mixmag netherlands
Access to that world came through proximity rather than distance. Early exposure to DJs operating within the same cir- cles created a pathway that was practical rather than abstract, built on observation and parti- cipation rather than aspiration alone. Learning happened inside the room, through repetition and response, rather than through theory.
“I was blessed in the fact that Patrick Topping was in the same friendship group as my older brother. Through my brother and Patrick,
I became friends with
Matty Robson and Jonny Burn. Those two had a big influen- ce on how I play. They definitely showed me how to read a room. I used to warm up for them and only play minimal. Once I got some recognition, they pushed me on and massively helped me throughout. Before I knew it, I was supporting Alan Fitzpatrick through their influence. It fee- ls good to be able to return the favor now. They’re still two of my best mates to this day.”
Reading a room becomes a cen- tral skill within that framework. It is less about control and more about sensitivity, about recog- nizing shifts in energy and res- ponding without overcorrecting. That responsiveness creates a feedback loop between artist and audience, where the set evolves in real time rather than following a fixed path. The same principle extends beyond DJing into the broader trajectory of the project.
Certain moments reinforce that trajectory with unusual clarity. Not because they introduce so- mething new, but because they confirm that what is already ha- ppening can hold at scale. These moments act as markers, an- choring the progression without redefining it.
“Creamfields 2022. That was definitely a turning point in my career. That was so emotional. I think because I had such a good reception following my debut the
year before, it really made that moment. I’ll never forget that.”
As the scale increases, the de- mands change. Touring introdu- ces a rhythm that can quickly become unsustainable if left un- checked, particularly when the expectation is to remain consis- tently available. Recognizing the limits of that pace becomes part of the process, not as a retreat but as a recalibration.
“I think I’m only just learning this now. It took me a long time to realize I have to put my health first. Before, I felt like I just bur- ned myself out trying to give fans what they wanted. If I’m not touring now, I’m chilling at home making music. That’s how I rest and reset.”
The relationship between studio and stage remains direct throu- ghout. One informs the other wi- thout requiring a shift in mind- set, allowing ideas to move freely between the two environments. That continuity simplifies the process, reducing it to a single objective that carries across both contexts.
“Both are the same for me. I feel just as natural in the studio as I do on stage. There isn’t really a mindset shift. I’m just looking to make people happy.”
Remaining grounded within that expansion relies on something more fundamental. The environ- ment he came from continues to shape how he navigates at- tention, preventing the external scale from altering the internal perspective. It is less about re- sisting change and more about maintaining proportion.
“This comes naturally to me. I think it’s down to my upbringing. I grew up on a council estate and was always friends with every- body. I don’t judge people. I think that keeps me grounded.”
That same approach extends into the structures forming around the music. His label emerges from a need to crea- te space for records that might otherwise remain unheard, ope- rating without a fixed stylistic boundary. The selection process reflects taste rather than cate- gory, allowing the catalog to re- main open.
“It used to amaze me that I got sent so many records that no one was signing. I was like, how many tunes is the world not hearing? That’s what my label is about. It’s not just one sound. We’re going to release house music alongside trance stuff. It’s just about put- ting music out that I love.”
“When life feels heavy, the music reflects it. I’ve never wanted to force records just to stay visible or keep up with expectations. If I put something out, it has to feel honest to where I’m at mentally and emotionally.”
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