mixmag netherlands


THE LABEL, THE CULTURE


Revive began as a record label, but its evolution into a broader entity shows what it is trying to do: bring coherence and intentionality to an often chaotic musical landscape. Revive serves as a framework that channels the energy of high impact music and culture into a unified vision. This approach not only shapes the branding of events and merchandise but also articu- lates a critical response to the transience typically associated with electronic music subcultu- res.


Through this expanded role, Restricted


demonstrates the


ability to translate the dynamic, adaptive presence he exhibits in conversation into curatorial and organisational contexts, thereby elevating Revive from a mere label to a catalyst for cultural cohesion and innovation.


“We’ve only done one event so far, but I definitely want to build out a series that hosts my own shows and content. Alongside that, I want to develop a merch line that’s more of a clothing brand or


with intention. Stuff


fashion label. Merch that fits


perfectly and is really good quality. Basically, clothes I’d actually wear myself. As for the music,


I’m looking for anything


high energy, a bit ADHD, which doesn’t sit in one box. Lots of switch-ups, vocals, and different kicks. Just stuff that’s exciting and does those things really well.”


That same instinct guides the music he selects for Revive. He avoids strict categorisation, instead seeking out music with unpredictable energy. What ma- tters is how it moves, whether it surprises without losing con- trol, and holds attention rather than demanding it. Revive is all about maintaining momentum.


TOURING


If Revive reflects his present thinking, Australia reflects his past. The two finally intersected at the end of 2025, when his first headline run there sold out in minutes. For


someone who


grew up playing locally without access to big stages, the shift landed slowly.


“Honestly, it was surreal. I’ve


been playing in Australia for like 10 years. It’s home, but for most of that time I was never really given the big stages or any real spotlight.”


That elsewhere arrived, and then folded back in on itself. After Europe, after momentum had built beyond the country’s borders, the rooms back home finally opened. Dreamstate filled beyond capacity within minutes. The Teletech run followed, and it was fully sold out.


“Over 20,000 people, doing that in your home country is insane, having my family there too, it’s just the proudest feeling. I genui- nely didn’t think I’d be doing this back home at this point in my career, even after 10 years. It all happened really fast.”


What was once a European lan- guage is now being quickly lear- ned in the US, in larger rooms. Faster sell-outs. Crowds that don’t need convincing.


“That’s how I knew it wasn’t just one lucky moment. There’s a proper market for it.” When two Hollywood Palladium shows disappear in under two hours, it reads less like a milestone and more like a signal.”


By the time Restricted closes a night, he’s usually running on instinct more than thought. The body takes over. Reading fa- ces, movement, the way a room is breathing back at him. Tho- se moments are where he feels most locked in, but they’re also where things can tip fastest. At a particular scale, there’s very li- ttle margin for error.


Late at night on the tour bus, he often scrolls through demos. Each unfamiliar SoundCloud link offers a brief escape, allowing him to evaluate not just the beat but the movement it inspires.


These moments turn selection into a narrative, making the cu- ration as vibrant as the tracks themselves.


“It’s about always pulling inspi- ration from different places,” he says. Hardstyle, rawstyle, trance, gabber, and industrial. None are treated as destinations. They’re materials.


There’s no sense of closure in the way he describes it. Just another shift. Another alignment that took ten years to arrive, and happened all at once. The change in the United States feels different. Less delayed. Less cautious. Restricted has been returning regularly for the past two years, long enough to watch the curve bend upward in real time.


“Every time I go back, the shows get bigger, sell out, bigger stages, and the crowd response gets crazier. That’s how I knew it wasn’t just like one lucky moment, and there’s a proper market for it. The biggest thing is the energy that US crowds bring. They love moving, they love going hard, and my sound is super high energy, so it connects naturally. Even though it’s still a newer sound over there, it’s already massive.”


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