liam palmer and elliot schooling
As the project moves outward, that sense of identity is carried into new environments. The US, in particular, offers a different kind of energy, shaped by disco- very rather than familiarity.
“For sure, I get what you’re sa- ying about exporting a culture. I mean, Europe, and the UK espe- cially, has such a strong culture in dance music that has been developed over the years, and now the US is starting to con- nect with that in such a big way. I have really enjoyed the crowds over in the States, as it’s all so new, everyone is really excited and happy to be discovering this sound. I think they all feel really grateful to be able to listen to this music, which I have defini- tely seen when coming off sta- ge and speaking to people in the crowd. Of course, you can’t beat it when you get a good crowd in the UK, but I’d say as a standard, the US crowds are definitely gi- ving the UK a run for their money. With the drinking age being 21+, you definitely see an average age being older in the States. To preserve the Appetite vibe when we enter the States, we’re being very mindful of line-ups, venues, etc., but the main thing is the people we collaborate with. Raw Cuts and House Calls are both young collectives who are pus- hing forward proper house mu- sic with a good ethos, so it really matches what we stand for.”
Across all of it, community re- mains constant. It informs deci- sions quietly, shaping how events are built and how people move through them.
“I think it’s an unspoken thing that informs every decision, whether that be ticket pricing, capacity, or line-ups. We always have the community and the audience in mind. I guess a successful Appe- tite event is when we have made everyone go home with a smile on their face. Maybe they’ve met a new friend, a new love interest, or found their favorite new DJ or track ID. For us, it’s all about giving people good experien- ces, as that’s what this music is all about, somewhere to escape
“Our close friendship has always informed the project. It’s allowed us to be free, expressive, and completely comfortable with each other, in the studio and on stage.”
the pressure of life for a certain amount of time at a party.”
That idea becomes more tan- gible in Appetite On The Farm, where the scale of control chan- ges what can be built and how it can feel.
“Festivals have always been the ultimate party and life ex- perience for the team and me, with life-changing weekends at Glastonbury and Houghton in our early twenties definitely hel- ping shape our inspirations for the festivals. I mean, we build the thing from the ground up in the middle of a field, so every litt- le thing is bespoke, and we can build it to our taste or direction. I think we are always developing the site and the concept, and we’re really happy with where it’s at. I mean, if we had an unlimited budget, I think we could express ourselves even better (festivals are fucking expensive to put on), but we’re giving it a good go. As I said, we’re only five years in, and there are so many plans that we haven’t touched on yet. When we hit 10 years, I think we will be able to say we have completed a lot of our dreams and aspirations with the farm.”
As things continue to expand, the focus remains on holding onto what was there from the start. Growth is part of the tra- jectory, but not at the expense of the core.
“I think at the root of it all, we are always trying to stay grounded creatively and never forgetting where we came from, creating the music we love and not cate- ring to what we think people will love. It definitely helps having a good team and people and fa- mily around you. But of course, we need to look forward at the same time, as the scene has exploded on a global scale now, and we want people to be able to connect and bring Appetite to everyone around the globe, brin- ging our special energy to these people.”
What emerges is not a project chasing a definition, but one that continues to extend itself. The shape shifts, the scale chan- ges, but the instinct remains the same.
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