MINA’s story begins in Oxford, where music was always present in the background, long before it became something she actively pursued. Her dad played a big role in that early exposure, filling the house with everything from David Bowie and New Order to Daft Punk. “He’d have music blasting on weekend mornings,” she says, and those moments clearly left their mark. Live music came early too. Glastonbury at 14, Burning Man at 19 – experiences that most people only encounter much later, if at all.

But like many artists, her relationship with music deepened outside of those early influences. As a teenager, she found herself drawn into rave culture, sneaking into drum and bass events and festivals underage, absorbing the energy of those spaces before she fully understood them. Dubstep, jungle, dancehall, reggae – her tastes were broad, instinctive and rooted in movement. By the time she reached university in Leeds, those influences had started to take shape in a more defined way. Nights at SubDub and Beaverworks became formative, not just for the music, but for the sense of community they created. She began DJing at house parties, cramped basements transformed into makeshift clubs, learning how to read a room and create something that people could feel.

The shift from listener to creator came later, but when it arrived, it landed with clarity. A relationship with a grime producer introduced her to Logic Pro X, and what could have been an intimidating learning curve instead felt natural. “I found it surprisingly easy,” she says. “When something comes naturally to you, it makes you want to do more.” That moment opened the door to something bigger – not just a new skill, but the realisation that music could be more than just a passion. It could be a path.

From there, her approach to production developed quickly, shaped by curiosity and collaboration rather than rigid structure. MINA isn’t interested in staying within one lane. Her sound is built through what she describes as “cross-pollination” – blending different genres, cultures and ideas into something that feels distinct. Early influences came from UK funky, left-field bass and dancehall, but over time her references have shifted. Now, her work draws on soca, dennery segment and Nigerian street beat, pushing towards something faster, harder and more intense.

There’s a clear thread running through it all – a fascination with tension and release, with building moments that feel both euphoric and unpredictable. It’s something she’s been exploring more deeply through live performance, as well as through her collaborations. Time spent in Ghana working alongside artists like Gafacci and Bryte has been particularly influential, shaping both her sound and her perspective. “If I’m inspired by someone, I’ll reach out and ask to work with them,” she says. That openness has become a defining part of her practice.

But what sets MINA apart is that her work doesn’t stop at the music itself. Alongside producing and performing, she has consistently invested time and energy into building projects that support the wider creative community. It’s not something that came as an afterthought – it’s always been part of her approach. “I’ve been running parties for over ten years,” she explains, “and doing things behind the scenes to support artists.” There’s a clear sense of responsibility in how she moves through the industry. Access to knowledge, networks and opportunities isn’t something to hold onto, it’s something to share.

That ethos is perhaps most visible in Club Soft, her alcohol-free party concept. Born from a shift in her own relationship with nightlife, the idea challenges some of the assumptions that have long defined club culture. Late nights, heavy drinking, the pressure to keep bar sales high – these are all things that can exclude people, whether intentionally or not.

Club Soft flips that on its head. It creates space for a different kind of experience – one that happens earlier, removes the focus on alcohol and invites a wider range of people onto the dancefloor. “It’s about asking who these spaces exclude,” she says. And more importantly, what happens when you change that.

The response has been powerful. “It’s the most meaningful feedback I’ve ever had for an event,” she explains. There’s something deeply moving about creating a space where people feel comfortable, included and connected. It’s a reminder that nightlife doesn’t have to look one specific way to be valid.

That same drive to make the industry more accessible runs through Funding with Mina, a platform designed to help creatives navigate the often confusing world of grant funding. For many artists, funding feels out of reach – too complicated, too opaque, too competitive. Mina saw that gap and decided to do something about it.

“It’s a skillset I’d developed over time,” she says, after finding success with her own applications and helping friends do the same. What started informally has grown into something much bigger, offering workshops, mentoring and guidance that demystifies the process. Her advice is refreshingly honest. Rejection is part of it. It’s rarely personal. And the more you apply, the easier it becomes to understand how to communicate your ideas.

Across everything she does, there’s a clear through line – a belief that the industry can be more equitable if people actively choose to make it that way. “If we think about what we can offer as much as what we can take,” she says, “it becomes a more enjoyable place to work.” It’s a simple idea, but one that feels increasingly important.

Right now, MINA is balancing multiple projects, each pushing her in new directions. She’s developing a live electronic set based on a recent collaboration with Ugandan artist Maganda Shakul, with plans to perform both solo and together in the future. At the same time, Club Soft continues to grow, with more events planned and expansion into a new city on the horizon, alongside a large summer day party in London.

It’s a lot to hold, but there’s a sense that everything feeds into the same bigger picture. Music, community, access, collaboration – none of it exists in isolation.

If there’s one piece of advice she returns to, it’s the importance of showing up. Not just online, but in real life. “If you want to be part of something, go to it,” she says. Introduce yourself. Be present. In a world increasingly shaped by digital connections, there’s still something irreplaceable about being in the room.

Spending time with MINA’s story, even from a distance, leaves you with a sense of possibility. Not in a vague or idealistic way, but in something much more grounded. The idea that things can change if people are willing to build differently. That creativity doesn’t have to come at the cost of community. That there is space for more of us, if we choose to make it.

And that feels like something worth holding onto.

Listen and follow MINA: https://linktr.ee/minamusicuk

And check out Funding with Mina here.

Photos by: Alex Lambert, Cicely Grace, Lorcan Berg

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Reece grew up in Nottingham in a loving single-parent household. His mum raised him and his younger brothers, and responsibility came early. School never quite worked – not because he was disruptive, but because he wasn’t engaged. He left without qualifications, and his year group was the last before the building itself was knocked down. “I wasn’t academic,” he says simply, “but I was always trying to build something.” Whether it was selling sweets, sketching out computer repair ideas or drafting business plans, he knew he wanted to create something big. He just didn’t know what that something was yet.

Music didn’t properly enter his world until loss forced it to. At 20, Reece and his friends lost someone close to suicide. It was the kind of moment that splits your life into before and after. “Our whole group only really got into creativity after that,” he tells me. “Music became an outlet for grief. It gave us direction when we didn’t have one.” He stepped into production, building the sound behind the group while his friends rapped. He dabbled himself, but it was behind the boards where he felt most at home. He even started teaching beat-making on TikTok and YouTube, sharing knowledge openly. Looking back, he realises the creativity was always there. “I just saw it as entrepreneurship before I saw it as art.”

As they grew older, something felt missing in Nottingham’s scene. The city is proud, working-class and full of character, but at the time Reece and his friends questioned whether it was enough. So they left. They booked one-way tickets to Thailand – two rappers and a producer chasing something bigger. They documented the journey and threw themselves into the work. But distance brings clarity. “Being away made me realise the talent in Nottingham was never the issue. There’s serious ability here. What’s been missing is structure, belief, and connection.” And he’s right, across the UK, we have talent in bucket loads. The issue is rarely ability – it’s whether people are given the right channels to hone it safely and sustainably.

Thailand was where the real shift happened. Reece went thinking he’d double down on production, but instead he rediscovered his core drive – building businesses with purpose and connecting people. “I want to make the world more creative,” he says, and there’s nothing fluffy about it. Creativity changed his life, but it came through pain. “Not everyone should have to go through something painful to discover their outlet. Being human is to be creative. Everyone can create.” When he and his friends began planning their return to Europe, he told them if they were serious, they needed a bigger mission. And if you’re building something meaningful, you start at home. Only Notts was born from that.

It’s easy to assume Only Notts is just another Instagram platform, but that couldn’t be further from the truth. “The Instagram is just the surface layer,” Reece explains. “It’s about building creative infrastructure in Nottingham. Bringing artists together physically. Giving talent real structure instead of just online exposure.” That word – structure – keeps returning. Exposure can create noise, but without systems and support, it fades quickly. Stories, on the other hand, stick. “Artists are more than songs,” he says. “They have backgrounds, struggles, journeys. If you want to build real culture, people need to understand the person behind the music.” It’s something I believe deeply too. Sharing stories creates empathy, and empathy builds community.

Reece knows what it feels like to build something that doesn’t align with who you are. At 18, he started a phone repair business because it seemed sensible. He ran it for five years before selling it, then worked in a phone shop that never felt like the right fit. “I know what it feels like to build something you’re not passionate about,” he says. “Now I know the role I’m meant to play.” Only Notts feels aligned. Bigger than him. Focused on impact rather than image. If he can help people unlock their creativity without trauma being the catalyst, that’s worth the graft.

The next chapter is physical. On 6th March, Only Notts steps into The Palais with an event that feels symbolic as much as it is celebratory. “Culture isn’t built purely online. It’s built in rooms,” Reece says. “Face-to-face, where people connect.” The night will feature more than 25 artists across rap, R&B and singing – different styles, different lanes, all under one roof. It isn’t just a lineup. It’s proof that the city can move together. That scattered talent can be unified. That competition can be replaced with collaboration.

Grassroots culture sits at the centre of everything he’s building. “If you don’t protect and invest in the early stages of a scene, you don’t have a future scene.” Nottingham doesn’t lack talent. It lacks unity and infrastructure. That’s where the work begins – local artists supporting each other instead of waiting for validation from outside the city. There’s something quietly radical about that in a world driven by algorithms and ego.

Looking ahead, Reece envisions a permanent creative space in Nottingham. Stronger infrastructure. Bigger collaborations. More structured pathways for artists. A sustainable hub supported by a registered CIC arm to properly help young people. Events are part of it, but they’re not the end goal. “This is just phase one,” he says.

When I ask what advice he’d give to someone wanting to build something similar in their own city, his answer is refreshingly honest. “Build outside the box. Build community before ego. Make sure you’re genuinely passionate, because if you’re not, someone will outwork you.” Then he asks the question everyone should ask themselves: “Are you ready for the work, or do you just like the idea of it?”… and that isn’t a question to deter anyone, just one that serves as a reminder that building something from the ground up is not an easy one, so true passion is something to definitely have in your armoury.

There’s nothing performative about Reece. No inflated promises. Just a clear belief that creativity should be accessible, supported and celebrated properly. Only Notts isn’t just spotlighting talent – it’s building the channels that talent deserves. And if more cities followed that blueprint, imagine what we could create together.

Follow & Support:

https://onlynotts.co.uk/

https://www.instagram.com/onlynotts

https://www.eventim-light.com/uk/a/693ad5165a5bd13cd323dd66/e/693af2cf5a5bd13cd323ddcc

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A music psychologist and DJ, Cannon has spent years studying how dance music shapes our emotions, bodies, and communities. His work has helped shine a light on the psychological and social power of club culture, from its ability to combat loneliness to its role in strengthening grassroots music scenes.

Now, with a groundbreaking real-world experiment taking place on the dancefloor at Haze: Sonic Embodiment, he’s taking music psychology out of the lab and into the rave.

How Dance Music Moves Us: The Science Behind the Dancefloor

Dance music isn’t just about listening – it’s about feeling. And according to Cannon, that feeling comes from something deeply wired into our brains and bodies.

“When people dance together, they’re not just reacting to the music; they’re physically aligning with the beat and with each other,” he explains. “That rhythmic synchronisation, or ‘entrainment,’ creates an intense sense of unity and belonging.”

It’s why mass dancefloors at raves and festivals feel so euphoric. The syncopated rhythms of dance music encourage people to move in time with one another, and when that happens, something incredible occurs:

Our brains release endorphins, boosting our mood.

We experience ‘collective effervescence’ – a psychological state where shared movement creates a powerful emotional high.

The emotions we express through movement become contagious, spreading throughout the crowd.

“For decades, people in rave culture have talked about this overwhelming feeling of togetherness and connection, but now we’re actually able to study and quantify it,” Cannon says. He is currently writing up research that shows that the more people feel emotionally and physically in sync on the dancefloor, the stronger their sense of social connection becomes.

The Dancefloor as an Antidote to Loneliness

In an era where loneliness is on the rise, particularly post-COVID, nightlife offers something uniquely valuable: a chance to reconnect in real-time.

“Digital interactions dominate so much of our lives now, but nothing replaces face-to-face, in-the-moment connection,” Cannon explains. “The dancefloor isn’t just about escapism – it’s about belonging.”

His studies show that people who engage in dance music culture report higher levels of social well-being – feeling more connected to a community and a shared purpose. “It’s not just hedonism,” he says. “Dance music brings people together in a way that few other cultural experiences do.”

This sense of unity is built into the culture itself. Dance music has always been about inclusivity, freedom, and self-expression – values that help create spaces where people feel accepted and respected.

Beyond the Beat: The Well-Being Benefits of Raving

The impact of dance music goes far beyond the club. Cannon’s 2021 study with researcher Alinka Greasley was the first psychological study to show a direct link between attending dance music events and improved psychological and social well-being.

His research identified four key reasons why dance music culture enhances well-being:

The Emotional Experience – Dance music’s sonic and structural qualities create intense, euphoric highs and can lead to transcendental, mediative experiences.

The Musical Experience – Hypnotic beats and immersive sound design enhance cognitive and sensory engagement, making the experience deeply absorbing.

The Social Experience – Meeting people, moving together, and sharing the moment strengthens bonds and reduces isolation.

The Shared Values – The culture of inclusivity, freedom, and creativity provides a space for self-expression and acceptance.

“Dance music isn’t just about mindless partying and hedonistic escapism, as it’s often portrayed in mainstream media”, Cannon says. “It’s about community, connection, and well-being.”

The Fight for Grassroots Nightlife

Cannon isn’t just researching dance music culture – he’s advocating for it.

“Grassroots venues, promoters, and artists are the lifeblood of dance music,” he says. “But they’re constantly under threat, whether it’s from rising costs, licensing issues, or a lack of recognition for their social and cultural value.”

In 2022, he led an industry-backed report synthesising over 45 academic studies on dance music’s impact on culture, community, and mental health. The findings were later cited in the IMS Business Report 2022 and the UK’s first Electronic Music Report (2023), showing how academic research can shape industry discussions and policymaking.

His message is clear: nightlife isn’t just entertainment, it’s a vital cultural and social institution.

“We need to stop seeing clubs and venues as ‘just places to party’ and start recognising them as community hubs – spaces where people come together, create, and build relationships.”

James speaking live at the Night Time Economy Summit

The Science of the Rave: What’s Happening in Our Brains?

Ever wondered why a packed dancefloor at peak time can feel like a spiritual experience? There’s science behind it.

“When we dance in sync with others, our brain’s neural oscillations align with the tempo of the music,” Cannon explains. “This creates a feedback loop between our sensory and motor systems, heightening our emotional and cognitive engagement.”

This triggers a powerful mix of neurological and physiological responses:

Endorphin release – Dancing together boosts pleasure and reduces pain, making us feel euphoric.

Collective effervescence – The shared energy of the crowd amplifies our emotions, creating an intense sense of unity.

Increased social bonding – Synchronising movement strengthens our connection to those around us.

“These mechanisms are what make raving such a powerful, communal experience,” he says. “It’s why people describe dance music events as life-changing.”

Rave Research in Action: Haze – Sonic Embodiment

Cannon’s latest project is taking music psychology out of academia and into the club.

On April 5th, he’s teaming up with Haze Bristol for Haze: Sonic Embodiment, a unique immersive club event that doubles as a live research study.

Using phone apps and surveys, the project will track real-time movement and social interactions on the dancefloor to explore how people move, feel, and connect through music.

“This is the first time research like this is happening in a real-world club setting,” he says. “It’s a chance to directly contribute to nightlife research while enjoying a free night out.”

With a lineup featuring Gillan, PLANTERA, and variable_self, the event blends techno, trance, house, and psychedelic sounds with a carefully curated, multi-sensory environment.

Want to get involved? Entry is free if you volunteer for the research – it just involves downloading an app and completing a short survey. There are also paid tickets available for those who want to enjoy the event as usual. Tickets and information here!

What’s Next for Dance Music Psychology?

With the field of music psychology growing, Cannon sees exciting possibilities for future research.

“One of my dream projects would be a longitudinal study – following people’s engagement with dance music over the course of their lives to understand its long-term impact.”

For now, his focus is on expanding real-world research and continuing to advocate for nightlife’s cultural and psychological value.

“There’s still so much to explore,” he says. “But one thing’s clear: dance music matters. It’s a powerful force for connection, well-being, and community.”

Follow James Cannon’s projects and research and get involved with Haze: Sonic Embodiment on April 5th.

Research Links:

Dance Music’s Impact on Communities & Culture (2022 industry report)

Exploring Relationships Between Electronic Dance Music Event Participation and Well-being (2021) (Cannon & Greasley, 2021)

The post James Cannon: The Psychology of the Rave first appeared on Fleckies - Discover the best local events in town.

Let’s get into it and find out how Elliott is mixing things up, one beat at a time.

The Beginning of a Journey

Elliott’s love for house music kicked off at iconic festivals like Creamfields and Parklife back in 2017/2018. “I’ve always been into dance music, Fatboy Slim and The Chemical Brothers were on repeat growing up. But it was the buzz of festivals, seeing everyone having the best time, that really lit the spark for me,” he says.

From there, it wasn’t long before he started looking at how he could go beyond just enjoying the music and actually start making a difference in the scene.

Why Start On Road Records?

On Road Records started as Rhoda on Road, a diary of sorts documenting Elliott’s adventures through the UK rave scene. But then the vision got bigger. “I saw how much work DJs were putting into promoting themselves, and I wanted to help. There’s so much talent out there, especially in Northamptonshire. guys like Rhys Alford, Tommy Phillips, Ayme, and the Midnight Mass Boys, but the exposure just wasn’t there.”

Elliott’s answer? A platform that boosts the visibility of local DJs and connects them with event brands that could take them to the next level.

In just three months, On Road Records exploded. We’re talking just shy of 1,000 Instagram followers and a whopping 105,000 monthly views. That success inspired the launch of On Road Artists, Elliott’s management company that currently reps Burnie and Miruna, two DJs poised to make waves in 2025.

The Rewards of the Grind

For Elliott, nothing beats seeing the artists he supports smash their goals. “There’s nothing better than seeing your friends and network absolutely killing it,” he says. One highlight? Watching five DJs from their community land a gig at the Cntrl X Aftercaposile collab for Club Colette Opening.

It’s not just about music for Elliott – it’s about building a community and celebrating wins together.

Kettering’s Influence on the Dream

Kettering might not be the first place that comes to mind when you think of house music, but Elliott’s hometown plays a huge role in shaping On Road Records’ mission. “There’s so much happening locally, like Dance till Dawn’s events tackling the decline in nightlife and Reverb’s massive gigs at The Way Station,” he says.

Elliott is quick to highlight the impact of groups like the Midnight Mass Boys, who brought house music to Kettering’s nightlife, which was previously dominated by drum and bass and grime. “Big up to Jake Jaggard and Andy Bellamy for that!” he adds.

And then there’s Selecta, led by Ryan Clements and the crew, who continue to represent the drum and bass scene with incredible energy and dedication. “They’re flying the flag for DnB, and they do it so well – it’s all part of what makes the local music scene so diverse and exciting,” Elliott shares.

Plus, he points to Music Barn Festival, a local gem that aligns with his vision of nurturing upcoming talent. “Their commitment to supporting new artists mirrors what we’re trying to do at On Road Records. Who knows, there might already be something in the works…”

Big Goals, Big Dreams

What’s next for On Road Records? Elliott’s always thinking a mile a minute, but his vision for the next five years is clear:

Launching as a fully-fledged record label.

Securing regular bookings for his artists (and maybe growing the roster).

Dropping a mix series for up-and-coming DJs.

Running his own events and collaborating with big brands.

Taking On Road Records international – think ADE in Amsterdam or even Ibiza.

How You Can Get Involved

On Road Records is all about inclusivity. “We give every DJ the same opportunity,” says Elliott. Whether you’re just starting out with a home setup or you’ve got videos from a packed gig, On Road Records will find a way to showcase your talent.

You can find them on Instagram and TikTok at @OnRoadRecords_, their Linktree which connects you to everything they’re working on. Oh, and if you’re a DJ looking for a positive community, check out their WhatsApp group with over 200 members from the UK, Holland, Italy, and the US.

2025: Just Getting Started

With big plans and a passion for putting local talent on the map, Elliott and On Road Records are ready to make 2025 their biggest year yet.

So, if you’re all about supporting grassroots music and discovering the next big names in house, keep an eye on On Road Records. This is just the beginning.

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