Raw Main (@rawmain_music) returns to All Day I Dream with Theory Of Love, a four-track EP that marks his first full EP release on the label after earlier appearances on A Winter Sampler II in 2020 and the 2024 Summer Sampler. The French producer and DJ has built his catalog through labels such as Lost Miracle, Abracadabra, Sounds of Khemit, and Bar 25, and this new release places him firmly inside the melodic house orbit that All Day I Dream has shaped for years.
The EP moves through “Theory Of Love,” “Kashmir,” “Right Side” with Anvia, and “Acrobat Dreamer,” with each cut giving Raw Main space to work with percussion, melody, vocals, and mood in a way that feels built for long-form sets. That context fits the interview below, where he talks about the mental side of DJing, including reading the room, staying present, recalibrating when the connection drops, and using experience to keep the night moving.
What comes through is a practical view of DJing as a constant feedback loop.
Raw Main talks about thinking ahead while reacting to the crowd, using familiar tracks when a room needs trust restored, and making space for rises, drops in intensity, and slower turns across longer sets. With upcoming All Day I Dream dates in Mexico City and New York alongside Lee Burridge, that perspective gives useful context for how he approaches rooms where emotion, pacing, and audience connection all have to work together.
Interview With Raw Main
What does your internal dialogue look like when you are DJing?
While I am playing, I am often thinking about the next track, and it really depends on the crowd’s reaction. It is mostly a constant internal dialogue and critical analysis that helps me shape the music.
Over time, have you developed ways to stay grounded while you are in the zone on stage?
I am very focused, and inside my head it is a real rollercoaster. Being grounded for me is about listening carefully to the energy in the room and enjoying the moment. It is also experience.
When a moment feels like it is going off the rails during a set, how do you recalibrate?
It has happened many times. Most of the time, I put on something everyone knows to tell the crowd to trust me. I am not the kind of DJ who only plays tracks that I want to hear.
Even when staying in the same genre, we need to tell a story. To tell a good story, we need to go up and down.
Can you remember a set where the energy changed dramatically over the course of the night? What helped that change?
I would not say it changed dramatically, and the worst moment for a DJ is when you are not connected with your crowd. Even if you try different genres of music, nothing works.
An edit can be the key sometimes, although it does not work every time.
How do you use self-awareness constructively while you are playing?
I really try to vary the moments so I do not bore the crowd. It is important to build in a crescendo, then come back down and switch registers.
Time also helps. I like playing three or four hours because it gives you ideas to play something new without rushing.
What helps you stay locked into the music and the room rather than your own thoughts?
Experience is the key. Now it is instinctive, and it takes hours and hours of DJing for it to feel natural.
What perspective would you offer to DJs learning how to manage mistakes on stage?
We all make mistakes, and we need to make them. I do not know anyone who is perfect. So make mistakes, and do not repeat them the next time.
Will Vance is a professional music producer who has been involved in the industry for the better part of a decade and has been the managing editor at Magnetic Magazine since mid-2022. In that time period, he has published thousands of articles on music production, industry think pieces and educational articles about the music industry. Over the last decade as a professional music producer, Will Vance has also ran multiple successful and highly respected record labels in the industry, including Where The Heart Is Records as well as having launched a new label with a focus on community through Magnetic Magazine. When not running these labels or producing his own music, Vance is likely writing for other top industry sites like Waves or the Hyperbits Masterclass or working on his upcoming book on mindfulness in music production. On the rare chance he's not thinking about music production, he's probably running a game of Dungeons and Dragons with his friends which he has been the dungeon master for for many years.
