Joe Kay doesn’t just DJ—he curates worlds. For over a decade, the co-founder and head of Soulection has helped shape a global movement rooted in discovery, intention and community. What started as a radio show has grown into a cultural institution, where genre-fluid sounds and emotionally rich storytelling come together to connect people across borders. And now, after 14 years of championing other artists, Joe Kay is stepping into the spotlight with his first official EP, If Not Now, Then When.
In conversation, Kay is thoughtful, grounded and clear-eyed about the work it’s taken to build Soulection into what it is today. From intimate shows to massive global events, the Soulection brand has become synonymous with intentional curation and sonic progression—offering audiences everything from soul, R&B, and future beats to Afrobeats, Amapiano, and lovers rock. No two Soulection events sound—or feel—the same, and that’s by design. Whether it’s camera angles, lighting palettes or the lineup itself, Kay ensures each experience is distinct, dynamic, and immersive.
Beyond the sound, Soulection is proof that music builds community. It has become a hub where DJs, artists and producers connect, collaborate and uplift one another. At the same time, fans around the world—many who have never stepped foot inside a Soulection event—tune into the radio show, dive into DJ mixes, and feel like part of something bigger. It’s a rare ecosystem where both creators and listeners grow together, bound by a shared love of music and a curiosity for what’s next.
That spirit of collaboration comes to life on “Slow It Down,” the project’s warm, soul-infused lead single featuring rising talents Isaiah Falls and Cruza. Produced by the legendary D’Mile and recorded during an intimate creative retreat at Kay’s desert home in Yucca Valley, the track blends live instrumentation with Soulection’s signature genre-blurring finesse. The song also features a subtle mid-track tempo shift—a nod to the unexpected transitions and vibe changes that have become a hallmark of Soulection sets. Other credits on the project are Flwr Chyld, Karri, Arin Ray, Malik Ninety Five, Budgie, Kenzo Slice, Amaria and more.
With If Not Now, Then When, Joe Kay proves once again that his gift lies not just in playing great music—but in creating space for others to shine. And this time, that includes himself.
EBONY: On this record, you work with a lot of rising artists. Has that always been a part of who you are? Or did that come with Soulection growing?
Joe Kay: Nah, it’s always been part of the DNA. That was the intention behind doing The Sound of Tomorrow and the 14th Anniversary Tour. Instead of putting on the usual names, we wanted to give others a shot. Otherwise, there’s no growth—it’s just the same people over and over. We wanted to open up a couple of slots.
When you were getting started, were there people who gave you opportunities to play venues or enter new spaces you weren’t already connected to?
Yeah, a few of my peers gave me my first shot—whether it was radio, a guest mix or a slot at an event. That helped me get my foot in. That’s why I try to pass it forward. A lot of people are gatekeeping roles and positions, and we try to break that. There’s no ego. You don’t need a certain number of followers. If you’re good, have potential or vision, we’ll recognize it.
You mentioned bringing in new faces keeps things exciting. When it comes to Soulection events, no two feel the same. Are you intentional about curating the lineup and the venues?
We’re intentional with the spaces we use. There’s a checklist—camera angles, flyer design, color palettes, typeface, visuals. Lighting matters too. Sometimes we remove the spotlight to focus on the music. Having the crowd around us is key. It gives energy. It can feel lonely onstage, especially if you’re not singing or rapping. Having people close brings the energy a DJ or performer needs.
That’s why we can still sell out shows with no lineup—even mine wasn’t on it. We did over 4,000 tickets in New York. It’s all based on the brand and the trust we’ve built. People want to be there because they know it’s a curated sound they won’t hear elsewhere.
How do you balance the hits people want to hear with the deep cuts or artists they’ve never heard of?
Especially at the anniversary shows, you want to play songs that long-time fans connect to. But then you also have people who are brand new. I’m not afraid to slow things down. Sometimes you have to break the energy, reset the palette. I don’t like doing an hour of high-energy turn-up—it gets boring. I want to take people on a journey, bring different emotions, give them a moment to breathe, and then lift them back up. That variety is essential.
Your taste in music is super eclectic. Have you always been into different genres and sounds from other parts of the world? Some of your earlier mixes had Afrobeats before it became as mainstream as it is now.
Yeah, definitely. I was playing Afrobeats around 2019—right as the sound was taking off in the U.S. yet. I’ve always taken risks on new and sub-genres. Sometimes I get backlash for that—people associate Soulection with future beats and R&B and want to stay in that lane. But if you really know Soulection, you know the sound is always evolving. It’s genuine too. I travel to different countries, meet artists and producers, study the sounds, and bring that back—whether it’s one Ghanaian highlife song, a Fela Kuti track, something from South Africa or Brazil. I might only have time to play one, but it introduces people to something new.
Are there any genres or artists you’re recently getting into or want to explore more?
I’m really into South African and Brazilian music—and sounds from Portugal and Angola too. But I don’t always have the space to play full sets of it. People come to shows expecting a mix—they want Leon Thomas, Snoh Aalegra, Brent and Sade. I love playing those records, but I also want to go deeper into global sounds.
And when you’re just listening on your own? Are those the sounds you go back to personally?
Yeah, there are two sides. At home, I listen to a lot of ambient and jazz—meditative music to help me think. I love lovers rock and reggae in the morning too. Private school Amapiano is my go-to—it’s spiritual and uplifting. It’s a chilled-out, jazzy deep house style. It’s perfect for easing into the day.
How does it feel now that so many people send you their music, hoping you’ll check it out or support it early?
Yeah, it’s a balance. Music is my job, but I’m intentional with how I approach it. Some people are rude—no greeting, just files. I need some level of respect. Say hi, ask how I’m doing, tell me what’s coming. Only close friends can just drop files in my inbox. It’s like running up to someone and handing them a business card without a conversation.
Let’s shift into your debut single and EP, If Not Now, Then When? Why now? Why does it feel like the right time to step into the spotlight with original music?
We’ve been talking about it for years, but it really came together about a year ago. We’ve got the events, the radio show, the branding. But I didn’t have an original body of music attached to my name. Now it’s about having ownership—creating a collaborative body of work under my name. When you search “Joe Kay,” you only get mixes, playlists and the radio show. There’s [was] no song. So now it’s about showcasing the next wave of talent—and having my name attached to it.
The first single “Slow it Down” is with Cruza and Isaiah Falls. Why did you choose them for the lead?
We recorded it at my property in Joshua Tree—Yucca Valley. That space is personal. It’s where I disconnect to reconnect. We brought everyone out there to create a community—most of them didn’t know each other before. “Slow It Down” came together on day two of our camp. Isaiah Falls is from Orlando, putting in serious work. He was only there two days but recorded the most tracks. Cruza had just come from a session in Tokyo with Kanye. They flew in from different places just to be there. What stood out most was the lack of ego. Even D’Mile—he’s a four-time GRAMMY winner—but came in humble and respectful.
Everyone matched that energy. We chose that record because it brings together a legacy producer like D’Mile, and new artists like Isaiah and Cruza —representing the “sound of tomorrow.” With Soulection’s reach, we’ve created our own ecosystem.
It really does feel like a classic Soulection moment. When you were building your debut, was it important to include those “Soulection DNA” moments?
Absolutely. Everything was intentional. D’Mile’s bassline in the intro hits a more grown audience, while the vocals appeal across generations. I can play it for my dad and my daughter. It’s live instrumentation with progressive soul.
You do have a daughter. How does she feel about music?
She’s really into music and has her own taste. I let her find her way. I don’t press her about it. About four or five years ago, when she was around seven or eight, she asked us to remove her from social media. She wants to show her face when she’s ready and be known for her art.
Aside from “Slow it Down”, what else can people expect from the EP?
It’s six cohesive tracks—a fusion of R&B, soul, dub and Afrobeats rhythms. All vocalists are unique, but there’s a synergy between new and established artists and producers. It’s a reflection of Soulection: familiar meets new.
Beyond music, what else inspires you?
Definitely interior and architectural design. I created my company, Timeless Living, and designed a house in the high desert as a short-term rental that feels like a Soulection-coded home.
I’m also big on health and wellness—running, cycling, saunas, float therapy, steam rooms. I’m very conscious of what I put in my body.
Final question: What would Joe Kay from 14 years ago think of you today?
He’d be proud. I wish I could give him some game to avoid certain stresses, but those moments made me who I am. I’ve already surpassed the ceiling I imagined for myself. If my time were up today, I’d feel fulfilled. But I still think I’m just getting started.
