restricted


PHYSICALITY & PERFORMANCE


That balance was tested at EDC Las Vegas. Closing Sunday night, the crowd kept thickening until it crossed a line. The music stopped.


The fire marshal


stepped in. For a moment, the set wasn’t his anymore.


Safety always comes first. No one wants to stop the party, but if it’s getting unsafe, then it’s not worth it. The priority is making sure everyone’s okay. But once everything’s under


The physicality of Restricted’s sets isn’t performance in the theatrical sense. It’s a necessity. Movement


is how the music


travels. How does tension relea- se?


“Moving constantly for one or two-hour sets isn’t really an issue,” he says. “That part feels normal to me.”


control,


moments like that honestly push me more into instinct. I actually feel like I perform better under pressure. It puts me into a different mindset. That intensity is crazy to feed off. It lifts the room, and it lifts me too.


At Creamfields, the pressure comes from somewhere else. The Steel Yard has its own gra- vity, and stepping into a triple back-to-back meant giving up some control from the start.


“Steel Yard is one of my favourite


stages in the Creamfields was already


UK. a


bucket list thing for me, and last year was genuinely one of my best sets ever. So to come back and play Steel Yard again in only my second year the- re feels unreal. I love doing new things and taking on challenges, but I’ll be honest: three people back-to-back is hard. With two people, you’re matching one energy and one direction. With three, you’re trying to align three different sounds and instincts at the same time. It adds this extra variable where anything can happen. But that’s also what makes it exciting. It’s unpredic- table in the best way”.


What changed wasn’t the effort, but the accumulation. Last summer meant close to seventy shows in four months. Hard stages. Bad shoes. Little recovery time.


And yet, it’s the physical side he speaks about most fondly.


“Every set feels like a HIIT


session,” he says, almost laughing.


The more demanding the set, the more present he feels inside it. The room responds to that visibility. Effort recognised as effort.


“I grew up playing sports my whole life, so moving constantly for one or two hour sets isn’t really an issue. That part feels normal to me, but last summer I did around 70 shows in four months and yeah, my legs were cooked. Especially with all the jumping on hard stages. And I was wearing bad shoes too, which did not help.”


That sense of presence runs through everything he’s building. Revive. Touring. The way he produces when time allows it. None of it is framed as conquest.


There’s no language, no fixation. Just systems being tested and adjusted in real time. Tracks that evolve. Shows that stretch.


A home country that finally opens up after a decade of waiting. New


learning the language through movement rather explanation.


markets are than


What comes through most strongly is


his honesty, even


when he talks about records that changed his trajectory or rooms that sold out in minutes; his tone stays measured. He seems more interested in understanding why something worked rather than gloating or feeling superior because it did.


He’s also honest about limi-


tations in a way many artists avoid. Time is short. Touring narrows his choices, even his body sometimes pays the price. None of it is framed as drama or sacrifice. It’s simply acknowled- ged and worked around. When he talks about making music, the version he values most is slow and hands-on, an approach that is not often available. There’s no complaint in that gap, just awareness.


At heart, Restricted comes across as practical and attenti- ve. He pays attention to rooms, to people, to how much pressure things can take before they start to break. That attention shapes how he performs, how he releases


music, and how he


builds around himself. He’s focused on staying grounded inside music, doing the work carefully, and letting everything else unfold at its own speed.


“The physicality of Restricted’s sets isn’t performance in the theatrical sense. It’s a necessity.”


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