Tropical House is a sub-genre that began to take over the music industry for a short while, only to get so saturated with tracks that it was hard to distinguish one from the other. Kygo can be credited with the sudden boom and it helped launch his career into the spotlight. Since then it's been over-done, played out and, simply put, it's a bit boring. Thomas Jack was a supplier of the sound early on, but has since expanded his musical output and is now on to more concrete styles of dance music. He recently spoke to Noisey about how he's recently evolved and we're very happy he did.

“…a lot of people started copying off it and started changing the style of it. People would go grabbing, like, 90s pop songs and putting fuckin’ flutes over them, it became so annoying that I’m over it and I don’t even wanna do it anymore.”

He's on point with everything he says. It became an easy way for producers to get a sound heard by the masses. Everybody wanted to hear the bubbly tones of the Tropical House sound, but it got annoying after some time.

“This genre has impacted on commercial radio. This time next year, tropical house will not be the same. I wanna still hold my name as an artist and not become way, way, way commercial. I don’t wanna be limited to the name of a genre.”

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It's kind of like when that big name actor takes a commercial role and becomes typecast for every future roll he/she tries to land. Like Daniel Radcliff as Harry Potter. You see him in another movie and are expecting him to whip out his wand and cast a spell. When Thomas Jack takes to the decks, we might expect him to play some Tropical House, and he's not trying to fall into that hole.

“I just wanna be Thomas Jack and do my thing. I fear that, in a year, I’m gonna be jammed in this corner. And everyone’s gonna know me as just that.”

If you've listened to a recent Thomas Jack DJ set you might hear something you wouldn't expect from him a year ago. Now his sound is more diverse and he's taking steps to make sure it stays that way. 

[via Noisey] photo by Callum Van de Mortel

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