BEHIND THE TRACK: ‘CLUB 808’ WITH CODY WONG
Cody Wong measures progress in full circles. Originally from Donegal and now based in Dublin, he first encountered dance music through his cousin's decks as a teenager, later hosting weekly house parties in Sligo and earning a residency in Letterkenny. The pivotal moment came at Life Festival in 2019, where he stood in the crowd and resolved to play that stage. After the disruption of the pandemic, he returned to the same festival in 2022 — this time as an artist, invited up by Ben Hemsley after signing one of his early tracks.
longitude 2025, photo by ray keogh
Since then, his work has gathered sustained support — more than 15 million streams, airplay on BBC Radio 1, and releases on OBSCUUR, AC1D and RCA via his remix of The All Seeing I’s ‘Beat Goes On’. His 2025 Drifting in Motion EP and debut Australian tour marked a clear step forward in both craft and reach.
With CLUB 808, released 1 May on CAROUSE, Wong consolidates that development. The two-track EP — paired with ‘OUSADIA’ — is not presented as a fleeting peak-time tool, but as a considered statement on groove, space and intention. It reflects his long-standing interest in progressive house and euphoric trance, informed by recent time spent within the European bouncy trance community, while retaining the clarity of production that has become his signature.
This is your first release with CAROUSE. What drew you to this label for these two tracks in particular?
I’ve been a fan of Franck and Carouse for quite a while now. I actually supported him back in 2024 in Sligo, and ever since then it’s been one of those labels I really wanted to release on. Over the last 12 months it was definitely on my goals list, so once I had a few club-focused tracks that I felt matched the energy and direction of the label, I sent them over.
I was buzzing when he was into them and wanted to release the project. Franck’s a top bloke as well, so it’s been a real pleasure to work with him and get on the label.
Could you talk us through the origin of the title CLUB 808; what did the 808 represent for you during the creative process?
It’s nothing dee but Club 808 is just a concept l've had in my head for a while, 8 has been a lucky number in my family since I was a kid and i merged the idea with the Roland 808 drum machine that use in elements of my tracks from time to time
FourFour highlighted the track’s “propulsive groove built for peak-time floors.” When you were producing, were you imagining a specific club environment or time of night?
As my sound developed over the last year, I was heavily influenced by seeing some of my favourite artists play and by attending some incredible raves and festivals throughout 2025. A lot of those experiences happened during peak-time sets, and I think that naturally found its way into the track’s energy and groove.
You paired CLUB 808 with OUSADIA, a word meaning audacity or daring. How do the two tracks relate to each other in your perspective?
I initially found the vocal in a Portuguese sample pack, and I already had an idea for the track in my head, so it ended up fitting perfectly with what I imagined. Even though both tracks have their own identity, I think what ties them together is the driving lead elements and the overall energy they carry.
You’ve spoken previously about being influenced by the euro and bouncy trance scenes in Belgium, Germany and the Netherlands. Are there elements from those visits that found their way into CLUB 808?
Yeah, those influences definitely found their way into my tracks through the punchy drums, trance basslines and melodic hooks. Being at Glitch Festival last year with my friends and seeing the artist, as well as getting to play alongside some artists from that scene throughout the year had a big impact on the direction of the record.
For Drifting in Motion you spoke about working extensively with Dune 3 and U-He instruments. Did your sound design approach change for this EP, and what were you seeking tonally?
I’m like a kid when is comes to synths I’m always experimenting when it comes to sound design and digital instruments. For this EP I used a synth called Icarus, mainly because it has a really driving sound that matched the creative direction I had in mind. Compared to my previous projects, I was looking for a more energetic and upfront approach while still keeping the melodic elements in place.
Following your debut Australian tour in 2025, did any experiences on the road inform the energy or decisions?
Definitely. Touring Australia gave me a whole new perspective on how people react to energy in different environments and countries. Playing those shows helped me understand what moments really connect on a dancefloor, especially during peak time sets.
It also really took me out of my shell and gave me a lot more confidence on stage. I was insanely nervous before my first show over there, it genuinely felt like my first gig all over again. But as the tour went on, my confidence grew and I felt like a completely different artist by the time I left. It even helped me going into my Longitude performance. I honestly don’t think I would’ve played the same set or been the same person on stage if I hadn’t gone to Australia. That tour made me believe in myself more and showed me what I’m capable of, and now I’m just excited to keep building on that momentum.
You have previously reflected on the challenge of creating music in an environment shaped by short-form platforms. How has the initial response from DJs and listeners compared to your expectations?
There’s definitely pressure with short form platforms shaping how music is consumed, but I try not to let that influence the process too much. I wanted the tracks to feel built for real dancefloors first. The reaction from DJs and listeners has honestly exceeded my expectations.
Seeing people connect with the music in clubs and seeings DJs support the records has been really motivating and reassured me to keep trusting my own direction creatively and believe in myself. Getting support from some of my favourite artists like Cloudy, Sara Landry, Part Time Killer and funk tribu was really special as well, especially because they inspire me through the way they’re shaping the scene and pushing their own sound forward
CLUB 808 has been featured alongside other Irish artists exploring trance and hard dance. How do you view the current Irish electronic music landscape?
The Irish electronic scene is thriving at the moment and I’m so here for it. From house and techno to trance, hard groove and beyond, there’s such a wide range of sounds being explored right now.
Having been heavily involved in the Irish scene over the last eight years, it’s been amazing to watch artists I’ve come up alongside find their own niche, connect with each other and build communities around their sound. There’s a really strong sense of creativity and support within the scene at the moment.
We have so many inspiring artists breaking through internationally, alongside a huge wave of hungry up and coming talent. There’s an incredible amount of creativity in Ireland right now, and I genuinely think the future is bright for the scene.
Looking ahead, do you see CLUB 808 as a standalone release, or is it part of a larger body of work or live concept you are developing for this year?
Right now CLUB 808 is a standalone release, but I definitely see it growing into something bigger over time. Somewhere down the line I’d love to turn it into its own event series or club night where I can showcase the sound and creative direction behind the project. I’d also love for it to become a platform where I can support rising artists that I really believe in and help giving opportunities to people coming up in the scene as well.
What’s on your agenda this year in terms of gigs that you’re looking forward to?
Coming into summer, I’ve got upcoming shows in Portugal and Ibiza that I’m really looking forward to. Me and my team are also working on another Australia run alongside some Eastern European shows, which is really exciting.
Alongside the touring, I’ve been spending a lot of time in the studio trying to push the sound forward and lock in a few more label releases for 2026.
Follow @codywongg on instagram for live updates.
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