“Success is something that you attract, not something that you try to chase or catch”: Skrillex offers advice to young music makers as he accepts the Best Dance/Electronic Recording Grammy for Rumble, with Fred Again and Flowdan

Skrillex, Fred Again and Flowdan have scooped the 2024 Grammy for Best Dance/Electronic Recording. The prize was awarded for Rumble, the brooding, grimey track that the trio released at the start of 2023.

Arriving on stage to the strains the Spice Girls’ Stop, bizarrely, Skrillex accepted the award on behalf of all three artists, as both Fred Again and Flowdan were otherwise engaged. What’s more, he took the opportunity to offer some words of encouragement for aspiring producers.

“The first thing I want to say to anybody young out there who wants to make music… the best advice I ever got was: success is something that you attract, not something you try to chase or catch,” said Skrillex.

Skrillex Grammys

(Image credit: Getty Images)

After making a plea for people to start listening to each other a little more, Skrillex concluded by paying tribute to his absent colleagues.

“Big love to Fred again.., big love to Flowdan. Flowdan is one of the biggest inspirations in underground music in my life, and to have a Grammy with those guys, my best friends, making music that we just love - not trying to make a hit, not trying to do anything but push culture forward - this is for those guys.”

Rumble began life as a 2018 collaboration between Fred Again and Flowdan, with Skrillex coming on board later when he heard the track and asked for the stems so that he could work on it. It was first aired publicly during Fred Again’s much-talked-about 2022 Boiler Room set, but not released until the following year.

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Ben Rogerson
Deputy Editor

I’m the Deputy Editor of MusicRadar, having worked on the site since its launch in 2007. I previously spent eight years working on our sister magazine, Computer Music. I’ve been playing the piano, gigging in bands and failing to finish tracks at home for more than 30 years, 24 of which I’ve also spent writing about music and the ever-changing technology used to make it.