Loose Pt. 3 feels engineered for peak-time chaos rather than careful planning — when you started building the track at 140 BPM, did you sense straight away that this one was going to live in the club rather than anywhere else?
Well firstly, thank you, that is exactly what I was going for with this one! It was one of those songs I knew would be perfect for the club as the original tempo was 140bpm. The moment I added drums to the vocal I knew exactly where to take this song. At the same time, it’s important to me that it’s not just a club tool. I always try to make it feel like a proper song as well, something that could work beyond a moment in my set. That’s why I focused a lot on the arrangement, finding the balance between energy and musicality so it could live in a few different worlds at the same time.
You’ve talked about letting the vocals lead the direction of the record — what was it about JAY1 and Ms Banks’ energy that unlocked the sound so quickly for you?
I instantly felt inspired from the flow from both JAY1 and Ms Banks. There’s so much energy and attitude in the vocals that made it really easy for me to build a drop and keep that same energy. JAY1’s tone naturally brought that darker vibe which really shaped the drops, and the way Ms Banks leads into the drop was a perfect way to introduce the listener and keep them waiting for that moment.
There’s a real sense of weight in the bass but bounce in the percussion — how intentional is that balance when you’re designing a track meant to hit big rooms?
The balance is really important for this record… I wanted the weight to come from the rhythm of the bass hitting on the 1’s/kicks, this gave me a lot of room to add the percussion and toms flowing in-between the kicks and with some slight swing on those parts I think it brings a lot of energy and translates really nicely in the club.
You referenced drawing inspiration from Fred again.. and Skrillex live sets — what did those performances teach you about momentum and restraint in modern club music?
Skrillex and Fred again.. play a huge role for me when making club music, and honestly just music in general. Their taste is immaculate from their sound selection and especially how they arrange their songs. I spend a lot of time listening closely to their sets and paying attention to the structure, from the breakdowns to the buildups and drops. They’re really intentional in the sense that they don’t give too much away, letting their songs breathe early on so when the drop comes then you’re ready for it. That sense of momentum and restraint is something I try to bring to my own records. I also think it’s important to reference artists you genuinely love, because it gives you a perspective on what’s actually working.
You’ve been releasing at a relentless pace — how do you avoid repeating yourself while still keeping a signature sound people recognise instantly?
Everyday I am always inspired by something new, and it can come from anywhere, any genre, any era, even outside of club music. I listen to a wide range of music and that constant input keeps things fresh and stops me from feeling boxed into making the same type of song. Usually when I start to overthink what I’m doing I can get lost and feel like it’s forced, so keeping the process organic and honest is really important to me, so just working on things that excite me is a lot more sustainable for my creativity. While doing that I think your signature sound starts to evolve, when you’re not forcing anything and doing things naturally people will start to recognise your sound.
Having started producing so young, do you still feel that same curiosity when you open a session, or has discipline overtaken experimentation?
I still feel that same curiosity every time I open a session, and that comes from how I approach each song mentally. Being in the right headspace is what leads me to creating something real and exciting. I listen to my instincts and really trust my own taste, that’s what keeps me motivated every day. I feel like it’s very easy to get caught up with what’s hot, what’s new and trending, and when I focus too much on that personally it leads me to getting burnt out creatively and you could hear it in the music that I would make.
You’ve played everything from Wildlands to Tomorrowland — how does testing tracks live feed back into the way you finish records in the studio?
Testing records live is a huge part of my process. It gives me instant feedback not just in terms of how people react, but how it sounds on a big system. I make all of my music in the box (on my laptop speakers most of the time) so when I can hear it on a big system I’ll know if anything needs to change in the mixdown. It’s great for arrangement purposes too and to know if it mixes well with other songs, or if any sections are lacking energy and need to be reworked.
Looking ahead to 2026, do you see your next chapter being about pushing tempo and intensity even further, or pulling things back and surprising people in a different way?
Looking ahead to 2026 I think the next chapter is really about showing people who I am as an artist and proving that I don’t feel limited creatively. I don’t want to be boxed into one lane or one sound, I want to surprise people but in a way that still feels true to me. Personally for me it’s not about pushing tempo or intensity just for the sake of it. It’s about following what excites me in the moment and trusting my taste. That could be releasing some club focused music, or songs that I would love to listen to in the day, but the goal is always the same. To keep the art as pure as possible, and make people feel a certain way while doing that.
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