How did growing up in Yorkshire, a place not typically associated with drum and bass, influence your sound and your journey into the scene?
Growing up in a small town in Yorkshire, I wasn’t exposed to much of an underground music scene. The local culture revolved around bands and football hooligans rather than anything resembling sound system culture or underground electronic music. Drum and bass, in particular, wasn’t something I encountered growing up—neither my family nor my community listened to it. In fact, I didn’t even discover the genre until I was 16.
It all happened by chance. I’d fallen in with a new group of friends who invited me to a New Year’s Eve event in Leeds. At the time, I had no idea what I was walking into. My musical background was rooted in bands—especially the sounds of the 60s and 70s—so I expected this to be completely outside my taste. To be honest, I thought I wouldn’t like it.
But the moment I stepped into that venue, everything changed. The crowd’s energy, the pounding bass, the sheer atmosphere—it was intoxicating. I was completely swept away, as though I’d stumbled into an entirely new world. I couldn’t believe I’d spent my whole life oblivious to this music, and from that night on, I was hooked. That rave wasn’t just an experience; it was a turning point.
So how did I go from discovering drum and bass to becoming a DJ? Well, I’ve always been drawn to creating music. When I was 11, I was completely obsessed with Noel Gallagher from Oasis. I became determined to learn the guitar, so I went to a charity shop, bought the cheapest one I could find, and spent countless evenings teaching myself to play. I’ve always had this need to immerse myself fully in whatever I’m passionate about, and music has always been at the heart of that.
After that transformative night in Leeds, I knew I wanted to be part of what I’d experienced. Watching the DJs, I was mesmerized. It wasn’t just about the music they played, it was how they controlled the room, how they could take the crowd on a journey. I knew right then and there that I wanted to do that.
However, DJing isn’t the most accessible hobby, it requires equipment, which I couldn’t afford straight away. It took a few years of saving and waiting. In the meantime, I soaked up as much as I could by watching DJs at events and after-parties, completely fascinated. I’d stand at the front, studying their movements, fixated on their hands as they worked the decks, constantly wondering, How are they doing that?
Eventually, I saved up enough to buy my first set of decks, and the moment they arrived, I threw myself into it. Night after night, I practiced relentlessly, figuring it out through trial and error. It wasn’t always easy, but I loved every second of it. That’s how it all began, a mix of curiosity, determination, and an overwhelming passion for the music that changed my life.
Do you remember the first track or set that truly hooked you that night? And what was it about the rave culture that felt so life-changing for you?
After that first night when I discovered drum and bass, I remember being completely captivated. I went online almost immediately, searching for “when’s the next drum and bass rave?” At the time, there weren’t many happening up north—drum and bass wasn’t as prominent in Leeds as it was in other parts of the UK.
I kept checking event schedules obsessively until I came across an event hosted by a company called Dazed, featuring High Contrast and Spied. It was a pivotal moment for me, and Dazed has since played a significant role in my musical journey. I’ll always be grateful to Rosh and the team for their impact on my development as an artist. It feels almost poetic that their event was the first proper rave I attended—it’s like my journey has come full circle. At the time, I didn’t know who High Contrast or Spied were, since I’d only just stumbled into the drum and bass world. Naturally, I went straight to SoundCloud, typed in “High Contrast,” and hit play. I was instantly mesmerised.
What struck me most about High Contrast was how his music resonated with my own musical upbringing. I grew up listening to the sounds of the ’60s, ’70s, and ’80s—artists like Stevie Nicks and Aretha Franklin were staples of my childhood, especially when I’d listen to music with my grandma. High Contrast’s tracks often incorporate samples from that era, blending those nostalgic elements seamlessly into drum and bass. It was like discovering a bridge between two worlds I loved.
That connection profoundly influenced my own DJing style. When I plan a set, I’m always drawn to tracks that combine modern sounds with nostalgic samples. If I come across a track that features a snippet from an old-school vinyl or a classic song, I know immediately, “That’s going in my set.”
For me, it’s not just about playing drum and bass; it’s about weaving in that timeless, vintage energy, whether it’s a nod to classic tracks or incorporating the soulful sounds I grew up on. It’s become an essential part of how I express myself through music, and it all started with that first Dazed event and the magic of High Contrast.sten to. I blend that into the newer, modern sounds, creating this mix of old and new. It’s such a defining part of what I do.
Drum and bass has so many subgenres. How would you describe your particular style and sound?
I don’t really have a particular style or sound when I’m doing a set. It’s usually just a mix of everything. If I hear a track, or if someone sends me a track, no matter what the genre is, if I like it, I’ll find a way to work it into the set. When it comes to producing music as well, every track I create is different. One day, it might be very jungly, and the next day it might be more neuro. I don’t like sticking to just one subgenre. For me, it’s all about variety—I love old-school drum and bass, and I feel like mixing it up keeps things exciting. In a set, it’s not just about one sound for an hour; it’s about creating a journey. Maybe it starts off with something a bit more jungly and minimal and then builds up to something heavier.
Could you walk us through the process of creating one of your tracks?
Yeah, well, at the moment, I haven’t actually released anything because I’m still learning. I started DBS, which is a music institute, so I’m still in the process of learning. I only started in September. Before that, I got into SL (Sound Lab) maybe two years ago and was teaching myself through YouTube.
What I’m doing might not be the “right” way to do things, but then again, there’s no right way, is there? That’s what makes it hard, you’re always questioning yourself, wondering, “Am I doing this the right way?” I’ll be sitting in my room by myself thinking, I think this sounds good… but does it really sound good? It’s all a learning curve, but I’m excited to be at DBS now. The reason I didn’t really focus on it before was because I was juggling DJing and working full-time, and I just didn’t have enough time to put enough effort into it.
Now, with DBS, I feel like it’s going to give me the time and space to take it more seriously. I can actually study properly and be around people who can support me, help me, and give me tips. So yeah, in the next couple of years, I definitely plan on releasing some music. I’ve got a few tracks sitting around that I’m just a bit too scared to put out there yet.
As a young female artist, have you faced any unique challenges and how have you navigated them?
Yeah, I feel like now you see a lot more female DJs, and it’s definitely gotten better over the years. But when I first started DJing, about four years ago, there weren’t many females at all.
When I first started getting DJ sets, I felt like a lot of the time I wasn’t being booked for how I was playing. It was more because they needed a female on the lineup to make it more diverse. I was around a lot of promoters, networking and socialising, especially being in Bristol, and I’d often hear promoters talk about lineups, saying things like, “Right, we need to add a female just to balance it out.” For me, that just feels wrong. You’re not booking that person for their talent, you’re booking them to make your lineup look diverse. And I think that kind of defeats the point.
As a DJ, regardless of gender, you want to get booked because of what you’re doing, because they think you’re good and because they believe you’ll be a good addition to the lineup. But for females, a lot of the time, it feels like the response to voices pushing for equality in the scene is, “Oh, we’ll just add a girl to make everyone happy.” And that doesn’t mean they’re booking us for our talent—they’re just doing it to fit social standards or to please others.
And it can be demoralising, especially because you’ll often see a lineup full of men and then just two girls, and they’ll put us back to back. Or they’ll place us early in the lineup. It’s very obvious sometimes. And that can be frustrating because, like anyone in the scene, you want to be booked for your talent, not just to make the promoter look good or to fit into some societal expectation.
What has been your most memorable gig or performance so far? And why did it stand out?
Oh, that’s a difficult one—there have been so many memorable moments. Honestly, I cherish every gig I play, whether it’s an intimate crowd or a packed-out venue. Even in the early days, when there were just four people in the room, I’d leave the decks feeling elated. It’s all about the energy, no matter the size of the audience. That said, one of my most unforgettable sets has to be a boat party I played in Kavos about two years ago. I’d been booked by Party Hard Travel to DJ at a pool party at one of their party hotels. They told me that drum and bass wasn’t particularly big in Kavos at the time, it was still quite underground there, this was before it started gaining more mainstream attention.
With that in mind, I had planned a more laid-back, summery set, tracks like Afterglow and other feel-good vibes, nothing too heavy. When I arrived, though, the promoter approached me and said, “We’ve got space on a boat party. Do you want to do it?” Naturally, I said, “Of course!”
So, I joined the boat, and at first, the vibe was incredibly chilled. Most people were still recovering from the night before, just lounging around and not really dancing. I went up to the top deck for a quick cig and started chatting with a few people. They asked me what I was doing there, and I mentioned that I’d be DJing in an hour. Their reaction was instant excitement: “No way! What are you playing?”
When I told them I was playing drum and bass, their enthusiasm went through the roof. “We’ve been here for a week and haven’t heard any drum and bass. We love drum and bass!” . They immediately rallied their friends, shouting, “Come here! She’s playing drum and bass!”
They then asked me what kind of drum and bass I usually played, and I explained that my sets are typically quite heavy, a mix of neurofunk, jungle, and other subgenres. I mentioned that I’d planned something lighter for the boat party, but they begged me to bring the heavy tracks instead. At that point, I thought, “Why not? Let’s see how it goes.” So, I scrapped my original plan and decided to play the kind of set I’d usually perform back home.
At first, the crowd was still pretty subdued, lounging around and not engaging much. But within five minutes of starting my set, everything changed. The deck was suddenly packed with people dancing and going absolutely wild. After hearing the same holiday party music for days on end, they were ecstatic to finally hear some proper drum and bass. By the end of the set, the boat was in full chaos, in the best way possible. Drinks were flying, people were jumping, and the energy was unreal. Even the promoter told me afterward that they hadn’t seen a boat party that lively all summer.
The feedback was incredible. Throughout the rest of the week, people who had been on the boat kept stopping me on the strip or in bars to tell me how much they loved the set. When I got home, I saw people tagging me in Instagram videos, saying, “This set made my holiday!” It wasn’t the biggest gig I’ve ever played, but it was one of the most unexpectedly amazing ones. The crowd’s reaction, their energy, and hearing people say it was a highlight of their trip made it truly unforgettable.
Are there any artists or collectors that you’d like to collaborate with?
Dub-Tendo is a truly special group I’ve had the privilege of working with this year. They’re an incredible team, full of creativity and boundless energy. Essentially, Dub-Tendo is an events collective that specializes in building immersive, Nintendo-themed stages for festivals. One of our most notable setups was at Boomtown last year, where we brought the magic of iconic Nintendo characters—Princess Peach, Yoshi, and more—to life. Everyone in the group dresses up, and the energy is unmatched. It’s not just an event; it’s an experience.
I joined them earlier this year, starting out by helping backstage at Turno’s Game Time, assisting with green room logistics and interviewing artists. Over the summer, things ramped up with a series of shows, each more vibrant and engaging than the last. Working with Dub-Tendo has been an absolute blast—it feels less like a job and more like being part of a big, wonderfully eccentric family. The concept is delightfully lighthearted and unapologetically fun, which is a breath of fresh air in an industry that can often take itself too seriously.
What’s remarkable is how much the audience connects with it. The events sell out consistently, drawing a niche yet devoted crowd. Guests don’t just attend; they fully participate, dressing up and embracing the playful spirit of the event. It’s truly unique and unlike anything else in the scene.
This year has been a whirlwind. In the beginning, I contributed in small ways—dancing, DJing at festivals—but it’s evolved into something much bigger. I’ve grown to love working with this team, and they’re definitely a group I see myself collaborating with long-term.
One of the funniest and most pivotal moments this year was a live stream we did in Bristol at a venue called The Bog—yes, a toilet-turned-nightclub. It’s a wildly popular spot for quirky live streams, and in May, just before Boomtown, we hosted a Dub-Tendo Bog event there. To our amazement, the video absolutely exploded, racking up over a million views! Back then, we had around 7,000 followers, but that moment catapulted us to nearly 50,000. It’s been incredible to watch Dub-Tendo grow so quickly this year, and I can’t wait to see where we take it next.
How has social media contributed to your DnB career?
A new piece of content can just explode and go viral, and it completely changes your life. It’s insane how one action can have such a huge impact. That’s actually how I grew my DJ page back in 2020. I never planned to be a DJ. I just wanted to learn how to DJ, like how I wanted to learn guitar, but never thought I’d do anything serious with it.
When I got my decks, it was right at the end of lockdown. At that time, TikTok was just starting to take off, and I didn’t even have the app at first, but I was seeing all these DMV (Drum and Bass) pages on Instagram sharing TikToks. These girls were mixing, doing blends, and getting thousands of views, and I thought to myself, “Is it really that easy? Is it that simple to blow up and get noticed?”
Lockdown, I think, gave everyone an equal opportunity to get recognised. Before that, females didn’t really get to play in clubs, and you only got seen if you were booked. But lockdown gave everyone the same platform to get noticed. I feel like a lot of females blew up during that time, getting recognition they hadn’t before.
So, I decided to do a little social experiment. I thought, “Is it really that easy for a video to blow up?” I downloaded TikTok, recorded a quick video, and within an hour, it literally blew up. I had thousands of people following my personal account, and my first thought was, “I need to make a separate account for this because I don’t want all these strangers on my personal one.”
So, I quickly came up with a DJ name and created a separate account. Within a week, I had about 5,000 followers. It just snowballed from there. People started messaging, offering radio shows, bookings, and all this stuff. I was just like, “Oh my God, this happened so fast.”
It literally changed my life overnight. From that point, I thought, “Okay, I guess I’ll take this seriously. This is real.” Within five months, I thought, “Screw it, I’m moving to Bristol.” That’s where everything seemed to be popping off. I’d never been there before and didn’t know anyone, but I decided I had to take it seriously.
If you could perform at any festival or venue in the world, where would you perform?
Oh, I’ve already played at Boomtown, but it was on one of the smaller town stages. But, like, to play on Origin or something would be incredible. Every year I go to Boomtown, and I just look at that stage, and I’m mesmerized by it – the visuals, the size of the crowd. I’m surprised Birdie hasn’t played there yet.
It’s incredible. My friend Ivy played on the Origin stage on Friday, and she actually got me one of the passes to stand on the stage while she was playing. I was standing up there, and I just thought, “This needs to happen. This has to be a goal one day.” I need to be up there. So many of my friends played on Origin this year, like Anais and Ivy, and they absolutely smashed it. I remember standing in the crowd with Ivy last year, and not even in her wildest dreams did she think she would be playing on that stage.
But here we are, just a year later, and she’s up there. It just proves that so much can happen in a year. You know, thinking, “Oh, I want to play on that stage one day,” and then seeing them play on it, it shows that anything is possible if you put your mind to it. Watching them up there has just given me that extra push. I’m like, “Yeah, come on, you can do it!”
What are some of your other hobbies or passions to keep you grounded and fuelled?
Honestly, I don’t think I have enough of a hobby. Everything in my life is just music, music, music. But, at the same time, I feel like that is my hobby. I’ve got my full-time job as an engineer, working in engineering. So, for me, the music thing is kind of a hobby, but it’s also something I want to pursue in the long run. That’s why I’m putting all my focus, all my energy, and all my free time into producing music and DJing pretty much every weekend.
When your hobby becomes your job, it doesn’t feel like work, if that makes sense. That’s why you can spend so much time doing it, and it never wears you out. I just feel like I don’t have time for anything else at the moment. All my free time is going into learning to produce and my uni course. I just finished work. On my lunch break, I had an hour, and I literally just went to sleep. Took a little power nap, just trying to make use of every bit of time. I’ve got no time at all!
What are your goals for the end of the year? Do you have any upcoming projects, collaborations or anything we should be looking out for?
Like, I’m going to be releasing a free download at the end of the year. Just a little bootleg that I made. I’ve been working on it all year, just adding little bits here and there. But yeah, I think it’s finally time to start getting some of the music I’ve made out there. I’ve shown it to people and gotten good feedback. It’s just the actual step of putting something out there, which is a big thing for me.
I guess you could say I’m a perfectionist. There’s always something more that can be added, so I find it hard to know when to stop. I just need to draw the line and say, “Right, it’s fine. Just put it out.” So yeah, while doing all these shows, I’m going to tease the song, and hopefully, by the end of the year, I’ll release it.
DJ GEN-Z: My Drum and Bass Journey
