Beat Herder Festival 2026

Faithless

Wilkinson

UK drum and bass producer known for massive, crossover liquid DnB anthems.

Sigma

Kings of the Rollers

Inja

David Rodigan

House Gospel Choir

Mobilising people is something that Natalie Maddix knows a lot about, as the creative director of the mighty House Gospel Choir for the past five years. So too, is Brixton. Arms outstretched, gesturing to the South London home of the Caribbean diaspora in the UK where she grew up, she tells the story. “I think I did a post on Instagram and I had been mentioning this idea of a house choir to people, so I just wanted to see if anyone came” she laughs. A few did, and the first iteration of a choir singing gospel version of house tracks and vice versa, started with twelve people in a rehearsal room in Hackney, East London, one Tuesday evening. The fact the group could sing was lucky, because unknown to Maddix, the loose gathering of friends was soon to become unintentionally official. “My last project before HGC was programming some choirs for Olympic Park” she explains. “In passing, one of the directors I was working with at the time mentioned that one of the bookers was looking for a choir for Glastonbury. He asked me if I had a choir and I said yes but they do house music, is that alright? He was like ‘yeah, I think so but you need to do gospel music as well’. So before our first session we had secured our first booking which was Glastonbury on the Acoustic stage… we had twelve weeks.” Such is the magic of the choir that by the time they performed at Glastonbury (complete with Barbara Tucker’s ‘Beautiful People’ and Kirk Franklin’s ‘Up Above My Head’ as part of the set ) there were thirty members including DJs, keyboardists and vocalists. Safe to say, Maddix knows how to make magic happen. She talks about her Pentecostal church in Vauxhall where she sang gospel, her Catholic secondary school in Camberwell where she sang Latin hymns and her primary school in Brixton all fine-tuning her early ear for what she calls “finding harmonies”. It’s no surprise that the likes of Kirk Franklin and Aretha Franklin (of whom she firmly counts as a gospel singer) and gospel TV show ‘People Get Ready’ were the early soundtrack to her house that she gravitated towards. For Maddix though, it was searching out music independently as a teenager by going to house and garage raves that made her fall in love with the dancefloor. Seeing the devotional elements of club spaces, she recalls hearing house tracks that took her out of herself, and into the music. “I remember hearing ‘We Are One’ by Hugh Masekela and Black Coffee for the first time” she recalls. “I was like, ‘That’s it! Isn't that just the truth’ - yes we look different, yes we all sex different, but we all fundamentally want to be united under something a bit bigger than ourselves”. We Are One has become the choirs mantra, Maddix explains “We can't all speak at the same time and have our voices heard, but we can sing together as one voice and be understood”. They embody this by inviting members of the public to their monthly Mass Choir, which Maddix calls “their safe place”, also inviting a guest artist to create a special moment where 200+ voices sing the artists song back to them, previous guests include Karen Harding, Riton, MNEK, Rachel Kerr, Jem Cooke and Camel Phat. It was this moment of collective power that Maddix wanted to recreate after she became disillusioned with the house scene in London’s clubs (owing to cliques, venues closing down and a lack of resource), and she became involved in a project called Urban Development, working with young people and talent such as Shola Ama and Labrinth to harness skills in music. It was here that she started a vocal collective and realised that despite her short-lived MC days in a crew known as PG’s Finest as a teen (“It was a shameful time, and no I could not rap!”), she saw how much she “enjoyed singing with other people”. The current House Gospel Choir has grown to 150 members of all religions and backgrounds, although to Maddix, acknowledging that the origins of both gospel and house music are predominantly a black expression born from marginalised communities has been crucial. “If you listen to certain house or disco and hip hop, all of that was happening at the same time and all of those musicians would have learnt their craft in church” she says. “I think the two are more closely linked than people realise and if you listen to the lyrics of what we’re singing, these are the biggest house songs; they’re super inspiring, they’re about upliftment, they’re about unity, self-love. In the first instant, house music was rebel music”. For Maddix, it's a spiritual experience to sing. The vocal affirmations as part of a group, and mobilising and celebrating black heritage music is part sonic sensation, part protest. Here, filling the gap in knowledge of the historical contributions of black British gospel artists is crucial. “There are so many singers from the UK, from Beverley Knight to Mica Paris, to Sean Escoffery, the UK has an incredible gospel history. Those who know, know.” HGC’s magic is their ear for production, thanks to the songwriters, producers, vocal arrangers and selectors who make up the collective. The joy is through thoughtful digging in the crates and selecting house tracks that work alongside others - refixing, sound clashing and taking the classics, well, to church. Take the story of Barbara Tucker ‘s Beautiful People’ and ‘Most Precious’ - of which the HCG version is a rousing reminder of beauty of the everyday complete with pulsing stabs of euphoria and 90s nostalgia. “I actually came to the Barbara Tucker one the same way that most people do which was from the ‘deep, deep inside’ hook” she says. “When you don’t know names you have to just sing to people until you find it. Just start from the hook and start digging”. Other tracks that “raise the vibration” - which is the only prerequisite of songs that make the cut - include Dennis Ferrer’s ‘Hey Hey’, Floor Plan’s ‘We Magnify His Name’. Plus their first release, ‘Battle’, a re-work of UK Garage legend Wookie’s 2000 classic that features brand new production and instrumentation by Wookie himself, the result of him hearing the collective perform ‘Battle’ at Southport Weekender. He loved it so much, he reached out personally to produce a cover and the rest, as they say, is history. Curating and making the songs work in a live vocal space outside of the club is a challenge that house Gospel Choir spent time finessing - and not everything works. Maddix recalls a failed experiment of attempting a version of of ‘Hallelujah Anyway’ by Candi Staton, before finding what she calls was ‘the truth’ of it (their final version is a glorious dose of Mister Fingers meets-gospel disco). After all, to say that the group simply perform straight covers would be to miss the point of what House Gospel Choir really achieve. In reality, they take us to church, literally and metaphorically and remind us, whatever spiritual inclination we may have, of the sonic swells in our ribcage that truly great harmonies can inspire. The art of finding the truth in deep house gospel refixes and garage classics is something that House Gospel Choir simply do better than anyone else. Whether it’s performing at the Mercury Music Prize Awards with Loyle Carner, joining Emilie Sande for Channel 4’s Stand Up To Cancer, performing at BBC Gospel Christmas with Beverley Knight, Gregory Porter & Tom Jones, appearing as part of Kylie Minogue’s headline gig at Hyde Park, or joining Jax Jones and Mabel respectively on a Radio 1 and 1Xtra Live Lounge, HGC have taken these seemingly disparate musical moments and shown us the connection. And people get it. Last year saw House Gospel Choir tour in Singapore, Denmark, Ibiza (with Annie Mac and Disclosure for Radio 1 Ibiza), France and Australia - revising Maddix’s old stomping ground of Ibiza club Beach House to perform garage her way, to performing trackside at F1 in Singapore. It’s music that agrees with a live performance, and HGC have graced stages at V Festival, Bestival and Lovebox, a sold out headline shows last year at KOKO, and Annie Mac Presents. In fact, Annie Mac and BBC Radio 1’s Toddla T are such fans they also asked them to perform at their wedding with Jessie Ware last year. Next for them is working on the album which is currently bubbling away in studios across London, working with a roll call of iconic dance music producers from global house icons Todd Terry, DJ Spen, and MJ Cole, to Toddla T, UK gospel icon Nicky Brown and Jimmy Napes, fresh from working with Sam Smith and Disclosure. Maddix puts the story it’s trying to tell simply: “it’s that we are one” she shrugs. “We make ourselves heard as a collective and we are agents of mobilisation!” Talking about the activism that underpins the music, she goes on, “We talk about homelessness and inequality and displacement - and the project is about tuning into people’s frequency and uplifting their voice with ours”. That is the beauty of House Gospel Choir, taking us to new heights of euphoria, imploring us to feel empowered, connected and always looking for a chance to uplift our voices with theirs. They remind us of the altitude of our last euphoric club moment and with each note, we’re there again, watching the magic unfold in front of us, ready to receive.

K-Klass

The Orb

British ambient techno pioneers behind classics like 'Little Fluffy Clouds' and 'A Huge Ever Growing Pulsating Brain'.

Groove Armada

Andy Cato and Tom Findlay met in London in the mid 90’s. Groove Armada started as a series of nights across London. It was to promote these nights that they started releasing 12’s for East London pioneer 'Tummy Touch'. An album made in a week, 'Northern Star', included the downbeat anthem 'At the River'. From that came major label recognition. 'Vertigo' their first album on Jive sold over a million copies and five albums followed on SONY and BMG garnering Grammy and Brit Nominations and sold out gigs from Sydney to Moscow. A pioneering combination of performance and electronics, the GA live show evolved into one of the very best in dance music. In 2010, the boys redefined the GA sound with Black Light, an album which brought into the studio the blend of guitars and electronics that made their live shows so special. The band toured this album across the globe, closing at Brixton, a venue where they set the record for the most sold out nights. Since then the boys have gone back to their roots. Through decks&fx shows and a series of dancefloor EP’s, GA have marked a return to the DIY spirit of the warehouse turntables where the project first began. EPs and remixes have appeared on the likes of Hypercolour, Moda Black, Defected, Danse Club… Summer 2013 saw a return to their We Love Space Terrace residency and DJ gigs from SE1 to Jakarta. GA take control of every aspect of the room; sound, lighting, lasers and visuals, all from their custom built booth. The result is a live, flowing House groove cut by perfectly timed lasers and lit by real time infrared in-booth imagery. It delivers an enhanced version of the warehouse vibe the boys have lived from the beginning. 'We've been on dancefloors since 88 and know how it should feel.'

Tiga

The citizen may take a bride, but it is the rifleman who takes a lover. Ultimately we all must choose either the myth or the mountain.” The origins of Montreal born DJ-producer-incipient Teutonic legend Tiga lie to the vague and troubling East, where he was weaned on the nefarious milk of the notorious 1980s Indian club scene. “To the unforgiving eye,” he says of the sybaritic night-kingdom, “a world of filth and decadence is revealed. For example, I’m fairly certain that more than a few club owners had an unsavory arrangement with the man who brought the folding chairs. I was at once appalled and enraptured. After that, I had no choice in the matter.” By 1990, Tiga had returned to Montreal, prodigiously night wise and unsatisfied with the existing local club scene (calling it “the plumage of a bird I cannot bring myself to want.”) With the help of a core group of friends, he began to throw a series of small parties infused with the sense of dead-eyed ennui gleaned from a past littered with acid whores and crazed Indian gamblers. Other innovations which Tiga introduced to Montreal party culture include guest DJs, intense street promotions featuring rival gangs of street acrobats, color flyers, multi-dj sets, and leading the supplicant crowd through the innermost corridors of one’s soul. It was this heady time of dizzying innovation and ravenous sexual ambition which culminated in the birth of 1993’s “Solstice,” generally considered to be Montreal’s first genuine rave. (A year earlier, a hyper-prescient Tiga staged “Eclectricity,” the first online rave, a project whose utter failure remains a source of bafflement: “It broke my heart, given my views on diversity. . . I am, I feel, a very interactive person.”) Tiga has since helped to orchestrate no less than ten major events, including “The Orb Live,” “Pure,” and the very first North American appearance of continental illusionist Jean-There. In 1994, Tiga bought DNA Records, a small medical data concern, and parlayed it into Montreal’s premiere electronic music boutique. “We’ve always believed in putting the customer first, from helping you find that one minimal house record that will make your collection to offering concerned looks as you wade through the enormous backlog of test results to discover if you are in fact afflicted with a congenital disease.” In 1996, Tiga mourned the death of actor and poet Tupac Shakur. That same year, the Montreal dance community found a haven for the boldest feats of dance, where fools are in love with mystery and sex-valor is prized above all else. Sona (meaning literally ‘Liar-dancer’) was initially conceived of by Tiga and his two partners as “a perverse, jeering monolith, because nothing is sacred anymore” but it has evolved into much more. In addition to its place amongst the pantheon of urban groove centers, on weekdays it rents out its facilities, at a very reasonable rate, to a local program dedicated to teaching homeless men to dance properly (“I just think it’s an important project,” Tiga said at the time). In 1998, Tiga started Turbo Recordings as an outlet for his wildman organ escapades but he soon found a host of other artists who were willing to be paid to record for him. Turbo has released over 20 albums, 2 samplers, and 12 vinyl twelve inches as well as secured global distribution with Prime, Intergroove and Caroline. Notable releases include Peter Benisch’s “Soundtrack Saga,” Christopher Handlebar’s “To a Time of Asia” and Tiga’s own “Mixed Emotions” and “American Gigolo” By last year, however, overwork and media saturation began to show their strain, as evidenced by Tiga’s hysterical outburst at a fashion photographer during a promo shoot: “I’ll sit for your venal cigarette pictures, but I will not indulge you in your game of ‘Eyes! Lies! Surprise!’ I dare you, coward-- call out your cloakmen! What are you waiting for? The truth?!” Following a month spent riding horses and caring for his voice, Tiga entered the studio with producer Zyntherius “Jori” Hulkonnen and a singular vision: “electro, but mainly about my eyes.” The result, a searing rendition of his former Mother Mio bandmate Corey Hart’s solo smash “Sunglasses at Night,” challenged dancers and seduced critics alike, yet Tiga is coy when asked about its impact, particularly in Germany: “’Sunglasses’ is a sinless child, a gleaming medallion. But is also a trick, a trick of memory. You must understand-- on a whim, we revealed the hidden fire of Europe.” But fires need tending and lumber. And so be advised of the onslaught of Tiga-powered releases, both recent and forthcoming. They are his craft, his life, his fire: The immense success garnered by “Sunglasses at Night” was just one facet that catapulted him into the international feeding frenzied world of other electronic music notables. Tiga has remixed for the likes of Martini Bros., Alpinestars, Linda Lamb, Crossover, FC Kahuna, Cabaret Voltaire, Telepopmusik, Felix da Housecat, Fischerspooner, FPU, The Devils (Nick Rhodes), and Danni Minogue. As if this wasn’t enough, he also produced remixes for City Rockers, and singles for Turbo Recordings, Intec, Drumcode, and Electrix all under his TGV moniker, which is his collaborative effort with Mateo Murphy. 2003 was the year that Tiga released his mix CD on !K7 for their DJ Kicks series. His take on Nelly’s “Hot in Herre”, released for the DJ Kicks compilation, became a huge success and resulted in it being licensed in the UK by Skint, as well as the GAS region by Warner Music. The video, which can be seen at http://www.eyeballnyc.com/tiga, features a sardonic view of the hip-hop world through some clever puppet wizardry from Tiga’s brother, Thomas (aka Lord of the Marionette). Tiga has also lent his vocals to Richard X’s debut album on a track titled “You (Better Let Me Love You X 4) Tonight”. Most recently, Tiga has remixed Alex Kidd’s “Come With Me”, Neon Judgement’s “TV Treated”, Scissor Sister’s cover of Pink Floyd’s “Comfortably Numb”, Junior Jack (feat. Robert Smith)’s “Da Hype”, and Peaches’ “Shake Yer Dix”. Already gaining massive rotation amongst club DJs, Tiga’s latest single, “Pleasure from the Bass” is being released on the Belgian imprint PIAS. His first full-length original artist album is due within the year.

Roni Size

UK drum and bass pioneer, Mercury Prize winner for 'New Forms', and Reprazent frontman.

Jordan Peak

Jordan Peak Biography April 2013 Jordan Peak is one of the most interesting and versatile new acts to emerge from the British scene in years. His music deftly straddles the line between house and techno, and his ability to fuse old school values with the fresh sounds of now have resulted in a swift rise which has been as rapid as it has been unsurprising. Pete Tong was an early fan of Jordan’s music, back in 2011, naming Jordan and Robert James as the two ‘Introducing’ names to watch that year on his BBC Radio 1 show. Since then, the accolades have continued with Jordan receiving a nomination in the ‘Best British Breakthrough DJ’ at DJ Magazine’s 2012 Best of British Awards. More praise followed from his peers as Jordan was name-checked recently by DJ Sneak as one of his favourite new acts in the house scene. Jordan works closely with the One Records (UK) and Robsoul (FR) label crews, releasing some of his best known work with them and spinning at the label nights at their Birmingham and Paris homes, as well as around the world. His CV is further bolstered by records and remixes on luminaries like Morris Audio, air london, Klasse Recordings and Saved, as well as 2020 Vision and Silver Network. As evidence of the range of acts that support his music, his most recent record ‘It’s Time’ found favour from as varied a spectrum of acts as Maya Jane Coles, DJ Sneak, Gerd, Seth Troxler and Groove Armada. In just over three years, the depth and quality of his discography gives an indication into the wealth of ideas and energy which Jordan brings to the table every time he makes music. Paul Woolford memorably commented that ‘Jordan has the touch’. 2013 promises much more of the same – the double A side release‘It’s Time’ / ‘Hanging By A Thread’ was an early hit, backed by killer remixes from Argy and Ultrasone, with tracks being picked up on compilations from Fabric, Cadenza as well as making the final cut on the May 2013 Mixmag cover CD. Further releases are already confirmed for Robsoul (the latest in his Club Cuts series) and the French connection continues for Jordan with a debut offering on D’Julz’ Bass Culture imprint. Late 2013 will provide another significant milestone, in the form of the launch of his new label Rogue Society, which will allow Jordan the freedom to fully express the range of his own taste. The label kicks off with a release from Jordan himself, backed by remixes from Mike Huckaby and Nikola Gala. Preceding the label launch, his debut tour of North America is primed and ready to go with shows already confirmed in Mexico City, Playa del Carmen, New York, Boston, Detroit and Miami as the wider world begins to take note. As a performer, 2012 was easily the busiest of his career so far but early 2013 has also seen Jordan take to the stage in clubs and events of the calibre of Fabric in London, Paris’s iconic Rex Club, Mint Club and the legendary basics in Leeds, a debut at Content in Manchester and Moscow’s new Gipsy club. There will be more to come.

Olive F

A muso through & through, Olive’s progression into music production and DJing has been entirely organic, following several summers in Ibiza and years of record-collecting. Refusing to conform to the norm, Olive lets her music do the talking, quickly established herself as one of the main residents of Darius Syrossian’s Moxy Muzik parties and leaving a big impression via recent sets at fabric and ADE. Following a period of dedicated and focused studio time, Olive now has a stacked release schedule of productions, forthcoming on Moxy Muzik and Seven Dials, with collaborations with some of the scene’s big-hitters including Phil Weeks and Darius Syrossian, and plenty more action to come in the months ahead.

DJ Seinfeld

Swedish electronic music producer and DJ, initially associated with the lo-fi house movement.

Eats Everything

British DJ and producer known for his bass-heavy, high-energy house and techno.

Kirollus

Kirollus will light up any stage with his infectious high energy DJ sets and unrivalled passion for music.

Lens (2)

Lens is rapidly becoming a leading force in Drum & Bass with her dynamic double drops and eclectic selections.

Notion

salute

Sarah Story

Sarah Story has always had her eye on the prize. This plucky young broadcaster, DJ and singer-songwriter has always known who she is and precisely where she’s wanted to be. So we’re going to start with her Mission Statement, which as anyone who knows her well will attest is extremely important to her as a human being and as a curator and presenter. “I really want to help support emerging as well as the established artists on my show and champion more female artists and non-binary people. I'm trying to be very conscious with the music I'm playing to make sure the playlist is as balanced as possible. I've been given the keys to unlock and give people a platform and a great career,” she muses. “Hopefully by playing new artists’ music on Radio 1 this will help kick start their career. Musically we’re living in very exciting times right now. The music industry has changed dramatically since the lockdown in 2020 and we’re seeing a whole new generation of artists come through. I feel very honoured to be at the forefront of that as a new voice on Radio 1 that gets to champion them on national radio every Friday night. ” So as we exit lockdown and a brave new world begins, we have to ask: who is in Sarah’s gang? She’s super-quick to respond. “My gang is people like Jaguar, Denis Sulta and Mella Dee!” she smiles. “I loved meeting Jaguar when I did the Smirnoff Equalizing Music Project about three years ago. I would say Denis Sulta is one of my favourite DJs of all time so to actually be mates with him and supporting him on shows is pretty mad. Mella Dee is such a G, I’ve known him a long time now. Also Dance System, ABSOLUTE. and La La, I love those guys and they're great people! I think La La is a brilliant DJ, her track selection is always so on point. I've just been trying to curate a line-up actually and those were some names that I put down. And obviously Annie Mac! I mean, she was one of the main reasons I got into this whole thing.” Aside from the radio and her own expanding DJ sets, Sarah’s also been the host of BACKSTORY, a podcast delving into the stories of some of the industry’s most interesting and intriguing names, including Eats Everything, DJ Paulette, Bklava and one of the UK’s favourite drag queens, Jodie Harsh. She’s also been working on topline writing and production, a nod to those early Ibiza days. But ask her what really keeps her mind ticking outside of her creative box and she returns to the importance of curation. She’s a big fan of Paul Woolford/Special Request, of Emerald and of Jaguar and – naturally - of her place in the BBC to help pull all those musical strands together. So Sarah’s earned her stripes. “I really want to give people a place on the platform that I've got,” she says. “I’ve been given a voice in a saturated industry where it’s hard to get noticed. I want to champion new artists and help mould the next generation of electronic artists, that’s my thing.”

TSHA

UK DJ and producer known for warm, expansive, and emotionally rich house, broken beat, and pop electronics.

BK

Breakage

UK drum & bass and dubstep pioneer known for massive low-end weight and the classic 'Hard' featuring Newham Generals.

Cinthie

Berlin-based DJ, producer, and label owner known for her raw, classic 90s-inspired house sound.

Club Angel

Dave Seaman

British DJ, producer, and former editor of Mixmag, widely known for his progressive house sets.

Demi Riquisimo

Demi is label boss for his imprint ‘Semi Delicious’ boasts 17 sold-out vinyl-only EPs to date. The releases are a collection of Demi only EPs and VAs which platform a family of Semi Delicious artists in Manami, Black Loops, Aldonna, Absolute, Papa Nugs, Manual Daquart, Jive Talk, Inner Zone, Lulah Francs, Michelle Manetti, Gallegos, Baby Rollen and more. Semi Delicious label showcases have now reached 8 sold out shows across London, Paris, Madrid, Bristol and Tel Aviv. Demi’s June 2023 EP on DJ Tennis’s label Life & Death is the fastest selling vinyl on the label for 5 years and received coverage in The Evening Standard. From the launch of Demi Riquísimo in 2019, festival slots began rolling in with regular appearances now from some of the world’s most renowned to underground events including Glastonbury, Lost Village, Latitude, Wilderness, El Dorado, Homoelectric, Gottwood, Secret Garden Party, Love Saves The Day, Alfresco Disco, Standon Calling, Flamingo Pier (New Zealand) to name a few. With some serious momentum, 2023 saw Demi’s stratospheric rise, which kicked off with Circoloco NYD at DC-10 (which preceded 2 more appearances over the summer) into a sold out 1500 raving attendees at Fabric London Semi Delicious label takeover on Jan 6th. Followed by a 3rd tour of Australasia Jan/Feb and a return to the US westcoast to play alongside Seth Troxler in San Diego into SXM Festival St Martin. Demi leaves behind him a trail of accolades from his BBC Radio Peak Time Mix, which was dubbed 'possibly our best best peak time mix ever' by Sarah Story, to the Hör Mix, an expertly crafted 3hr Phonica Mix, and MixMag Lab B2B with collaborator Chloé Caillet. Starting 2024 off with a nomination for DJ Mag Best Of British ‘Breakthrough DJ’ stands as a testament to all that came before it and sends a strong signal for what's to come.

Gary Beck

Harriet Jaxxon

Rooted in drum & bass but never stuck in one lane, Harriet Jaxxon makes music that sounds like it already knows you—unpredictable, euphoric, and built for movement. As a DJ, she runs sets that go hard and plays tunes that don’t beg for approval - renowned for blending foundation and future sounds with zero hesitation. Genre purist? No. Crowd-pleaser? Not in the obvious way. One to watch? Already watched—and definitely not done. Twice crowned Best Female DJ at the D&B Awards, with millions of streams and releases on heavyweight labels like Hospital Records and Souped Up. Harriet’s bandwidth of creativity speaks for itself. With a clothing line and long-standing radio presence, she’s a trusted voice on air, with past residencies on Rinse FM, Capital FM, and BBC Radio 1. From Glastonbury and Amnesia Ibiza to her own TRAXX:ON nights, Harriet keeps pushing forward without losing the raw edge that got her here. No gimmicks. No ego. Just a good ear, tight blends, and the kind of sets that stay with you.

Kara Okay

After a knee injury last year, he gained a renewed his focus on music, producing several tracks and an EP, which got supported by Job Jobse, DJ Heartstring, Marlon Hofstad, Malugi, Benwal, and others. Expect a set that starts with warm progressive vibes, moves into groovy old skool hard house, and ends with energetic, happy close-outs.

Laurence Guy

UK producer known for lush, jazz-inflected deep house.

Luke Alessi

Make A Dance

Make A Dance is the lovechild of Ben Lewis & Josh Ludlow. Also own and run the label M.A.D RECORDS

Mr Scruff

Manchester-based DJ and illustrator known for marathon, genre-defying sets spanning jazz, funk, hip-hop, and house.

Orbital

SHEE

Soul Mass Transit System

Tim Reaper

UK producer spearheading the modern jungle revival with relentless, expertly chopped breakbeats.

Van Damn

X & Ivy

A-Skillz

Aphrodite

Big Ang

Drumsound & Bassline Smith

GAWP

Having previously toured and released under different guises and styles, GAWP is certainly no stranger to the music industry… As a result of a lifetime in the studio perfecting his craft and being mindful to only put out music of the highest standard GAWP has already released a string of tracks on Mixmag’s ‘Label Of The Decade’ Dirtybird alongside a number of highly respected imprints including Elrow, Toolroom, Soup, This Ain’t Bristol, Cheap Thrills, Night Bass and Main Course. GAWPs productions consistently gain support from a vast spectrum of established artists and peers encompassing the likes of Claude Vonstroke, Justin Martin, Chris Lake, Fisher, Idris Elba, Mark Knight, Walker and Royce, Will Clarke, Bot, Shiba San, Billy Kenny, Kyle Watson and Erick Morillo. With his undeniably unique sound, GAWP’s profile has exploded in the industry press, with regular coverage in Mixmag, DJ Mag, When We Dip, Earmilk, Nest HQ, Magnetic Mag, Insomniac and Resident Advisor. This support across the board has quite rightly translated into DJ shows the world over. From his recent US tour with Oliver Heldens and a headline tour of Australia to regular shows throughout Europe, including the infamous Printworks in London. With over 35 US solo shows in almost every major city its clearly proof that DJ Mag are right to tip GAWP as “One To Watch”.

LMajor

LMajor is DJ & producer based in London specializing in forward thinking Breaks and Jungle

Mark XTC

ODF (1)

Oliver de Friend, known universally as ODF, is a London-based artist shaping electronic soundscapes through his work as a producer and DJ. With an undeniable presence on the dancefloor and a sound that effortlessly spans the electronic music spectrum, ODF has made a name for himself in the thriving UK club scene. 2025 has also seen him launch his own imprint, On Da Floor, providing a dedicated home for his evolving sound. His productions resonate widely, earning recognition from a broad array of influential artists who champion his work in their sets. This widespread support, coupled with frequent airplay on prominent radio stations, underscores ODF's ability to craft tracks that are both technically proficient and effective. As a DJ, ODF’s approach is rooted in an intuitive understanding of the crowd, delivering carefully selected and dynamically responsive sets. He seamlessly navigates between the soulful, flowing rhythms of House and the driving energy of UK Garage, while also expertly cherry-picking tunes from across a wider spectrum of electronic genres. ODF creates an energetic journey that captivates listeners. Rather than just playing records, he crafts an immersive experience, constantly striving for a smooth and transportive blend of sounds that leaves a lasting impression

Paul Taylor

Pete Cannon

Prozak (IRL)

Samurai Breaks

Sophia Violet

1/4 Girls Don't Sync

Boe&Lx

DJ Hybrid

DJ Norx

DJ Woody

Dom James U.K

Grace Garcia

Krysko

Mas Que Nada Brothers

Kiel and Ross, collectively known as the Mas Que Nada Brothers are a Manchester-born, London-based DJ duo who have swiftly risen to prominence across the UK and Ibiza club scenes. Formed in 2019, the best friends have built a reputation as true party starters and one of the most exciting and in-demand bookings in electronic music. Renowned for taking dancefloors on a journey, the Party Boys deliver high-energy sets packed with heavy basslines, infectious grooves and carefully placed curveballs. Blending house, disco and techno, their sound moves seamlessly from deep, hypnotic rollers to hands-in-the-air moments, stitched together with white-label weapons, deep cuts and crowd-pleasing classics. The result is a dynamic, feel-good experience that keeps floors locked from start to finish. They’ve become a staple at major events including Glastonbury, Snowbombing, Secret Garden Party, HÏ Ibiza, El Dorado Festival and Rise Festival, alongside residencies at Pikes Ibiza for the iconic Back To Mine night and regular shows across London and beyond. Their ability to read a room and ignite a crowd has seen them support an impressive list of heavyweights, including Groove Armada, Faithless, Eats Everything, Roger Sanchez, Catz ‘n Dogz, DJ EZ, Becky Hill, Sosa and most recently, James Hype. On the production front, the duo stepped into the studio with intent. Their debut single “Take Me Higher” landed on Part Four Records in 2024, earning support from tastemakers such as Pete Tong, BBC Introducing and Kiss FM. This was followed by “Search My Soul (Oh God)” on Get Together Records, which has amassed over a quarter of a million streams and widespread radio and club support. Their latest release, “All That I Need” on Love And Other, continues that momentum, further cementing the Mas Que Nada Brothers as a duo equally at home behind the decks and in the studio. With momentum firmly on their side, the Party Boys show no signs of slowing, bringing big energy, bold selections and unforgettable journeys to dancefloors wherever they land.

MEERA (UK)

With decades immersed in the rave, London born MEERA plays with instinct and intuition. She moves through deep and tech house, touches of disco and global rhythm, into garage and breaks with effortless flow. A natural storyteller behind the decks and on the mic, MEERA bridges clubs, radio waves, and the spaces in between. Now steering her House Party brand and holding residencies on Select Radio and Pure FM, she’s been lighting up dance floors from London to Ibiza - from UNVRS to Ministry of Sound to The Cross - with sets that radiate real connection, and raw energy and creates unity on the dancefloor. Her story runs deep - from digging for records as a teen to teaching herself to mix vinyl, to playing every party going as a student in Manchester. Her passions took her to community radio to BBC studios, from dance floors that never slept to motherhood and rebirth. Every mix carries that history: a balance of weight and warmth.

Shaka Loves You

Hailing from the Scottish Highlands, Jamie & Marty joined forces in Glasgow in 2011 and have since taken their dynamic sound worldwide. Their sets blend the best of funk, soul, disco and house, mixing current tracks with timeless classics. With Marty’s live percussion adding a distinctive, visual energy, their shows bring a unique spark to the dancefloor that’s both aural and visual. Along the way they’ve supported such luminaries as George Clinton, De La Soul, The Jacksons, DJ Jazzy Jeff, Crazy P, Craig Charles, Dave Lee, David Rodigan, Chali 2na, Mr Scruff, Eats Everything & The Reflex. SLY’s releases are backed by BBC Radio 1, BBC Radio 2, BBC 6 Music, and BBC Introducing, with shout-outs from Mixmag, DJ Mag, Ministry of Sound, and the Defected ‘Glitterbox’ Radio Show. Known for their slick disco edits and reworks, they’ve won support from top DJs like Nightmares on Wax, Folamour, Melvo Baptiste, The Shapeshifters, Yasmin, Greg Wilson, The Reflex, DJ Marky, Luke Una, Horse Meat Disco and more. “SHAKA LOVES YOU ARE ON FIRE RIGHT NOW” - PHOEBE IH (RADIO 1) “THESE GUYS KILL IT” - DJ JAZZY JEFF “I LOVE THEIR VIBE” - DJ MASEO, DE LA SOUL “IF YOU DON'T LIKE THESE GUYS, JUST THROW AWAY YOUR EARS” - CRAIG CHARLES BBC RADIO 2 / 6 MUSIC “DOPE!” - NIGHTMARES ON WAX “DANCE-FLOOR FRIENDLY PARTY ROCKERS” - MIXMAG “DISCO WEAPON LIVES UP TO IT'S NAME AND THEN SOME” - DJ MAG

Silva Snipa

Uncle Dugs

VXRGO

Starting her journey in 2022, VXRGO has proved time and time again why she’s a force to be reckoned with - one which earned her a spot on DJ Mag’s 2024 artists-to-watch. Her diverse taste in genres spans from Lovers Rock to Progressive Rock - a taste that is reflected in her love for Jungle/D&B, a genre that serves as a melting pot for various styles. Her love for raving ultimately sparked a passion for the art of DJing, and the rest is history. Since her inception, she has gone from strength to strength, gracing stages both nationally and internationally at the likes of Glastonbury, Boomtown, Outlook Origins, and Keep Hush, in renowned venues such as fabric, FOLD, Phonox and The Jazz Cafe, to name a few - all while shelling down at grassroots dances and festivals, and holding down a residency on Kool FM. VXGO’s work ethic does not stop here - in 2023, she released her debut track ‘It’s Not So Bad’, and in 2025, she released her debut EP ‘Borough Breaks’, which was followed by various singles on respected underground labels paired with BBC1Xtra/Radio 1 Dance plays, and a second EP released on SHERELLE and Naina’s Hooversound Recordings. These accolades, along with VXRGO’s down-to-earth energy and approach to music, have earned respect and support from heavyweight torchbearers in the scene, such as the EQ50/Rupture crews, Tim Reaper, DJ Ron, DJ Stretch, and more.

Warpfit