The Night Bazaar Interview: Renaat Vandepapliere and the fearless spirit of R&S Records R&S Records returned home this summer with a free party at Ghent’s Gentse Feesten. Founder Renaat Vandepapeliere reflects on taking risks, sparking new energy behind the decks, and carrying forward the fearless spirit that has defined the label since the days of Aphex Twin, Joey Beltram and CJ Bolland

ON July 22, 2025, the heart of Ghent pulsed to the unmistakable rhythm of R&S Records as the pioneering Belgian label staged a free party at the week-long street festival, Gentse Feesten.

Thousands spilled into the streets, turning the historic city centre into an open-air dancefloor as day faded into night. From Nastia’s razor-sharp selections to the deep, soulful textures of Charles Webster’s live set, through to LTJ Bukem’s timeless drum & bass flow, the soundtrack was as diverse as it was unifying.

At the centre of it all stood Renaat Vandepapeliere, the ever-restless co-founder of R&S, reminding everyone why his and his wife Sabine’s label remains synonymous with innovation and liberation on the dancefloor. His set was as fearless as his impeccable, genre defying label with a diverse selection of electronica challenging and delighting the crowd.

The atmosphere was pure celebration: a swirl of beats, movement and connection that embodied the very spirit of the Gentse Feesten, the city’s annual street festival where culture and community converge. For many in attendance, it was more than just another party, it was a homecoming for a label that has carried Ghent’s name to the four corners of the electronic world for over four decades.

In the midst of it all, we sat down with Renaat Vandepapeliere to talk about the significance of bringing R&S back to Ghent, the philosophy that still drives the label and his reflections on music, freedom, and the future of dance culture.

Can you tell us about how you approached your set at the R&S Records party in Ghent?

I really enjoyed it. It was intuitive, with many influences. Today, if a set is different (outside the normal) it could be bad, so in my honest opinion is to ask the crowd. I’m open to exploring more possibilities like this for festivals and events across the world.

It felt like a major moment for R&S. Can you tell us about the street festival and the core vision behind that and your involvement.

Well, I usually say no to things like this, but since it was a street festival and not really targeting our usual audience, I saw it as a chance to draw people in who might just be passing by. I thought it could be the right moment to pull them into our world and I think we did that. Many had never heard us or the music before.

Honestly, I almost backed out myself! I’ve never played for 6,000 people and I was nervous. I even called around to find someone to replace me, but a few friends convinced me to just go for it. So, I did. That was the main goal: to take a risk and hopefully entertain some new people.

You brought together a lineup that spans genres and generations. What was the thought process in curating such a wide-ranging bill with Charles Webster (live), LTJ Bukem, and Nastia joining you?

Yes, I think it’s great because it’s an opportunity to bring other people into the genre that aren’t necessarily into those sounds. Also, something that’s so detailed, that doesn’t have crossover capacity. It has raw authenticity and a depth behind it, I think it’s two separate worlds. Totally. I could make 100 lineups like that, I could make a billion lineups like that, there’s so much talent and exciting music to share.

Was this party not only a celebration of R&S’s past, but also a statement of where the label and you are going next?

I went through influences and music I really love. This is basically our philosophy. We always wanted to be an eclectic label, not really be pushed into a certain corner and have a freedom of expression. it’s definitely not about formula.

You’ve spent much of your life behind the scenes shaping the sound of electronic music and it was fantastic to see you back behind the decks. I heard this may have been one of your last sets? I can’t believe that!

Well let’s say it’s actually set a new spark. I now want to play more. You didn’t see any phones going up and all that. It was like, okay, random people wondering what the hell was going on basically. Of all ages, which I also find very interesting.

Has your approach to DJing changed over the years? Are you digging for different kinds of records now compared to back in the early days? Are you drawing more from the R&S catalogue, or mixing in new, unreleased or unexpected gems?

As you know, I started with hip hop when I was building up and you know, thought I’d take this thing and see how far we could go. I had a limited timeframe and I’m much more comfortable to play 5 hours, 6 hours, 10 hours. Because then I can dive in, take my time. These days, everybody uses the same word ‘storyteller’ and I don’t see anybody doing it. It’s like, bomb, bomb, bomb!

Do you feel there’s a difference between DJing (apart from the technology) for today’s generation and playing to crowds when R&S first broke through?

It’s a completely new world and I understand that, It is what it is. I mean, everybody has their own thing, which isn’t a problem. I also think people underestimate the audience. And not that I want to be a teacher, a guru, or whatever, but I think there is more. There is so much good music, period. End of story!

We all know it has become much more difficult for artists to get played and perform. You know, I also think that especially on bigger festivals, all the celebrities are paid a fortune (which is fine in that model), but I also think they have to deliver towards expectations and really give something back. I think people aren’t experimenting as much or really following the energy.

R&S Records is often spoken of with reverence. When you first launched the label, did you have any idea of the cultural impact it would have?

We had no idea, we weren’t trying to be anything other than sharing music we liked and believed in. There was no real plan or vision. I mean if you’re cast as an actor to play the Batman. Well, okay, fine, then you play the Batman. But yeah, that’s not for me. I’m a free spirit. For me it’s building up and working towards something that can create a connection and it’s important being very diverse in that. Let’s be honest, good music is good music. I mean there is, as I always say, the right time and the right place to play whatever it is.

R&S helped break artists like Aphex Twin, Joey Beltram, Model 500 and CJ Bolland among many others, all ahead of their time. What do you think made you so good at spotting talent?

That’s the magic. I mean, I think that’s what a real DJ is. I won’t say it’s a lost art, but it is the art. Definitely. Not being afraid to explore.

You know, my favourite DJ will always be LTJ Bukem. He plays Drum and Bass, but if you watch him work, he’s composing. It’s really composing. I mean, wow. I was reading a comment this morning about another artist, Underworld and someone said, “Why are those guys from the ‘90s still better than most of the artists today?” And she’s right. She’s 100% right. They’re the best of the best.

And the same goes for us, we’ve been doing this a long time. It still comes down to experience. I saw Underworld’s Boiler Room concert recently and it was absolutely amazing. After all these years, they were just… wow. And they played for what, four hours? Incredible. That’s hard work. It’s not just pushing faders up, that’s real work. That’s where I come from. I’m old school. And if anyone cares about my opinion, I still love the craft. I still love the craft.

You know, I always had this feeling when I went to Prince concerts, when it was over, I’d walk out thinking, What am I doing? This is ridiculous. Just stop. Find another job. It was a different level. I didn’t fit. And I had that same feeling after seeing Underworld’s four-hour concert. It was like, holy shit!

And I’m not saying there aren’t other great artists of course there are. I’ve discovered some recently, totally by accident and just thought, wow. That’s where I find inspiration and magic. As a label, and as a person, I know I can’t even touch their heels. I’m an ant, I don’t exist. But it’s that discovery and I suppose it’s also that spark, isn’t it? When you hear or see something, and you just know.

With the resurgence of vinyl and a new generation discovering R&S classics, do you feel like the label is having a second life?

The whole scene is evolving. I think back to the days of John Peel, we miss him man, it was all a different time. That guy opened so many doors as a very objective listener and a music man, people like that are seriously missed. There are still so many people today including Mary Anne Hobbs on the radio who are diverse in their approach and so many DJs from an older and new generation playing our records in clubs. Everything fits at the right time. But maybe that’s it, we’re talking as nerds and, you know, people live in their own time. They make their own history. So that’s cool. But I think there are opportunities for everyone and not to be pretentious or act like I’m gonna educate you, but I want things to be a little freer, to have much more. We all want an eclectic crowd. People that dance to the music regardless of when or where it’s from.

Are there any new artists or directions you’re excited to explore through R&S in the coming years?

Let’s see what comes. I took some time out to look at things differently. If I could sign someone like Yungblud, I would, anything really. A rock track, a classical piece, a dance record. I’m a free spirit. I want to keep that freedom and not get caught in the rat race.

I’m not a Jazz expert, especially not the super experimental stuff, but Jazz is part of me. My father used to work late, listening to classical and jazz on the radio and I’d sit on the stairs outside his office, just listening. Later, I watched the Quincy Jones documentary and realised I’d been listening to him my whole life. He worked with Sinatra and did all those Jazz arrangements, amazing. I had no idea.

Jazz stayed with me, probably because I’m a failed drummer. I love groove, sexiness and strong arrangements. And then there’s Hendrix. When I saw him, I thought, I want to be that guy. Same with Michael Jackson. And Bob Marley, I was deep into reggae for years, working in a record shop with a reggae-obsessed owner. I lived in that world for a while.

What I miss today is that rebellious spirit. That middle finger to the system. Everything gets commercial eventually, but in the beginning, when the fire is still burning, that’s the magic. That’s the energy I connect with.

R&S is where Sabine and I feel at home. It’s our cocoon. We’ve always been outsiders in this big industry. Nothing against it, it’s just not our world. Too plastic, too polished. For me, music is important, but the person behind it matters just as much.

Maybe I’m wired differently, but I still believe in saying something. In meaning something. And in that spirit, we’ll keep doing what we do, creating our sound.

What do you feel could be different within the festival scene today?

Sometimes I’ve had this fantasy to put all the big-name DJs behind a black curtain. No visuals, no hype, just the music. Let them all play, and at the end of the night, tell me who was who. In the ’90s, there wasn’t all the fanfare. The DJ was left alone to do good work.

I get it. Promoters must invest, it’s a business and it costs a lot of money. But if you have that kind of power, why not use a bit of it to do something smaller? Create space for discovery. Help break new DJs and artists. Even the big names, why not invite newcomers, try something fresh and reconnect with the scene we all care about?

Could this Ghent party spark a new era of R&S events or even a regular series?

I would love to. I don’t know if it’s possible, but yes, I’d really love to. I think I’d like to travel more with this kind of vibe. It feels interesting, don’t you think? Why not?

Not everyone is a DJ. People experience music differently. You have private collectors, people who just enjoy music at home. So, it’s nice to connect with them in a different setting, a different scene.

I’m thinking about unknown bands, leftfield performances, live stuff where people aren’t afraid to step outside the usual format. A lot of artists stick to what they know, but I like when things are a bit of a challenge. Keeping it different, keeping it fresh, I think that would be really cool.

If you could give one piece of advice to your younger self at the beginning of the R&S journey, what would it be?

I wanted to be free. That’s all. I didn’t want to wake up and go to the factory or whatever, and somebody’s telling me what to do, when I can come, when I can leave, No, leave me alone, man. Sorry. It’s not gonna happen.

And the cliché? You have to love what you’re doing and work for it. You know, nothing comes that easy. It is work. And with a lot of failures and a lot of frustration. But, hey that’s the price you have to pay for freedom.