Best known for his unique style, fusing jazz elements with EDM, Timmy Trumpet is an Australian DJ and producer at the top of his game. Ranked number 43 in DJ Mag’s 2017 Top 100DJ poll, Trumpet’s fans go wild for his ability to combine slick trumpet skills with a fine ear for mixing tracks.
Where Trumpet really excels is in his live performances. The Aussie toured international destinations such as the U.K. during 2017, in a monumental year that only amplified his global recognition in the EDM circuit. According to the man himself, “the greatest thing about 2017 has been playing in countries that are new to me, and to meet and connect with people that love music as much as I do.”
Naturally, as Trumpet has garnered more recognition, his workload has grown exponentially. He tours major festivals and international clubs throughout the year, performing over 200 gigs each year. Such an intense schedule obviously limits how much new music Timmy Trumpet can produce on his own. Despite his exceptional talents, he is only human, after all, like the rest of us.
It’s a well-established fact that Trumpet has enlisted the help of some ghost producers to make some of his music. According to the ASCAP performance-rights website, Jeremy Alexander Bunawan, and Ivan James Gough all worked on Mantra and Freaks, two of Trumpet’s best-known tracks. Michael Peter Chard, William James Sparks, and Mathieu Francois Valton are all credited on his 2013 song Melbournia.
A social media storm erupted in 2016 when Danny Grant, head of Melbourne-based promotion agency Loud Entertainment, went on a tirade on Facebook against DJs who use ghost producers. His ire was directed towards DJs like Timmy Trumpet who have used ghost producers on their tracks, saying, “what i don’t understand is the excuses people use to justify why they/their artists have ghost writers…no matter which way you spin it to justify it to yourself secretly you are ashamed of what you are doing.”
The shame Grant alluded to, however, is a misconception and displays a fundamental lack of understanding of modern EDM. Artists, in fact, should not at all be ashamed of using ghost producers. When a DJ starts out on the path to EDM stardom, they can focus on music and music alone. However, once people begin to get recognition in EDM, it’s completely normal for a dedicated team to assist every big artist in every step of their career, and that includes making new music.
Just take a look at the raw numbers—200 gigs each year for Timmy Trumpet; a ton of work goes into every single one of those shows. Using ghost producers is part of the bigger picture of succeeding as a big-name artist in EDM.
Worse still, Grant has failed to realize the damage his comments could potentially cause to the livelihoods of people. It’s not like the ghost producers and other members of Trumpet’s team aren’t paid for their help. By attempting to discredit a big-name artist in this manner, Grant also damages the livelihoods of the people who work with these artists. An entire team of people can suffer, which is unfair, to say the least.
The public, in general, are quite aware of ghost production, and there is a refreshing honesty and openness about it behind the scenes. When people like Grant attempt to sed ghost production in a negative light, they are being untruthful and risking the livelihoods of people who just want to create music for a living.