

“We are fully committed to defending Jason’s innocence against these blatantly false and baseless claims. If these false accusations are refiled in New York, we are confident that the New York court will ultimately dismiss the case and prove Jason’s innocence. The court was correct in dismissing the lawsuit in California,” Derulo’s legal team said in a statement to Rolling Stone last year, after the case was fully dismissed in Los Angeles.

In his Instagram statement, Derulo said he stood “against all forms of harassment” and remained “committed to supporting people following their dreams” in the entertainment industry. “I’ve always strived to live my life in a positively impactful way, and that’s why I sit here before you deeply offended by these defamatory claims,” he said.

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