European festivals and venues, with their focus on fully immersing in the music, provide an environment that encourages experimentation and a deeper con- nection with the sound.
Each city has its unique energy and vibe, and I’ve found myself adapting to that. For instance, crowds in Am- sterdam and Berlin have a distinct intensity—they’re responsive to changes in the set, which has encoura- ged me to take more risks with my transitions and track choices. The energy here lets me explore new ways of building suspense and a sense of journey throughout the night/day. Creatively, I’m finding more freedom to showcase unreleased material and test out tracks that feel right in these environments. I think performing to these diverse and receptive crowds has made me more confident and open to experimenting—each set beco- mes a little journey, shaped by the energy of the room and location.”
The “no phone” policies common at European venues, for instance, contribute to this, fostering a more au- thentic experience for both the artist and the audience. In contrast, he acknowledges that Australian festivals, while equally vibrant, often come with a more social media-driven atmosphere. Lishman’s unique blend of Australian influences and European experiences has resulted in the creation of what he calls “Hot House” — a fusion of groove, house, techno, and trance that captures the essence of both worlds. As he brings this sound to Europe and takes new European influences back to Australia, Lishman is helping to shape a fresh narrative within the global electronic music scene.
In Europe, I feel there’s a strong emphasis on being fully present in the moment. Crowds are incredibly focused and immersed in the experience, which makes them more open to diverse, experimental sounds. This open- ness lets me explore a range of styles and go deeper with each set. One major difference, as many know, is the “no phone” policy at many European venues—this impacts the overall vibe, allowing everyone to connect more directly with the music and each other. In Aus- tralia, the love for electronic music is very strong, and we have a fantastic community of artists and parties. However, there’s sometimes I do feel more of a social media-driven atmosphere. While there’s nothing wrong with that, it can occasionally feel like people are more focused on capturing the moment for later than fully living in it. I sometimes think there’s missed potential for more genuine socializing and connection, especially when phones become the focus. That being said some- times those moments are worth capturing so I do get it at the same time and I do love seeing peoples’ stories the next day on Instagram of them having a fun time.”
Lishman’s success is also a reflection of the wider Aus- tralian electronic scene, which has seen a surge of ta- lent emerging onto the global stage. With artists like CRUSH3d, WOLTERS, Ned Bennett, and Lucas Boston gaining international recognition, Lishman is proud to represent a scene that continues to evolve and inspire.
I’m not sure if I’m biased as I’m from Naarm, but I think we have some of the best-emerging artists right now in the scene. Being surrounded by so many established and upcoming artists gets things going. Key influences would be growing up and attending my first festivals in Australia, this is where I shifted my focus to my cu- rrent project and where everything began back in 2018. When I’m producing or stuck for ideas I reminisce on the moments I have attended these festivals, intending to capture a moment I remember with my friends to re- plicate it.
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