thelma
The technical process developed alongside that shift. What be- gan as digging through samples evolved into a deeper understan- ding of how those sounds were constructed. The relationship to production became more delibe- rate, but it never fully abandoned its initial instinct. There remains a sense that the idea comes first, and the technique follows.
Maintaining that balance requi- res distance from the present. Constant exposure to new relea- ses risks flattening identity, pu- lling it toward what is already es- tablished. Instead, her reference points remain personal, rooted in earlier experiences that exist outside of current expectations.
“When I didn’t know how to sound design at first, I would dig through 90s hip hop, techno and breakbeat samples for hours on end. I think that’s how every pro- ducer starts learning, building a collection of samples that feel true to them. Later, once I had a greater grasp of music produc- tion I found myself emulating those very samples in plugins like Serum and Diva. Listening to the quality of the sound and learning to replicate it by ear was the greatest learning curve for me. I try as much as possible to avoid constantly listening to new mu- sic that’s coming out in the sce- ne. It’s easy to fall into the trap of copying what’s trending when we’re constantly exposed to it. I spend a lot of time listening to the music I loved when I was a teenager, before people told me what I should listen to and what was deemed cool. That has wi- thout a doubt influenced the tracks I make now, almost like an ode to my younger self.”
That approach inevitably crea- tes tension. A sound that mo- ves between genres resists easy categorization, and the industry rarely accommodates that am- biguity. The expectation to de- fine, to simplify, remains persis- tent. It appears in conversations, in booking decisions, in the way artists are positioned within li- neups.
THELMA’s response to that pres- sure is consistent. She refuses to reduce the project into some- thing more easily understood. Identity, in this case, is not about clarity. It is about recognition that operates on a different le- vel.
“The tension between versatili- ty and recognisability is pretty much all I ever think about. I re- member a conversation with my old agent, he warned me: ‘Ever- yone is confused Thelma, what music do you even play? We can’t book you for techno shows because you play too housey but can’t book you on house lineups because you play too much te- chno. You’ve got to make a de- cision.’ After some reflection, I disagreed with his statement. Some of the greatest artists of our generation have done quite the opposite. They might have a hit record but they don’t let themselves be defined by it, they move on and attempt something new. The biggest compliment I’ve heard in recent years is ‘This track is so you’ or ‘This is such a THELMA track, I can’t explain why but it just is.’ It is so hear- twarming to know that without even being able to place it, so- meone just recognizes my artis- tic imprint.”
CONTROL, SCALE, AND CON- TINUITY
That same resistance to defini- tion carries into her DJ sets. They are structured, but never fixed. Preparation exists as a loose framework, something that can be abandoned the moment the room demands it. The relations- hip between control and instinct remains fluid, shifting in real time as the set unfolds.
What she looks for is not reac- tion but immersion. The most meaningful moments are not the loudest. They are the ones where the room disappears into itself, where movement becomes less conscious and more instinctive. Those moments cannot be for- ced. They have to be built gra- dually, through pacing and res- traint.
Touring has expanded that un- derstanding, exposing how di- fferent environments respond to the same approach. Each region carries its own rhythm, its own expectations. The UK remains foundational, but other places have introduced new variables, reshaping how she navigates a set without altering its core.
“This is my favorite part about this job, the privilege to experi- ment. As thrilling as it is to have thousands of people singing your lyrics or chanting a melody back to you, it’s a whole other feeling when you can take the crowd on a journey. Watching people be- come completely engrossed in the moment, dancing with their heads down as though no one is watching them, those are the shows that I live for. In terms of preparation, I think it’s important to strike a balance. Too much preparation will paralyze you just as much as a lack thereof. Judging by the lineup or type of event, it’s best to narrow down a playlist of tracks that are sure to be the right fit. Most of the time, these playlists serve more as an outline, rarely do I ever play exactly the set I practiced.”
“In a scene leaning towards big names and safe records, I want to push deeper into craft. More skill, more risk, more intention.”
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