Interviewer: Deena Jasmine, Chikkamagaluru, Karnataka

Editor: Pooja Vishwanathan, Jhansi, Uttar Pradesh

Mike Daley is a multi-platinum and Grammy-nominated songwriter and producer whose music knows no borders—born and raised in Chicago, now based in Los Angeles. Mike Daley has worked with many K-pop and international artists such as ENHYPEN, NCT 127, NCT, SHINEE, WAVY, STRAYKIDS, HWASA, TAEYEON, RED VELVET, Girls’ Generation, KAI, Baek Hyun, LAYZHANG, Lady Gaga, Pink $weats, Chris Brown and many more.

In this interview, we dive into Mike’s creative process, the influences that shape his work, and his journey navigating the ever-evolving world of music production. From chart-topping hits to Grammy nominations, we explore how Mike continues to push the boundaries of musical expression.

Please share a bit about your journey into the world of music. What initially drew you to become a songwriter or producer?

I got into music a lot later than most of my peers. Growing up in Chicago and starting high school in 2000, I was such a big Jay-Z fan, and when I found out someone from Chicago was making his beats, I knew that’s who I wanted to be. Honestly, I had no idea what the music industry was about or how to even start making beats, though.

Shout out to Nez & Rio, some of the first real producers I knew, who made me believe I could do it too. I ended up in LA on some dumb luck, falling into a dream internship. I worked my way up from cleaning studios, bathrooms, and making food runs to assisting engineers, becoming the studio manager, and eventually being signed to The Underdogs, who gave me that internship in the first place. But it was a four-year grind to get there.

How was your experience working on “Your Eyes Only” for Enhypen’s “ROMANCE: UNTOLD – Daydream” album? What was the creative process behind working on this song?

ENHYPEN was a group I had been wanting to work with for a while, and like much of my music career was on some dumb luck, I got invited to a writing camp for them by a good friend and manager from Chicago, Brice Ormesher. I was there for two days, and the first day didn’t go very well. I remember driving home pretty disappointed, feeling down about maybe missing the opportunity. But on Day 2, everyone involved in the record decided to break free from the box we were in and try a different approach. That’s when we ended up creating “Your Eyes Only.” I had a really good feeling about it when we finished, and it felt like we had made something cool.

As the lyricist behind Hwasa’s song ‘Ego’ from the album “O,” were there any challenges you faced, and how did you overcome them?

It’s a funny story about how I ended up being a “lyricist” on Hwasa’s Ego, and it’s because I didn’t make a good enough beat! The song originally came from a session I had with PSY’s label. Mitchell Owens and I worked on Ego and a couple of other songs with a songwriter named KOLE that day. A few months later, they reached out and said they loved the topline of “Ego” but wanted a different approach to the production. We tried to flip it, but ultimately, their team reproduced it. Since I was part of the original song, I still got credit for contributing to the record, but not as a producer. That’s never happened to me before, but I was excited to be part of it and love how the record turned out.

How did your experience working on NCT 127’s tracks “No Clue” from WALK and “메아리 (Love Me Now)” from Neo Zone: The Final Round influence your approach to songwriting and production?

No Clue was a lot of fun to work on. It was created during my writing camp in Seoul last year, but it almost didn’t get finished. The song started from a voice note one of the songwriters, Tay Jasper sent me, and I built the skeleton of the beat in my hotel room using my laptop speakers.

At my camps, we usually have three rooms running with two writers each, working Monday through Thursday, and then Friday is reserved for mixing all the songs. On this trip, everyone came to the studio instead of exploring Seoul or doing touristy things on Friday. For the first time, all the writers got together on the last day to finish the song using the voice note and skeleton beat. It was a moment that could’ve easily not happened.

I always feel a certain pressure to make sure everyone I invite to the camps can contribute to at least one album and feel like their trip and time were worth it. So, for everyone to be a part of that record was amazing, something that had never happened to me before.

“Love Me Now” was done at another camp in Seoul and came from a beat we already had ready. What stands out about that song is that we didn’t try to make it a “K-pop” beat. The track had more of a U.S. sound, and Vedo and DEEZ toplined it. I love how it turned out—it’s one of my favourites!

You’ve had the incredible opportunity to work on several tracks for SHINee, including ‘Tell Me What To Do’ and ‘1 of 1’ from the album 1 and 1, ‘Love Sick’ from the album Odd, and ‘Lipstick’ from the album 1 and 1. Could you share your work process when collaborating with the group? 

I love SHINee “1 of 1.” It was my first single as a producer after leaving The Underdogs, so it was a huge moment in my career. Before that, I had been signed under these A-list producers and was stacking a lot of co-productions. This was the first time I was in Seoul without them and trying to make a name for myself.

What are some of the biggest challenges you’ve faced as a music producer and songwriter so far? How did you overcome them?

After being signed to producers for a number of years, I really wanted to make a name for myself. But I quickly realized how much easier it was to get placements or secure songwriting sessions when I was attached to such a big brand. When I went out on my own, I discovered how difficult it was to do this alone. Luckily, I had built great relationships with songwriters along the way, which helped a lot as I started that new chapter.

Since then, the hardest part of the job has been staying relevant. I got my first K-pop placement with Girls’ Generation’s “Mr. Mr.” in 2013, and the scene has changed significantly since then. There aren’t many people from back then who are still making an impact in K-pop today. It’s been about constantly reinventing myself, updating my sound, and working with the new hot songwriters, all while staying true to who I am.

I remember feeling like I was the youngest person doing what I was doing, and now I feel like I’m older than most of the people in this space. Over a decade later, I still experience imposter syndrome, so I really appreciate you reaching out to do this interview.

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You’ve worked with many artists, including in the K-pop scene. How does collaborating with K-pop idols differ from working with Western artists? What are the key elements you focus on when working with K-pop talent?

Music is a universal language, so whether you’re working with Western artists or K-pop idols, it’s always about making a good song. The primary difference comes down to the production of those songs. K-pop often has so many more changes and sections within a single track compared to a lot of Western music. To me, that’s the biggest difference.

With K-pop, it often feels like you’re creating two or three beats in one song, especially with the B-sections and bridge switch-ups. Western music tends to be less dynamic in that regard. But at the end of the day, it’s all about the song—great songs always win.

How do you incorporate different styles into your production for projects with artists like ENHYPEN, SHINEE, NCT, HWASA, and WAYV? How do you differentiate the creative process and colours of each project working with so many different artists?

Much of it comes down to studying the artists and talking to the label to understand the vision for the upcoming project. Everything I do is so tailor-made for the specific artist that, most of the time, if that artist passes on a record, that’s kind of the end for that particular song. Being so crafted explicitly for one artist means it usually wouldn’t fit anyone else.

Mitchell Owens is a producer I work closely with on a lot of K-pop records, and I think between the two of us, we can tackle almost every single genre. We kind of complete each other in that way, which is really helpful in K-pop, where there are so many elements of different styles of music at play.

You’ve released several popular tracks that have gained significant traction on streaming platforms; how do you feel about their success?

I love it. I’m very competitive, so when a record does well, it makes me feel really good. On the contrary, I feel bad about a record that doesn’t do well. One of the coolest things about K-pop fandom is how much it has grown and how many people are listening to something you created out of thin air. Release day is always such an incredible feeling, and then you hope the fans well receive your record.

Achieving multi-platinum status and earning a Grammy nomination are major milestones in your career. How did these accomplishments shape your journey as a songwriter and producer, and what did they mean to you personally and professionally?

I always think of the quote, “You’re only as good as your last game.” While the accolades are incredibly rewarding and can help you get into rooms that others can’t, as soon as a record is out, the clock starts ticking, and every second, it becomes a little less cool than it just was.

I’m constantly looking for the next record to follow up whatever I’ve done in the past because this is very much a “what have you done for me lately” industry. You have to prove yourself continually, and the longer I’ve been in this, the harder it feels to stay relevant. People always want what’s new and shiny, so while the achievements are outstanding to share with my parents and put on my résumé, they don’t guarantee any continued success. That said, I feel proud of how far I’ve come, especially since I started as an intern. It feels like I’ve earned every bit of success I’ve had.

How do you stay updated with the latest trends and innovations in music production, and what inspires and motivates you to constantly produce high-quality music?

I’m an audio nerd, so I’m constantly on YouTube learning about new plugins, synths, or innovative ways people are making music. That said, staying true to yourself and adapting is essential. The industry and the K-pop sound have changed so much since I first started in 2013, and being able to read those changes and think ahead is one of the reasons I’m still here 12 years later. As I mentioned before, I’m always trying to raise the bar and outdo what I’ve done in the past. I don’t think I’ve made my best record yet, and that thought pushes me daily to compete.

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Is there any music style/genre that you haven’t tried yet but would like to try in the future?

I’ve worked on many different styles of music within K-pop throughout my career, so there isn’t necessarily one genre I aim to knock out. But being from Chicago, I would love to incorporate some Chicago Juke or Footwork vibes into a K-pop song. That would be a lot of fun and something cool to share with my friends back home. I’d also love to explore more Latin vibes. I’m half Colombian and love that genre, so bringing more of those influences into my work would be exciting.

If you could recommend one of your songs to a new listener, which would it be and why?

I think “EASY” by Stray Kids would be my pick. The energy in that record has been hard to duplicate; it might be the best beat I’ve ever made. Plus, I got to work on it with my best friends and even had the chance to be in the studio with Stray Kids for that one, so it holds a lot of meaning for me. I think it really showcases how big a K-pop song can feel, and I also love the music video. BOSS by NCT would be a close second, though. That record elevated my career and feels like a K-pop classic.

Could you give us a sneak peek into your upcoming projects? What can the fans expect?

Fans can expect some new music from some new groups! That’s about all I can say for now, though. The labels keep Everything closely guarded and under wraps, so I don’t want to give away too much!

What do you enjoy the most about being a music producer, and what keeps you passionate about your work?

What I love most about being a music producer is creating something out of nothing. The idea that these songs didn’t exist one day still blows my mind. I often don’t even remember exactly how I made the beats; they just happen. Next thing you know, I’m in the studio with incredible songwriters, and a song is born.

I’ve also built some amazing friendships with songwriters over the years, and it’s always fun to have a song make an album and be able to celebrate that together. The icing on the cake is when the fans love it. That’s the best part of the job. We’re all still here because of the fans.

What advice would you give to aspiring music producers and songwriters looking to break into the K-pop industry?

I think it’s different for everyone, and as the industry changes, my advice will change too. What worked for me was starting by working with established producers and finding ways to be valuable to them. That doesn’t mean that path is for everyone, but it worked for me. Breaking into the K-pop industry can be tough, but at the same time, I feel like labels are always on the lookout for the next hot new thing. That doesn’t always mean working with someone who’s been in the game for years. I personally love working with new producers, helping them get their first record, and then watching them grow into their own.

I feel like I’m passing on the torch that was handed to me when I help someone break into the industry and then watch them blossom and stand on their own. That’s when I feel like I’ve done my part to push the culture forward.

The Korean wave is growing rapidly in India, and many fans love listening to K-Pop. So, would you like to share a message with our Indian K-Pop fans?

I love that! K-pop has always felt like such an international style of music, blending so many different genres, so it only makes sense for it to keep spreading around the world.

I also love how K-pop continues to embrace diversity. For example, Katseye, launched in the U.S., has members from all different backgrounds. Lara is a star, and I love how she incorporates her Indian heritage into her work. It’s also been exciting to see groups emerging from other countries, like BINI in the Philippines and 4EVER in Thailand. I love seeing how K-pop inspires creativity all over the world!

Once again, we would like to express our heartfelt gratitude for your precious time and sharing insights about your journey. Thank you so much. On behalf of the entire team at Hallyuism, we wish you all the best for your future projects and lots of love from India!

We hope you all loved reading this interview as much as we loved conducting it. Let us know your thoughts in the comments!