Brandon Lucas, aka BL SUEDE, is a versatile producer, singer-songwriter, and DJ based in Brooklyn, NY. Blending elements of R&B, Funk, Jazz, and Gospel into his dance-electronic productions, he brings a vibrant and soulful renaissance to the genre.
His latest gem, ‘Bitin My Lip,’ is a dark, bass line–driven groover dripping with late-night tension, tailor-made for peak-time selectors who crave weight and finesse. BL Suedes sultry vocal slinks through the mix with hypnotic allure, adding a layer of velvet heat to the low-end punch.
We caught up with the multifaceted creator to get the inside scoop on all things ‘Bitin My Lip,’ his creative process, what he’s working on next, and much more!
WWD: Welcome to When We Dip! For readers who may be new to BL SUEDE, how would you describe your sound and the energy you bring to your sets?
At the core, I’m an entertainer. My foundation lies in being a vocalist in R&B and gospel, so my sonic range, or rather the range of musical styles I produce, perform, or curate, is very eclectic. No matter the sound or flavour of electronic music, it is still me. Prince, D’Angelo, Stevie Wonder, Earth, Wind & Fire, and Usher are among my major influences. On the electronic spectrum, I am influenced by Ali Love, Bob Moses, Above & Beyond, Osunlade, and Green Velvet.
Whether it‘s house, afro, disco, tech house, minimal, club, or bass, I bring my own flavour. I make music that makes you feel and gets you moving. I create music for the more soulful ear, and that gets the ladies to the dancefloor, even with more underground sounds when I’m on that tip.
WWD: Can you tell us the story behind ‘Bitin My Lip?’ What inspired the track and its title?
The concept came from GOLES. My roommate at the time, Will Wesson, had brought some DJs and friends back to our place for an afterparty from the Brooklyn Mirage, and GOLES was among them. I was spinning some of my originals, and he kept asking, “That’s you?” He immediately picked up on the Prince and D’Angelo influence and later followed up with a song idea for us to work on. It took me a while to get around to it, but we made it happen. I wrote it on the L train.
The lyrics capture that familiar late-night story. You’re at a bar or an underground party, you catch eyes with someone across the room, and tension starts to build. Maybe they’re with their crew, the lyrics become their inner voice telling them to make up an excuse to leave, pick a fake fight, make a scene — whatever it takes to get out the door. Next thing you know, you meet outside, jump in the back of an Uber, and it’s on. It’s that anticipation, a split-second decision where lust takes over, and you have to move before anyone you’re with realises what just happened.
WWD: What was the creative process like in the studio for this record?
I tracked most of the vocals late at night, after an afters, which gave the takes this raw energy. Even though GOLES and the Benthouse Records crew thought everything sounded tight, I could hear little imperfections, those slight timing shifts in one stack here and there, or notes not quite landing. That’s where my process came in.
I love stacking vocals and experimenting with textures. For this record, I leaned on Waves CLA Vocal plugins and CLA Filters, plus a stock Ableton vocal chain, a homie made for me a while back with EQ-8, Compressor, and Saturator. That combo lets me polish the sound without losing the human feel. And like most of my records, but especially this one, I used that C9 80s Phil Collins-style delay. I can’t live without it, and I send it to every mixer I work with.
At first, I didn’t realise we weren’t even using Auto-Tune. That was fine… I don’t need it…but for the clean pop vibe we were aiming for, it felt like the missing piece to match what the average ear is used to today. The key was balance. We added just enough tuning for sheen, but kept some of the inconsistencies. I wanted it to feel like an ’80s vocal stack, where the timing isn’t always perfect but the chorus sounds huge, almost like a crew of your people chanting behind you, or the voices in your head hyping you up.
We moved quickly on this release, but the record itself took time from the beginning. I even flew to San Francisco to re-record parts, add more vocal production, and layer in synth moments. Honestly, I still hear ways to take “Bitin My Lip” even further, and maybe I will do that in a live set one day. But as they say, better to let the art out than hold on to it for too long.
WWD: You have collaborated with some incredible names in dance music. What makes a collaboration click for you?
I am generally easy to work with, partly because I was in an R&B group for four to five years in my early twenties. I know how to adapt. I can take the lead, elevate, or let someone else guide me if that is what is needed.
The best collaborators are not stuck in a box. They are producers who want to make real records, not just tracks for other DJs. I am trying to blow up with songs that have reach. I already have credibility in the underground scene, and my training and experience in music is something no one can take away from me. So I don’t feel the need to only make music for heads in the scene in hopes of being put on one day. At this stage of my career, I ain’t got time for that.
WWD: As someone rooted in LA, what is unique about the underground culture there, and how does it shape your work?
The LA underground is active right now, full of culture, soul, and funk, but always pulling from global sounds. You see this even in more tech house and minimal scenes. At MON€¥CAT, where I am a resident DJ, you will hear artists like alexNOIZE, CQUESTT, Giselle Peppers, Mana, and Spaz all bringing their own flavors. It might be house, Afro, baile funk, trap, jersey club, garage, or hip-hop depending on the night.
What excites me most is the fusion. Even if you book us on a genre-specific night, we can all deliver that while bringing our own personal vibe and sound to it…and it still works. I have booked traditional hip-hop and R&B DJs on house nights, and it’s magical among us. That cross-pollination is shaping a unique LA sound.
Being rooted in LA also gives more depth to my purpose as an artist. It is not only about putting myself on, but putting my city on the map. That matters to me because artists often come here, claim LA commercially, and exploit the resources that homegrown talent built. It makes understanding LA house and techno harder to grasp compared to places like Chicago, Detroit, New York, Jersey, or even Miami. I am always connecting and making moves wherever I go, but being back home in LA I feel like I am making a real impact. I am connected. I am the move.
WWD: You are an artist, singer, and performer. How do those roles feed into each other and elevate your artistry?
For me, those roles are inseparable, just different channels of the same energy. As a singer, I bring emotional connection. As a performer, I know how to connect with a crowd and give people an experience. As a producer and DJ, I shape the sonic world those emotions live in.
That means I am not just playing records, I am creating moments. I can sing live over a track, improvise with the crowd, then drop into a deep groove. My records have longevity because they are written as songs first, then translated into dancefloor weapons.
At the end of the day, my goal is to move people, whether that is with a lyric, a melody, or a bassline that hits you in the chest. Blending all those roles is how I make it happen.
WWD: What can fans expect next from BL SUEDE? Any releases or shows on the horizon you are especially excited about?
I am working on a larger body of work, whether that becomes an album, an EP, or something in between. I have the pieces, and they will come together over the next few months with musicians and creators I love and respect. It feels like the right time to really say my piece musically. Scratch that…it’s actually long overdue.
On the live side, I am building out my hybrid set with vocals, DJing, and instrumentation for the MetaSonic Live experience. That is where I can bring songs like ‘Bitin My Lip’ to life in ways you will not hear on the recording. Fans can also expect more collaborations, both musical and experiential, with MON€¥CAT and other collectives here and abroad.
WWD: Wow, sounds like a busy end of the year! Thanks for the chat 🙂
‘Bitin My Lip’ is available here