In times of division, we instinctively seek a person who can remind us of what we share and whose voice can cut through the noise. Music, more than any other tool, seems to be the equalizer, conducting the currents of energy we need to be our best while also insulating us from the shocks and bursts of violence all around us.
ElektroHorse and his music work to remove all the tension in the music game through a mix of infectious tunes and easy-to-follow line dances. As the pioneer of what he calls CDM, or country dance music, he’s on a mission to bring people of all different groups together on the dance floor and get them to have fun because the party doesn’t care.
Chicago’s Southside, where he was born and raised, exposed him to a range of different musical sounds, including the Midwest’s House sound and its Chicago counterpart’s culture of footwork. ElektroHorse took part in the footwork culture of the city, dancing and on the side doing production but got his start working with the Chicago duo, The Outhere Brothers, known for their two dance singles, “Boom Boom Boom” and “La La La Hey Hey.”
From there, he began forging his own path in music, working alongside notable producers like Will.I.Am, Scott Storch and Timbaland.
I had some serious mentors. I also have been blessed to under the mentorship of other big producers. But I was always looking for my own sound.
ElektroHorse watched and learned from older veterans, learning the finer points of production until 2016 when he released music on his own. Moving to Atlanta, he dropped his first single, “Ride it Like a Horse,” to modest acclaim. Unable to handle the overnight success, he opted to fall back, moving yet again and choosing to focus on identifying his own personal brand.
It wasn’t the right time and I don’t even think I was mentally ready for that.
ElektroHorse longed to find a sound that would properly acknowledge all the sounds and styles he grew up hearing. As a child, he grew up doing footwork. As an adult, he loved the sounds of country music artists like Kacey Musgraves, Merle Haggard, and country duo, Big and Rich, whose storytelling ability inspired him.
Moving out to the west allowed him a chance to be inspired by a change of scenery. After taking some time to himself, ElektroHorse emerged in 2018 with a new genre of music, affectionately known as country dance music or CDM. A mix of line dancing, country, rap, and electronic music production, CDM provided an identity for ElektroHorse to express himself and his signature style.
That same year, he started his own record label, TPDC, or “The Party Don’t Care.” The slogan encompasses everything about ElektroHorse’s music, including his desire to use music to unite people regardless of their race or political views.
The party doesn’t care if you are Black, White, Asian, gay or straight. The one thing we can all unite on is the love of music. The party don’t care as long as we have fun. Let’s respect music and then go from there.
His first CDM single, “S.T.O.M.P,” introduced the world to the signature characteristics of ElektroHorse’s brand, including his distinctive horse mask, synchronized dance moves, and infectious hooks. Released during former President Trump’s presidential term, he combated the tension through music, inviting people to the dancefloor.
Empowered by the success of the single, ElektroHorse went and released one of his biggest singles, “It’s a Ho Down,” in 2021. Popular on TikTok and social media, the song features one of line dancing’s biggest stars, Big Mucci, whose work with the 71 North Boys, birthed the song “The Cleveland Shuffle.” The record remains one of his most popular songs to date and exists as a perfect example of what his vision for country dance music is.
For ElektroHorse, he’s already broken through several barriers, but he still has his sights set on a few more goals. His desire to be one of country music’s most notable personalities remains at the top. Aside from hosting a country music show, ElektroHorse wants to bring his own version of Hamilton to the music industry by bringing in the people and influences needed to expand the genre’s confines.
I really want to create Hamilton on stage. People say I’m like DJ Khaled the way I put people together who never met each other. But one of the main purposes for that is to show people we can do it.
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