Suh Dude? Tanner Petulla, better known as Getter, is a rising star in the world of electronic music. Between his social media stardom and crippling bass/trap sound, this Los Angeles DJ is just getting started. We can expect genre hopping albums and huge collaborations in the near future for the San Jose native. Coming off the Ever After festival and Hoxton after party in Toronto, Daily Beat had an opportunity to sit down with Tanner and discuss his social media past and present, selling out and the future of his brand.
Your social media presence is unrivaled at the moment. Vine was a huge spotlight for you. Has your social media helped or hindered your music career?
It has helped because at the end of the day music is my passion. Now that I have all this power with social media, I want to do everything. We’re doing TV shows, movies, clothes, games… I’m even writing a book. I feel like it’s helped more than anything because now I can make as much music as I want and people will listen to it regardless because of all the followers I have. It’s for the better.
Are you getting tired of hearing “Suh Dude?” everywhere you go?
Ahh. The way I look at it is that everybody needs something to bring them to the next level. That was mine. Baauer had the harlem shake. I’m proud as fuck of the Suh Dude thing because it’s creative, I literally came up with it in a minute. I don’t think I’m tired of it yet. I get why people say it. People go up to movie actors and say shit, and I’m sure they get tired of it. Not me though, I don’t care. As long as they buy my merch and make me rich.
You played the Ever After festival earlier today, how do the crowds in Toronto compare to those around North America?
Oh it was great. I’ve never played a festival like that, where the crowds jumping the whole time. And I played after Skrillex because he had to catch a flight. Usually Skrillex plays and then the crowd goes dead, but they were still bumping. It was really cool.
Who can you attribute your success to? In regards to artists who’ve inspired you and have helped you out along the way.
My number one mentor, the dude that got me to this point was Borgore because he’s been a big fan of my music and he’s super selfless. He cares about everyone else and he wants his friends to come up. I was hanging out with him a while ago and he introduced me to this guy Stephen that I used to know from back in the day, and then he started managing me. Shit just took off. He’s definitely one of the biggest reasons why everything is happening. He’s my biggest mentor and my best friend. Besides that, Flume is my biggest inspiration just because he does what he wants and he makes it fucking work.
You’ve collaborated with the likes of Skrillex, Datsik & Borgore. Can we anticipate any big collaborations in the near future?
I have a whole new huge EP coming out later this year with a tour and a bunch of shit. I’m focusing a lot on hip-hop and vocalists. I could collab with Tiesto, I could collab with all these big ass EDM artists… but at the end of the day I like hip-hop and I like female vocalists. I’ve got $uicideboy$ on one song for the EP I’m working on. Kodak Black maybe. I’m really trying to collaborate with vocalists and rappers rather than EDM people. Not that I don’t like it, it’s just where I’m going.
Your latest release Underground Underdog reinforces the fact that OWSLA artists make killer hip-hop producers for any rapper that wants their following to blow up. How has your partnership with OWSLA allowed you to grow as an artist and producer?
It’s great. There’s this really weird theory that everyone has about OWSLA. People think that you get on there, they’ll give you a bunch of money and then you change your music. In reality they don’t give you any money, they give you a platform… a creative platform. Right when I joined I had all this music I was sitting on, and they loved it. They said ‘hey, we’re going to work on you and your brand, build you up, and you can make whatever music you want.’ It’s the freedom of it, and the fact that they have platforms to get on MTV and on the radio. It’s definitely the best decision I’ve ever made to sign with them. They just know what to do. They’ll shell out a certain amount of money for a music video for me and they don’t care if it costs a million dollars, they just want to make sure that my vision happens. It’s really special.
Your fans love you for your individualism and you’ve certainly been making a name for yourself in the bass community. What is your definition of “selling out,” and how do you maintain a reputation outside of that stereotype?
I feel like two or three years ago when I heard selling out, it was about anyone who started to make money and follow the crowd. Now that I’ve reached a point where I feel like I’m making some good money, I have some fans and I’m doing my thing, everyone says I sold out. In reality all I did was put out the music I was sitting on and started being myself, being funny and posting silly videos online. It started popping up naturally just from my own shit. The way I see selling out now, is doing it solely for the money. Not a lot of people are selling out. They’re just finding themselves, doing what they want, and it’s working. People need to redefine selling out.
You’ve locked down that hard-hitting trap sound and your hard work & versatility flow easily between genres. Are you going to expand your sound as your brand grows?
Ya, I’m doing everything. I make a lot of music. At first it was dubstep and trap, now it’s every genre of EDM and rap. I’m putting out a rap album myself. I want to make every kind of music that I fuck with. I’m working on a punk album and a rap album, where I’m rapping and I’m singing. Then I want to do a metal album. I’m going to put out everything of mine, just all my work, whether it’s free or payed. I really want to work with Interpol because they’re my favourite band. Or Mac DeMarco.
There’s no question big things are on the horizon for this talented young artist.