A different kind of set: US Open’s DJ Mode is a big fan of Amapiano

Flushing Meadows is loud. One of the distinguishing characteristics of the US Open is the constant hum of noise reverberating around the stadia, much like Manhattan itself.

It is the soundtrack of the Open. But there is an additional soundtrack that’s been reverberating beyond the tennis.

Music soundtrack

Building on the hush before every serve, roar, and point call is an artist that has been curating the US Open’s music soundtrack since 2015.

Cue DJ Mode.

I caught up with the man responsible for bringing the vibes to Arthur Ashe, Louis Armstrong and Grandstand stadiums. We meet during a convenient rain break on Day 3 of the Open, just as the heavens opened over the Billie Jean King Tennis Centre.

Born and raised in the Bronx amidst a Puerto Rican heritage, the DJ, producer and music director has built a successful portfolio of clients in addition to the USTA.

Mode’s story begins at 13, sparked by an uncle’s turntable in a home where Puerto Rican music culture ran deep.

Within minutes of speaking to him, it’s clear he has studied his craft obsessively, drawing on musical references far beyond his years.

His range is vast, way beyond his years in fact: rock, ’80s new wave, house, freestyle, hip‑hop, which he blends to create his own unique style.

As he puts it, “DJ‑ing kind of just gave me the license to melt all those things together and create an experience.”

Big fan of Amapiano

The Puerto Rican’s instinct for fusing genres traces back to his first vinyl: Run‑D.M.C. The ’80s hip‑hop pioneers fused breakdancing, graffiti and rock with rap; an influence Mode still calls “untouchable.”

As he puts it, “they created an entire genre.”

We turn to South African influences. Mode is a big fan of Amapiano music, arguably one of the most exported sounds.

He has ensured SA vibes have seeped into the US Open by weaving the sound into his sets.

“Big fan of Sho Madjozi, big Tyla fan,” he pairs South African tracks with Caribbean artists because “they’re so close in, you know, tempo.”

Unlike a specialist like Black Coffee, who “sticks to one genre,” Mode calls himself “more of an open format DJ” who’ll “do my best to kind of incorporate Amapiano, the deep house stuff, the soulful house” in a stadium setting.

‘Showtime’ at the Open works differently to any other sport.

‘Support the action’

Unlike traditional stadium gigs, tennis operates under strict etiquette, requiring complete silence during play.  Mode has just 60 to 90 seconds between games and 15 minutes between matches to keep the crowd engaged without disrupting the players.

The real work, he says, starts long before he reaches the stadium.

“My job is to support the action,” he explained.

“If we have a great rally, I’m ready to go with certain tracks that are going to help elevate that moment … this is in tandem working together to kind of create the overall experiences for the fans.”

He studies the order of play and each player’s musical tastes, researching social media and USTA requests.

Coco Gauff “loves Tyler” and often leans toward “Icon” by Jaden Smith, while Carlos Alcaraz’s team brought “a bunch of Travis Scott requests” after his Nike collaboration with the rapper.

Favourite memory

He lights up when I ask about his favourite US Open memory.

During a late Friday‑night Novak Djokovic match, he mixed a Big Pun track into a Fat Joe song just as Fat Joe appeared on the big screen.

“He was going crazy,” Mode said, grinning. The moment earned him the ultimate compliment, when Djokovic later mentioned how much he enjoyed the music and the lifted energy in the stadium.

“That was something that was really cool for me to be a part of,” he said.

Mode recalls a moment of pure connection with the crowd, when he dropped Indian rapper Hanumankind’s Big Dawg in the stadium.

At the time, the track was still under the radar, but the crowd locked in instantly.

“I remember how I felt and how the room felt,” he said.

“Everything was like a big buildup and anticipation … I was like, ‘All right, this is why I do this for.’”

As play resumed and he faded the music out, he sat down buzzing, thanks to the crowd’s energy still bouncing right back at him.

Mode’s USP is his instinct for reading any room, in any sport.

‘Student of music’

His résumé spans some of the world’s biggest arenas. He is music director for New York City FC, and has worked with the Knicks, Rangers, Liberty, the NBA and NFL. Major brands like Nike, Pepsi and Audi have followed, but ultimately, the connection is the same: “I’m really a student of music,” he said.

“I go back … to the ’40s, ’50s… and just figure out new ways to create an overall new experience for people.”

He pauses when asked for his ideal trophy‑lift soundtrack.

“That’s a good one. That’s a really good one,” he said.

“I would have to go with probably ‘All I Do Is Win,’ DJ Khaled.”

We wrap up our interview by discussing how Mode decompresses after an energising day at the Open. When the stadium empties and he’s driving home, his playlist shifts to smooth jazz or classic soul.

“I literally will put on a Stevie Wonder album, Songs in the Key of Life, or a Sade album,” he said, sometimes opting for Bobby Caldwell’s What You Won’t Do for Love.

“I need something smooth. I need it to be like a nice calm to bring me back down.”

For all the glamour, Mode is grateful for every moment.

“I literally get excited every time this time of year comes around, because it’s an opportunity that very few get,” he said.

“I’m very, very, very grateful for all that I’m able to do.”

Amisha Savani is reporting exclusively for The South African from the 2026 US Open in Flushing Meadows, New York