RB Exclusive Interview: Justin Irby Talks His New Track, ‘Everything I Love’

Justin Irby approaches house music with the precision of an engineer and the nostalgia of a 2016-era raver. For the Phoenix-born producer, the dance floor is a system of tension, release, and “earned” energy. Between scaling his smart-vending platform, Güddi, and signing to Physical Presents, Irby has built a brand where violet-hued emotion cuts through the noise with a singular focus on what he calls “dance floor euphoria.”

Fresh off the release of his new track “Everything I Love,” Irby and I discuss the lore of his purple branding, his battle with perfectionism, and why the studio is his ultimate mental health detox.

Growing up in Arizona, Irby didn’t have the luxury of experiencing a legacy dance music mecca. Instead, he found inspiration in the sparse amount of events present at the time.

“You had to really seek it out… Relentless Beats was putting on some of the first shows and warehouse-style events I ever attended as a young raver. In hindsight, those nights didn’t just introduce me to dance music—they fundamentally shaped my taste.”

That taste was solidified during the “golden era” of deep house from 2013–2016. Artists like Gorgon City, Duke Dumont, and early Dom Dolla were releasing records that he felt were both timeless and emotional. For Irby, the goal is to capture that specific magic: “Music that feels nostalgic but fresh, emotional but functional.”

Irby’s latest offering, “Everything I Love,” marks a pivotal moment in his discography. Released via Physical Presents—a label Irby has admired for years—the track represents a strategic bridge into the Canadian market. While it began as a summery piano house demo, Irby reworked it to fit a winter release window, leaning into a more diverse palette.

“I love this new version even more,” Irby admits. “It brings more emotion and a slightly modern sound I’m moving toward, with higher BPM, reese basslines, and an almost UKG vibe, while still keeping the melodic, soulful feel I love.” 

One thing is unmistakable in Irby’s world: the color purple. It’s a “visual storytelling device” that mirrors his sonic identity.

“If my music could be a color, it would be purple… I realized that purple perfectly mirrored the vibe I was aiming to create in both my music and my performances.” Now, that hue permeates everything, from lighting design and stage visuals to the tone of his brand copy, creating an easily recognizable association for listeners to grasp.

For Irby, the studio isn’t only a workplace, it’s a wall that keeps life’s anxieties out.  His creative process is preceded by a strict physical ritual to ensure he enters the flow state with a sober mind.

“Usually before I go into the studio I’ll work out and do a 20-minute sauna session before opening up Ableton,” he explains. “That helps me release negative energy and create a barrier so I can enter the studio with a clear head. The music becomes a wall that keeps everything else out rather than a vessel to channel stress.” This mindfulness is visible in the final product; Irby notes that tracks produced during “scattered” days rarely see the light of day because they lack the “room to breathe” found in his best work.

Beyond the decks, Irby is a serial entrepreneur, most notably as the founder of Güddi, a smart vending and brand discovery platform. He sees a direct overlap between filling a micro-mart and filling a dance floor.

“Track arrangement and supply chain logistics might look completely different on the surface, but they use the same part of my brain. It is systems thinking… Both require taste, structure, and restraint.”

This work ethic was inherited from his father’s fix-it mentality: showing up consistently, putting in 10,000 hours, being patient, and trusting the process. though Irby notes that creativity requires more than just elbow grease.

“Creativity doesn’t respond to force. You can’t muscle a track into existence… It’s about putting in the work while letting the music reveal itself naturally.”

This clarity is essential for maintaining momentum. While Irby has historically championed a high-volume release strategy to combat decision paralysis, his recent focus has shifted toward a more curated, quality-first output. This evolution was proven right with his track ‘Right Here’ on Toolroom’s sister label, Love & Other. After exploring ten different versions, he found success by stripping the track back to its most authentic form.

“It taught me a big lesson,” he says. “Sometimes your instincts are right from the start, and letting go of perfectionism is what allows the music to actually connect.”

Getting signed to Sonny Fodera’s Solotoko reinforced Irby’s belief in authenticity. He didn’t tailor the track for the label; he simply “shot his shot” in Sonny’s DMs.

“If you make something with the intention of catering to a particular label, you usually end up catering to nobody. Trust in your taste and clarity in your vision matters more than chasing what you think will sell.”

A hallmark of the Irby sound is his “vocal-forward” approach. While 70% of his tracks to date have utilized samples from Splice to maintain momentum, he is looking to evolve his collaborative process in 2026.

“This year I want to push myself out of that comfort zone and start working more with actual writers, vocalists, and songwriters in the room,” Irby shares. “I have also been consciously trying to shift my sound to be more club-focused and less radio-focused going into 2026… It is definitely a fine line to balance.”

Check out Justin Irby’s new track “Everything I Love” out now on all platforms.

Connect with Justin Irby: Instagram | Spotify | SoundCloud