A Cool DJ On The Music That Made Her
I've always loved the scene but it never really clicked that I could be part of it. At 16, I was running guest lists for clubs – technically not allowed – and the moment I turned 18, I was off to Ibiza for the season, working odd jobs just to cover club entry fees. Back in Edinburgh, I helped out at a night called Fly. Then lockdown hit, pressing pause on everything. I was modelling at the time but it wasn’t mentally fulfilling. That’s when I taught myself to DJ, right as TikTok was blowing up – perfect timing to put myself out there without needing gigs.
My advice? Don’t let the male-dominated side of the industry put you off. Without even realising it, that held me back. You just didn’t see many female DJs 15 years ago but there’s plenty of space for all of us – it’s just about putting in the practice. When I first started, I was so nervous to show anyone. I wanted to get to a point where I was happy with it before putting myself out there, knowing there’d be that extra layer of scrutiny. But honestly, messing up in front of a crowd is how you learn. I still get comments like, ‘You’re just standing there dancing’. Funnily enough, it’s only women who hear that. It comes with the territory.
Networking and reaching out to other DJs has been really important. Offer to help, ask if you can come and watch their set – don’t ask to put all your friends on the list – just go for the music, take content and videos, and see how the world works. VTSS was great to me. She used to take me to her gigs so I could watch her and learn more about the world.
I grew up on northern soul, Johnny Cash and Elvis, but my first taste of dance music was Cascada – downloaded off Limewire. In Scotland, Clubland was huge. Kids blasted it on their phones on the back of the bus after school. Then came deep house – Jamie Jones and the like. But happy hardcore? That’s in my blood; it’s pure nostalgia. I’m obsessed with 90s rave culture – never got to experience it but I’ve devoured every documentary. It was this explosive youth movement with no phones, just pure energy. Who knows if we’ll ever see that again? But you can feel it in the music. The more I played, the more I saw how crowds reacted and my BPMs crept up. I love watching people lose themselves on the dancefloor – that’s what it’s all about.
First impressions matter so I like to make an impact with my opening track. There’s something bold and unexpected about starting with your biggest tune, so lately I’ve been kicking off with my official remix of ‘Say Yes To Heaven’ for Lana Del Rey. That remix was the first thing I ever put out. I was nervous in the studio, didn’t like singing into the mic, and wasn’t confident with vocals yet. It started as a fun way to warm up and share something online. Then I played the HÖR pop-up in London and it just exploded. A proper baptism of fire into the music industry.
Electronic music is a bit of a niche – it’s not on the radio like Sabrina Carpenter. So, when I’m playing to younger crowds, I like to think I’m giving them a little education on the older tracks. That can only be a good thing. I mix in big, well-known tunes with pop influences – people love a sing-along. It’s fun, it’s accessible and it doesn’t take itself too seriously. When I go out with my mates, we hit smaller bars or gay bars – they play cool music but mix in pop too, and everyone’s always dancing.
I love a switch-up at the end of a set – something super euphoric to leave people with that special feeling you only get on dance floors. Happy hardcore or something similar usually does the job. I love 4am Kru’s ‘Stay Puffed’ which samples Tove Lo’s ‘Habits (Stay High)’ so people can sing along even if they don’t know the edit.
If it’s a Saturday night and I’m getting ready, I’m really liking Eusexua by FKA Twigs. It’s been such a great album. ‘Girl Feels Good’ has that 90s Madonna thing going on, like ‘Aquamarine’ by Addison Rae. I’m really into that kind of trancey pop, kind of ethereal sound. I don’t listen a huge amount of club music at home. If I’m just relaxing, I love ‘White Rabbit’ by Jefferson Airplane.
I love Eurodance and early 2000s pop. I play a 50/50 split of old and new in most sets. Recently, I played a remix of Kylie Minogue’s ‘On A Night Like This’ at my Melbourne Boiler Room, and it went off – Kylie ended up reposting videos of me playing it.
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@garmsandsets; @sim0ne
I’m a big fan of LOVEFOXY. She’s a Berlin-based house diva who is so much fun. Coucou Chloe is releasing new music soon, which I’m excited about. I’m also a big fan of Palmistry’s production.
My Melbourne Boiler Room is a moment I wish I could relive – I can watch it back on YouTube which is close enough. They weren’t even supposed to be filming so it was serendipitous. It was a magical day. Melbourne is a fun place to play – the crowds are just so wild there. In Australia, it’s a much younger scene, so they are very excitable. Every city and every venue has such a different atmosphere and different energy. Australians send it pretty hard though.
I’ve been on tour but now I’m back in Europe with Boiler Room. I was in Sheffield for Valentine’s Day, then Liverpool and Newcastle. Northern crowds are different from London – rowdier, in the best way. Same with Scotland, Ireland and Wales. They just let loose. London’s got every kind of clubbing experience, but nights out take more effort – you’re always travelling across the city. Playing places like Fabric and Drumsheds – the UK’s biggest club – is unreal, but they’re a mission to get to. It’s a commitment.
In 2025, I want to see people listening to albums as a whole body of work again. Otherwise, I think we’ll continue to see contemporary imaginations of genres like trance, electroclash etc. I’m currently working on my first extended EP. Finding time to make music with my tour schedule has been hard, but I’m looking forward to sharing what I’ve been working on with the world. My dreams for this year? Is Glastonbury too obvious an answer? Otherwise, I’m also hoping to visit the States soon – it’s going to be a big year.
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