Written over the course of eighteen months, DRIFT captures the creative world John Grand enters when producing, a place where ideas move freely and direction is found through instinct rather than force. The title reflects this process. John drifts through melodies, textures, and emotions until they begin to shape themselves, allowing each track to emerge naturally. This mindset became the heart of the album, resulting in a collection of music that flows with clarity, purpose, and emotional weight.
John Grand has steadily built a strong presence within the progressive and trance landscape, known for his detailed sound design, driving grooves, and the melodic touch that defines his work. His relationship with Euphonic Records continues to deepen, and DRIFT stands as his most complete artistic statement to date.
Musically, the album spans energetic progressive rhythms, uplifting trance moments, and the atmospheric depth that has become central to his style. Each track reflects a stage in his journey, shaped by long studio nights, personal shifts, and the evolving flow of life over the last year and a half. DRIFT invites listeners into that same creative motion, offering an immersive experience built on emotion, movement, and the natural pull of sound.
Tracklist:
- Sapphire
- Joshua Tree
- Idle Waves
- Maybe I’ve Lost Myself
- Corazón
- Emerald
- Fired Up
- Ruby
- Don’t Let Go
- Under My Skin – John Grand Remix
- Rykard
- Drift
- Let Go
- Round & Round
- This Is My House
- Colder Waves
- Zenith
For more information about John Grand, go to:
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If you’ve ever been to a Kyau & Albert show in Los Angeles, there’s a good chance you’ve felt that buzz in the air before the doors open. You’re standing in line, the excitement is building, and everyone around you is there for the same reason: the music.
And lately, every time I find myself in that line for Kyau & Albert, I bump into the same guy.
John Grand.
The last time we talked, John casually mentioned he was working on an album. Not just a few tracks. Not just another EP. A full-length body of work, something bigger, something intentional. Fast forward to now, and that album is done. DRIFT is officially arriving Thursday, January 8, 2026, on Euphonic, the legendary label connected to Kyau & Albert and one of the most respected homes in trance and progressive music.
As I started digging deeper into John’s catalog, I realized something that made me even more eager to hear DRIFT in full: John also sings, and his voice appears on multiple tracks across the album. That discovery made the project feel even more personal. And trust me, when you hear it, you’re going to have “Maybe I’ve Lost Myself” stuck in your head for the rest of the day.
DRIFT is one of those albums that pulls you in immediately and takes you on a journey start to finish, with peaks, valleys, emotion, groove, and that hypnotic energy that keeps you coming back for one more track.
It’s been great getting to know John over the years while standing in line, but it’s even better getting to really connect in this interview and learn the story behind the music. Huge thanks to Ralph Kyau and Steven Albert for helping make this connection official. If you’ve got DRIFT queued up already, even better. This is the perfect soundtrack for the conversation you’re about to read.
So without further ado, it’s my pleasure to introduce you to John Grand.
This is going to be fun.
Trance/Progressive House
Happy holidays to you and your family. Did you have a good season, and are you ready for the new year ahead?
Hey! Thank you — definitely am. 2025 was great in a lot of respects but also quite excited to move forward into the new year. Have loads of new music that I’m looking forward to wrapping up.
The last time I saw you was in line to see Kyau & Albert. Actually, the last few times I saw you, you were in line to see these guys. Tell me more about your connection to one of my all-time favorite DJ duos.
Ha, yes if they’re anywhere near LA I’ll almost always be there for K&A!
My connection with them though probably starts around when I was about 20ish and first heard “Are You Fine?” which is probably how most folks discover Kyau & Albert. It was such a different sounding style of dance music that I instantly connected with it and as fate would have it, I’d eventually find myself releasing on Euphonic. Since my first release with them, they’ve been my biggest supporters in the scene. I credit a good chunk of any success I’ve had as John Grand to their faithful support, pushing my music forward through Euphonic.
You have a new release, DRIFT, out January 8, 2026 on Euphonic. Tell me more about the album and what inspired you to produce it.
So, I started writing for this album (perhaps without knowing at the time) about a year and a half ago. Ralph and Steven were both encouraging me to experiment with different sounds, different beats per minute, and that got me inspired to start writing tracks that I probably would’ve never considered writing before such as “Sapphire,” “Ruby,” or “Joshua Tree.” Historically, my tracks have always been a tad more aggressive, less deep or hypnotic, and by taking on this “challenge” so to speak, I ended up writing a body of work that “drifted” from my previous work, hence the title of album. I wasn’t worried about ensuring every track was a club hit, or a dancefloor banger. I was just writing to explore a new side to John Grand that I hadn’t really considered.
There are a lot of songs on this release. Why so many tracks?
A lot of the songs had previously been released as singles, others were written specifically for the album. I guess when you add the two you end up with a big tracklist. For fans who’ve already heard the singles, they know what to expect on that front, but for folks who haven’t heard any of them, hopefully they can experience it as a single body of work.
Did you consider releasing a few singles in advance to build momentum?
Yeah, most definitely. It’s hard to release an album without singles… You really need to showcase what’s coming and drop a few teasers along the way. That said, I’m glad there’s a lot of material that’s exclusive to the album. It gave me the space to experiment with sounds and patterns I probably wouldn’t have arrived at otherwise.
What about doing an EP instead of a full-length album? Was that ever on the table?
I’ve released a lot of EPs over the years. I felt it was time to release a proper album that captured this new sonic ‘drift’ to showcase to the world where I’m at and where I’m headed both musically and mentally. I think EPs are a great lever to show minor or gradual shifts in sound, but when you’re doing something that’s a bit more drastic, showcasing a full length really gives you both the stamina to move forward with new ideas, and opens up opportunities for things like live shows, touring, and general visibility.
There are 33 tracks on the release. How did you decide what order to put them in?
There’s actually 17 original tracks, the other half are the radio edits which are typical in dance music. 17 DJ mixes, 17 radio edits that are a bit more digestible for folks who can’t be bothered listening to 16 bar intros and outros, although I know some folks love listening to extended mixes (me being one of them!).
Order-wise, I tried to keep the tracklist flowing from lower BPMs and deeper cuts into higher-energy tracks toward the end. I love the idea of taking listeners on a journey with real peaks and valleys. Even if two tracks sit at the same BPM, one might lean more into groove while another feels more euphoric.
What are some of your favorite tracks on the album?
Oh man, that’s a hard one. It changes every day, but if I had to pick: “Sapphire” for its steady groove and hypnotic vibe, “Ruby” for its emotional, melodic journey, “Drift” for the relentless arpeggio that runs throughout, and “Corazón” for the simple yet effective Spanish lyric I sing over it, which also makes it the first John Grand track I’ve ever sung in Spanish.
Is it possible to pick one favorite track, or is that impossible?
(Laughs.) I’d say if I had to pick… “Drift.” It’s the album title after all.
My wife and I live in Palm Desert and we visit Joshua Tree a lot. What inspired the track “Joshua Tree,” and do you get out to the desert much?
“Joshua Tree” was inspired by Joshua Tree itself. A group of friends and I went out there about a year ago for a 48-hour trip, and there’s just something about being out in the desert that really sparks creativity. It’s hard to put my finger on it, but I remember coming back feeling incredibly inspired, and within a day of being home, “Joshua Tree” was written.
I don’t make it out there as often as I’d like, but any chance I get, I try to go.
You are a rising star blending progressive house, trance, and techno. What originally got you into dance music?
I first got into dance music through A State of Trance. Back around 2006, I was designing web pages and listening to Winamp Radio when I stumbled across ASOT, without really knowing what it was at the time. It ended up being my first real introduction to trance and progressive, and I instantly fell in love with it. It was the perfect background music while I worked, and over time that turned into wanting to go to shows, which eventually led to me wanting to produce this style of music myself.
Who are some DJs or producers you have followed over the years that have inspired your sound?
Obviously Kyau & Albert, alongside Armin van Buuren, Above & Beyond, and Eric Prydz. But I’ve also been heavily inspired by New Order, Depeche Mode, Tears For Fears, and a lot of 80s records in general. I’ve always tried to blend that classic new wave and synthpop sound with modern dance music, so when it comes to inspiration, the list is pretty endless.
These days I’m really into artists like Cristoph and Jeremy Olander, along with a lot of miscellaneous techno. There’s so much good music being released every day it’s hard to keep track of everyone!
It seems like every DJ has a podcast, including Kyau & Albert. Do you have any plans to start a podcast in 2026?
I feel like I’ve already got a plethora of things going on. I’m not sure I could do a weekly podcast but maybe a quarterly mix is something I’d like to do. Gotta figure out a name for it though. Maybe The Grand Hour?
You have worked with major labels like Enhanced Music, Black Hole Recordings, and Future Sound of Egypt. When releasing new music, do labels come to you, or are you sending music to them for consideration?
It depends — usually with the “bigger” labels you approach them first, and then if they like your music they’ll ask you for more over time.
Do you remember the first time you heard your music played on A State of Trance? What did that feel like?
I do! It was surreal since it was my first single… The track was called “Dig Deep” and was released on Alter Ego Records. I think what blew my mind though is that Armin opened the episode with my track, which was completely unexpected. I still get goosebumps thinking about that moment.
Are you planning a tour to support DRIFT? I am eager to see you perform.
I’m open to opportunities and shows, unfortunately a proper tour isn’t on the table quite yet. It’s both easier and harder than it’s ever been to get shows… While electronic dance music is growing in many ways, it also means there’s more competition and less slots available if you’re not in high demand. In the past I hadn’t really tried my hardest to land gigs, but moving into ’26 that’s one of my main goals: landing more shows and getting some proper gigs!
What can fans expect from a John Grand live performance right now?
A mixture of what’s on DRIFT with perhaps some slightly darker tracks in the mix. I’m very much into playing a specific set of the songs at the minute, but I like to wing it sometimes depending on the vibe I’m getting from the room. If the room seems lively and excited, there’s a specific set I’d play, vs a crowd that feels more serious and brooding. It really just depends on the audience and how they appear to me while on stage.
It would be amazing to hear the entire album performed in order. Have you ever considered doing a DRIFT “album journey” set?
I have! And I probably will at some point in ’26. I love the idea of showcasing the album this way and might have to do it in Joshua Tree. 😉
What sort of headphones are you using in the studio, and what are you using on stage? Are they the same pair or do you switch it up?
In the studio I have two pairs of Audeze Mx4 and the LCD-4s. The MX4s are for mastering, the LCD-4s are for producing. But I’m also a big fan of the Sennheiser HD 650s for general comfort and long hours of production. On stage I use the typical HD 25s which are standard for DJing.
I released my Top 50 DJs of 2025 list with Above & Beyond taking the top spot. Their new album and tour were insane. Did you get a chance to see them on the road in 2025?
Loved their new album! Unfortunately did not get a chance to see them as every time they performed near me I was traveling.
What hardware and software are you using in the studio right now?
I use Ableton as my main DAW, and on the hardware side I like to run tracks through my Neve 542 Tape Emulators. On my mix bus, I’ll sometimes use a Shadow Hills Dual Vandergraph and a Dramastic Obsidian. I don’t use them on every mix, but when I do, I love the character they add.
When you get an idea for a new track, what is your process like from start to finish?
It really changes every time, but I usually like to start with a drone or an arpeggio to keep the inspiration flowing early on. That doesn’t necessarily mean those elements stay in the final track, but they’re great starting points to get my brain going. From there, I’ll usually jump straight into laying down percussion and groove elements.
I mix as I go, and it typically takes me anywhere from two to four days to finish a track. I work pretty fast and don’t like getting bogged down in details. I feel like the more you over-focus on details, the less creative the output can become, and you end up second-guessing things that don’t really add to the bigger picture.
That said, I do love obsessing over sound design. Making a pluck feel completely unique, crafting the perfect FX riser or snare, finding the right hi-hat, things like that. I’ll spend a lot of time dialing in my sound sources.
How long does it usually take you to complete a track?
It depends but as I said about 2 to 4 days. There are times of course where it can take a lot longer, but that’s usually a sign that I’m not liking the track and I end up abandoning it for another idea.
How do you know when a track is finished and ready to be released?
When the label approves it. Just kidding. I think after a while, you just know. If you’ve listened to it in multiple settings, played it next to your favorite tracks, and nothing feels missing, it’s probably done. You also have to feel genuinely excited about it. If you don’t hit that point where it gives you goosebumps, it’s probably not finished yet.
You travel the world playing and listening to dance music. What are some of your favorite places to visit and perform?
I love Portugal. Hands down one of my favorite places in the world. I also love Argentina, Uruguay, Brazil… South America in general is amazing. I’ve also loved playing Germany (not as John Grand, but with my band, The New Division). I also played in Ukraine once, and the people were amazing. Had a blast out there.
I have always wanted to collaborate with a DJ on a single or an EP. Would you ever consider collaborating with someone like me, a guy who manages a country club and does not produce dance music?
Ha! I have no qualms collaborating with someone who manages a country club and doesn’t even produce. The one thing I will say, though, is that I usually end up being the guy doing most of the legwork on the tracks. All I ask for in return is some food and drinks, and I’ll be a much happier man, fully willing to produce. 😉
How has your sound evolved over the years, and where do you see it going in 2026 and beyond?
I went from doing a lot of 2.0 trance to more progressive, melodic heavy songs. I think going into ’26, I’ve fully given up on trance 2.0 (I have a song about it with Phillip Castle called “Ode to 2.0”!) and just stuff more in the vein of artists like Pryda, Jeremy Olander, and infusing that with some techno. I also really want to explore some old school 2003-2004 era trance in my productions. There was something really special about trance back then that I guess is kind of making a comeback (thanks, Tiësto!).
You are also a singer. What are some tracks that feature your vocals?
I have two tracks on this album that feature my voice – namely “Maybe I’ve Lost Myself” and “Corazón.” I actually really don’t like singing anymore, but somehow Ralph convinced me to try out my voice on a few tracks and I’m quite happy with them. I’ve sung on so many tracks over the years that I feel I’m out of ideas and my voice isn’t really the best for dance music. It works fine on new wave/synthpop, just not the ideal dance vocal in my opinion. I’ll never sound like Rüfüs Du Sol. ☹️
You have worked with some big names over the years. What is the collaboration process like when working with another DJ or producer?
I usually want to work with others when they bring an idea that genuinely excites me. I rarely have ideas sitting around specifically for collaboration because I don’t often get stuck. So when I hear something someone else has made and it really clicks with me, I get excited and want to jump in.
It all happens pretty naturally, the way it should. I don’t like forcing collaborations if the music isn’t gelling. If it’s not there, I’ll just move on and put my energy into another idea.
Are there any dream collaborations you are hoping to make happen in 2026?
I honestly haven’t given it much thought. Most of the artists I’d dream of collaborating with don’t really collaborate that often, so it’s hard for me to see that as something immediately attainable. I’m probably not even on their radar, if I’m being honest.
I also don’t see collaborations as a must-have to push my sound forward. If those opportunities are meant to happen, they’ll happen in time. So I’m not really actively chasing them.
What’s the process for booking you to perform? And what does it typically cost to book you? What factors influence the fee?
Well considering I don’t have an agent, relatively easy to book me! Folks can reach out to me at the worst email in history at johngrand1987@gmail.com. Cost wise it really depends on a few factors: if there’s traveling involved, set length, and so forth!
You live in LA. Do you get out to Coachella every year? Armin will be there this year.
I’ve actually never been to Coachella. I don’t really enjoy huge festivals. It’s probably the logistics of it, trying to see too many artists at once. Even though I’ve been to several festivals over the years, they were never that enjoyable for me.
I much prefer seeing my favorite artists in venues or clubs. That said, I’ve definitely enjoyed plenty of Coachella sets from the comfort of my living room.
I am obsessed with “Maybe I’ve Lost Myself.” What inspired that track, and who is on vocals?
Thank you! That’s actually me on the vocals. The song was originally written for my band, The New Division, and when I showed it to Ralph, he suggested turning it into a John Grand track. The original version was a bit more laid back and leaned more toward my band’s sound.
Do you ever make a mistake while performing live? If so, how do you recover and keep the momentum going?
I’ve definitely messed up live, and honestly, as long as it’s not catastrophic, you just own it. It helps you mentally, and the audience usually forgets about it pretty quickly. Haters are going to hate, so you just move along. If anything, it shows you’re not playing a pre-recorded set!
My wife and I travel the world seeing DJs perform. We saw Carl Cox in Vienna a few months ago. What are some of the best shows you have seen while on the road?
I haven’t seen that many shows this year, but I was lucky enough to catch Eric Prydz and Jeremy Olander in Denver, and that night was amazing. I especially loved Jeremy’s set. It was really deep and hypnotic, which made for a great contrast to Prydz’s more energetic and heavier performance.
As a music producer and creator, you use music as a way to tell stories. Tell me a story about something that inspired you during the holiday season.
I can’t think of a specific story that inspired me during the holiday season, but leading up to it I was in Amsterdam, Dublin, and London. All of those places are pretty magical, and I came back with a lot of new ideas just from walking through each city.
We don’t really walk much in America, so I guess all that walking helped connect a few new neural pathways for me.
Fans can buy you a cup of coffee (or two). Tell me more about that fundraising and crowdsourcing support. How has it helped you, and how much have you raised so far?
(Laugh.) That was actually something I set up a long time ago and completely forgot about. While I was in London, a friend and I were heading out to grab a bite when, out of nowhere, my Buy Me a Coffee app notified me that someone had donated $100. A hundred dollars! I looked over at my friend and said, “Well, looks like we’re finding a coffee shop with $100 coffee.”
We have talked about a lot today, man. It has been great getting to know you. What else should we know about you that I have not asked today?
I think we pretty much covered everything. One highlight from this year that we maybe didn’t dive into fully was my trip to Amsterdam and getting the chance to do a guest mix on A State of Trance. That really felt like a full-circle moment for me as a trance and progressive producer. I started my journey discovering ASOT, and to end up contributing a mix there ten years later was honestly a dream come true.
What is next for you after the release of DRIFT on January 8, 2026?
More music! I already have some new music in the works… Actually too much music. I need to slow down, I just can’t help myself. I love writing and producing. It’s my main hobby, if not almost exclusively!
Thanks again for doing this. In all of the interviews I do, I always give the artist the last word. Go.
Thanks for having me! Truly a pleasure and look forward to connecting in person at a future show or event. Happy Holidays, Happy New Year!
