There’s something grounding about that kind of longevity. In a scene that constantly reinvents itself, it’s rare to find artists who have not only witnessed those shifts but adapted to them without losing their identity. Speaking to Soul Avengerz, it becomes clear that their approach has always been simple – stay true to what feels right, and let everything else fall into place.

Both coming up in North London, music was never something distant or abstract. It was part of everyday life. “Music was a huge part of both our upbringings,” they explain, recalling early days spent DJing in the late 80s, moving through soul and boogie before house music fully took hold. That period, just before the explosion of the scene, gave them something invaluable – time to learn, to experiment, and to understand what it really meant to move a crowd.

Those early experiences shaped more than just their sound. They built an instinct. Playing open-to-close sets, reading rooms without distraction, relying purely on the music and the people in front of them. It’s a skillset that feels almost lost in today’s faster-paced, digital-heavy landscape, but one that still sits at the core of what they do.

When house music first arrived in London, everything shifted. “It was exciting, special times,” they reflect. There was no blueprint, no clear path to follow. DJs weren’t chasing status or visibility, they were collectors, curators, people obsessed with finding the right record and sharing it. “You got booked through mixtapes and word of mouth,” they say, painting a picture of a scene built on trust and connection rather than algorithms or online presence.

Record shops became central to that world. Places where hours would disappear flicking through vinyl, where conversations turned into opportunities, and where community naturally formed. It’s a far cry from the instant access of today, but there’s a sense that those slower processes created something deeper. Relationships that lasted, sounds that evolved organically, and a culture that felt genuinely shared.

The Soul Avengerz project itself came together in that spirit. Not through a grand plan, but through alignment. Having crossed paths on line-ups and recognising a shared direction, the opportunity to step into the studio with James Reynolds became the starting point. “We loved it straight away,” they say, and from there, it grew naturally. The vision was never complicated – make quality house music that works on the dancefloor and reflects who they are.

Over the years, the landscape around them has changed dramatically. The shift from vinyl to CD, and then to USB, has transformed not only how DJs play but how they discover and share music. The scene itself has expanded globally, opening doors that simply didn’t exist in those early days. But despite all of that, they remain clear on what hasn’t changed.

“At its core, house music has always been about bringing people together.” It’s a sentiment that comes up again and again, and one that feels particularly relevant now. Beyond the technology, beyond the platforms and the pace, the essence of it all is still about connection. That moment on a dancefloor where everything else fades away, and you’re simply part of something bigger.

It’s perhaps this understanding that has allowed them to remain relevant without ever chasing it. “We’ve never really thought about staying relevant,” they admit. Instead, they’ve focused on doing what they’ve always done – playing and producing music that feels right to them. It’s a subtle but important distinction. Rather than adapting to trends, they’ve let their sound evolve naturally, trusting that authenticity will always resonate.

That approach hasn’t come without effort. Longevity in music requires resilience, even if it’s not always spoken about. The industry has shifted countless times over the years, and staying consistent through that requires a level of belief in your own direction. For Soul Avengerz, that belief seems to come from a genuine connection to the culture itself.

Community has always been central to that. Not in a performative sense, but in a lived one. “We’ve made lifelong friends on the dancefloor,” they say, even noting that it’s where they both met their wives. It’s a reminder that for many, this isn’t just a career path. It’s a way of life. A network of people and moments that extend far beyond the music itself.

That same energy continues into everything they do today. Whether it’s a club set, a production session or a larger event, the focus remains the same – create a space where people can connect, even if only for a few hours.

Right now, that focus is leading them to one of London’s most iconic venues. On Saturday 18th April, Soul Avengerz will take to the decks at Fabric as part of the Fool’s Paradise day party. It’s a lineup filled with names that have shaped the scene, making their inclusion feel both fitting and well-earned.

“Being part of that line-up is a real honour,” they say, recognising both the history of the venue and the calibre of artists involved. Fabric, with its renowned sound system and atmosphere, is a space that continues to hold weight, even for those who have played countless venues over the years. “It never loses its magic,” they add, and there’s a sense that moments like this still carry the same excitement as they always have.

As for what to expect from their set, the answer is refreshingly straightforward. “Uplifting house music, pure and simple. Good energy, good vibes.” It’s a description that feels almost understated, but perhaps that’s the point. After all this time, they don’t need to over-explain it. The music speaks for itself.

Looking ahead, there’s no grand reinvention planned. Instead, the focus remains on what has always worked. New music is in the pipeline, collaborations are ongoing, and ideas continue to develop. “There’s a lot more to come,” they say, keeping it open-ended in a way that feels true to their journey so far.

For younger DJs and producers coming through, their advice is equally grounded. Don’t follow trends. Make music you love. Be patient. Stay consistent. Build something that feels authentic. It’s not flashy advice, but it’s the kind that lasts. The kind that reflects lived experience rather than quick wins.

Spending time with their story, even from a distance, there’s a quiet respect that naturally builds. Not just for what they’ve achieved, but for how they’ve done it. Without shortcuts, without compromise, and without losing sight of why they started in the first place.

In a scene that often moves quickly, Soul Avengerz feel like a reminder to slow down. To trust your instincts. To focus on the music and the people around it. Because at the end of the day, that’s what has always mattered.

Listen and follow and get tickets
Follow Soul Avengerz:
https://www.instagram.com/paul_soul_avengerz/
https://www.instagram.com/waynesoulavengerz/

For Fool’s Gold socials and tickets head to:
https://bio.to/FoolsParadise

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Karim’s relationship with music began long before he had any say in it. Growing up in Shepherd’s Bush, he was surrounded by traditional Middle Eastern sounds, shaped largely by his dad’s passion for music. Instruments like the oud, derbake and keyboard weren’t just objects in the house – they were part of daily life. “I started learning piano from the age of five,” he says, and from that point on, music never really left him. It wasn’t something he discovered later, it was always there, quietly embedding itself into who he was.

Some of his earliest personal connections to music came through small, almost nostalgic moments. An orange Sony CD player carried everywhere in the late 90s, a Notting Hill Carnival compilation on repeat, and one track in particular that stuck. “Don’t Turn Around by Aswad,” he recalls. It’s a simple memory, but one that says a lot about how music finds its way into us – not always through big moments, but through repetition, familiarity and feeling.

Interestingly, DJing didn’t come until much later. His first mix was put together in 2020, a 30-minute UK garage set for a breakfast radio show. It was pre-recorded, painstakingly re-done over and over on a small controller until it felt right. “I listened back years later and laughed,” he says. “I’ve come a long way.” There’s something reassuring in that honesty. The idea that even those who now feel established started in exactly the same place as everyone else – figuring it out, one step at a time.

For Karim, the fundamentals were always clear. Track selection and keeping everything in time. Everything else, he says, comes with experience. But what stands out more is how quickly his interest expanded beyond just DJing. Playing music was never going to be enough on its own.

“What is life really?” he asks at one point. “It’s a collection of experiences that make you feel something.” That idea sits at the core of everything he does. Music, for him, isn’t just about sound. It’s about how that sound exists in a space, how it’s delivered, and what people take away from it. That shift in thinking led him naturally into curation, into creating environments rather than just contributing to them.

His residency at Soho Radio has played a big part in shaping that perspective. It’s a space known for its authenticity, and one he speaks about with genuine appreciation. “Everyone there is a music purist,” he says. “And more importantly, kind people.” Being part of that environment has sharpened his instinct for what matters in the moment, allowing him to champion underground and alternative sounds with intention. It’s not just about playing music, it’s about elevating it.

That same mindset carries through into Meet in the MIDI, the project many now associate him with. Described as a music curatorial studio and community platform, it’s built around the idea of helping people explore themselves through music. But in practice, it feels far more personal than that.

One of its most distinctive formats is the sonic lecture – intimate listening sessions where an artist’s story is told through ten carefully selected tracks. These aren’t passive experiences. They’re moments where people are invited to sit, listen, and engage with music in a way that often gets lost in more traditional club settings. “We play the tracks and weave conversation around their life and catalogue,” he explains. “Then follow it with an all-vinyl set.”

It’s a simple concept, but incredibly effective. In a world that often prioritises speed and consumption, Meet in the MIDI asks people to slow down. To listen properly. To understand where the music comes from and what it represents.

Vinyl plays a big role in that experience, and for Karim, it’s about more than just sound quality. “It delivers a richness you can’t find anywhere else,” he says, but beyond that, it represents something deeper. A sense of permanence. A physical connection to music in an increasingly digital world. “The record isn’t just a format, it’s an experience.” It’s tactile, deliberate, and requires a level of attention that streaming simply doesn’t.

While the listening sessions form the core of the project, Karim has also expanded into more traditional club nights and events, each still grounded in the same principles. Whether it’s a curated DJ lineup or a concept like MIDI Eastern – blending Middle Eastern percussion with UK bass culture – the aim remains consistent. Create something meaningful. Something that allows people to explore, rather than just consume.

That balance between creativity and substance hasn’t come without its challenges. Building something that feels authentic, while also keeping it accessible, requires constant reflection. But Karim seems to approach it with a quiet confidence. There’s no rush to scale for the sake of it. No desire to follow trends. Just a steady focus on building something that feels real.

One of the more recent expressions of that has been Second Pressing, an exhibition that brought together vinyl history and contemporary art. The idea came from a moment of inspiration – standing in a gallery, listening to a saxophone performance, and suddenly connecting it to a completely different era of music. From that, a concept emerged. Artists reinterpreting album artwork from different decades, with visitors able to listen to the original records while experiencing the new pieces.

It’s a perfect example of how Karim’s mind works. Always linking ideas, always finding ways to deepen the experience. “People rediscovered the albums as both sonic artefacts and cultural time capsules,” he says. Again, it comes back to storytelling. To giving music the space it deserves.

Looking ahead, there’s a sense that Meet in the MIDI is only just getting started. With its first birthday approaching, plans are already in motion for festival appearances, live album launches and more opportunities for the community to come together. There’s talk of another exhibition too, and an openness to exploring new formats as they come. “Anything feels possible,” he says, and you believe him.

What stands out most, though, is the intention behind it all. There’s no sense of ego driving these projects. Instead, it’s rooted in a genuine care for the culture and the people within it. That comes through clearly in the advice he offers to others. Start small. Stay honest. Don’t wait for permission. “If it feels real, people will find it.”

Spending time with Karim’s story, felt like a reminder of why platforms like Fleckies exist in the first place. Even when you think you know someone – or think you understand what they do – there’s always more beneath the surface. More context. More intention.

And in Karim’s case, that depth is exactly what makes his work so important. Not because it’s loud or attention-grabbing, but because it’s thoughtful. Considered. Built to last.

Listen and follow Karim & Meet in the Midi:
https://www.instagram.com/karimbitar1/
https://www.instagram.com/meetinthemidi/

The post Karim Bitar: Curating Sound as Experience first appeared on Fleckies - Discover the best local events in town.

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

The post MINA: Building Spaces Where Everyone Can Thrive first appeared on Fleckies - Discover the best local events in town.

Andy’s story begins in what he describes as a “bog standard” Midlands upbringing. Nothing particularly dramatic, nothing especially unusual. Just the familiar rhythm of growing up in a town where music finds its way in through small, unexpected moments. For him, one of those moments came through family. When he was around ten or eleven, he would visit his cousin’s flat where her turntables and vinyl records filled the room. Hard house, trance, techno, and occasionally faster, harsher sounds like gabba spun through the speakers. “It opened my eyes a bit,” he says. “I hadn’t really seen anything like that before.”

Another moment came years later when he first heard The Prodigy’s Warriors Dance on the radio as a teenager. “I remember thinking what the fuck is this” he laughs. Something about it clicked immediately. From that point on, music stopped being background noise and started becoming something he actively chased.

DJing itself started in the most unpolished way possible. Andy and his friend Elliot decided to split the cost of some second-hand Pioneer decks they found online. When the equipment arrived, the excitement quickly turned into confusion. “We just stared at them for months,” he admits. “They didn’t come with instructions and we had no idea what we were doing.”

Eventually they connected the decks to a laptop and downloaded Traktor. At the time Andy was deep into drum and bass, so their early sessions were built around that sound. Beat matching was another story entirely. “I thought I knew what I was doing,” he says, “but I definitely didn’t.” It took a handful of YouTube tutorials before things started to fall into place.

Those early experiments slowly grew into something bigger. Practice sessions turned into informal parties, then into small events. For a long time it remained something playful rather than purposeful. But somewhere along the line, the idea of doing anything else started to feel strange. “I couldn’t imagine a future without music in it,” he says. “Being surrounded by music and DJing is everything.” He pauses for a second before laughing. “It sounds cringe, but it really does feel like the music chose me.”

Production entered the picture while Andy was at university. Like many producers starting out, his education came through late-night YouTube tutorials and a lot of trial and error. Over time he realised how many different routes there are into learning production – lessons, collaborations, and simply spending time around other people who know more than you do. Lockdown gave him the space to focus more seriously on developing those skills. Still, production remains something fluid. As his tastes evolve, older tracks often stop representing the sound he wants to play today. Yet one moment keeps pulling him back into the studio.

“When you play your own track in a set and people react well to it,” he says, “that’s a whole different kind of feeling.” It is nerve-wracking but rewarding – hearing something that once existed only on a laptop suddenly filling a dancefloor.

Around the same time Andy was developing his sound, another idea was forming alongside his friend Jake. They had both tasted what it was like to run their own events and began noticing more of their friends leaning towards house music, they decided to head in that direction too. Midnight Mass was born from that instinct.

In the early days a group of around eight people helped run the events. Over time that circle naturally narrowed until it became mainly Andy and Jake steering the brand forward. Midnight Mass slowly carved out its own space in the local Northamptonshire underground scene, known for energetic crowds and a sense of shared ownership between the DJs and the people on the floor. A few years ago things shifted again when Jake moved to Australia. Suddenly Andy found himself running the brand largely on his own. The first solo event he handled – at Basing House in Shoreditch – came with more than a few nerves. Running an event brand alone means managing everything from bookings to promotion to the logistics of the night itself. It is demanding work. But it also forced him to grow in ways he did not expect.

“I used to stress so much during events that I wouldn’t even enjoy them,” he says. Learning to handle everything himself has changed that. It has pushed him to be more present and more confident in his own decisions, even while recognising how valuable it is to have someone to bounce ideas off.

The journey has already taken Midnight Mass further than Andy originally imagined. Over Christmas he brought the brand to Australia while visiting Jake, running a busy event there under the Midnight Mass banner. Seeing the name travel that far provided a rare moment of perspective.

“When you’re in the middle of building something, it can feel like you’re not moving forward,” he says. “Australia gave me the moment to appreciate how far we’ve come and what we have actually created.”

Community remains the thread tying everything together. Andy believes the strength of any local scene comes down to people supporting each other – showing up to events, backing their friends and building spaces where music can thrive. That ethos carries through his advice for anyone starting out. “Just be sound,” he says simply. Be kind to people. Leave your ego at the door. Support the events happening around you.

Now another chapter is approaching. This April Andy will move to Manchester, drawn by the city’s long-standing reputation as one of the UK’s most vibrant music hubs. The move offers a new landscape of venues, collaborators and ideas. “It’s a whole new playground,” he says.

The plan is to keep building Midnight Mass while pushing further into production. His sound leans heavily on UK garage influences, but he is keen to experiment across genres rather than confine himself to one lane. The immediate goal is refreshingly straightforward. “Finish tracks,” he laughs. “And hopefully get them signed.”

Speaking to Andy for this feature reminded me exactly why Fleckies exists. Even when someone becomes a friend, even when you have shared a few chaotic nights and conversations along the way, there is always more to understand about how they arrived where they are. This interview was meant to happen years ago, but I am pretty sure it landed at the right time after all.

Manchester is about to gain someone with serious passion for the craft… and I cannot wait to see where his journey takes him next.

Listen and follow Andizz:
https://linktr.ee/andizz
https://linktr.ee/MidnightMassuk

The post Andizz: Finding Rhythm in the Underground first appeared on Fleckies - Discover the best local events in town.

I honestly can’t pinpoint the exact moment we met, which in a way says a lot about him. With Charlie, it feels like he’s always just been there – in the best way. Supportive, kind, consistent, and someone who genuinely shows up. For the scene, for his mates, for other brands, for the culture. He’ll be the first one through the door at an event and the last one to leave.

Over the last year of knowing him, I’ve seen first-hand the graft, the heart and the pure love he puts into everything he does. And what he’s built with Azul is something special. Watching that project go from strength to strength has been a joy, and this interview felt like the perfect time to spotlight the man behind it all.

So let’s get into it.

“ANYONE WHO KNEW ME AS A KID WILL REMEMBER I USED TO FILM EVERYTHING.”

To understand Charlie Wick, you have to go back to Hertfordshire, where he grew up before moving to Northampton at 14.

“I was always a creative person,” he tells me. “Constantly drawing, making things. In my early teens, I filmed everything. I loved making videos.”

It wasn’t until he settled in Northampton that all those creative threads started weaving together. Music, art, design, film production – suddenly, it wasn’t just interest, it was identity.

And then there was garage.

“When I was around 10 or 11, I found my cousin’s MySpace where he posted tracks off his garage mixtapes. It instantly resonated. I could pick up the London pirate stations from where I lived, so I was always locked in. If it wasn’t garage music, I didn’t wanna know.”

That passion led him to a DJ course where he learnt to play vinyl and made his first mixtape at eleven years old.

CUTTING HIS TEETH IN CLUBS AND BARS

Charlie’s first proper DJ experience came from a bar job in Wellingborough.

“I was given the first two hours to play, then I’d jump on the bar for my full shift, then back on the decks for the last hour or two,” he laughs. “I never really played at home, so I was thrown in the deep end. But it made me grow fast.”

Those early nights shaped him – technically, emotionally and creatively. He became a multi-genre DJ, travelled for gigs across London, Essex, Hertfordshire and Cambridgeshire, and picked up confidence with every set.

But something was missing.

“Even though I was playing a lot, it wasn’t the music I wanted to play and it wasn’t the music I was making.”

That itch would evolve into something much, much bigger.

FROM THE BLUE ROOM TO A BRAND

In March 2023, everything clicked.

Charlie was working as a DJ in a newly renovated Wellingborough club that was struggling to gain traction. But he could see the potential.

“I knew the venue had something. There wasn’t anywhere for house music in Wellingborough at the time, so I thought people would be excited about it. The room we used was called the Blue Room, so the name Azul came from that – ‘blue’ in Spanish.”

It was a simple idea at first – make something happen in a town that needed it. But like most great things, it grew quicker than expected.

THE POWER OF FRIENDSHIP

Azul might have started with Charlie, but it was built with friends.

“I’d known Leon (BART) for a couple of years but we’d never really spoken in person. I asked him to play the first event, and soon he became part of Azul.”

That fourth Wellingborough event took a big loss – a turning point that forced a rethink. Then came Elliott (Flippin El), who gave Charlie the energy and direction needed to restart everything.

“El suggested taking the event to Bedford, and it turned out to be one of the best decisions we’ve made. Our roles formed naturally over time. My creative side and El’s organisational skills balance well, and we’ve learned so much along the way.”

LEVELLING UP INTO LONDON

The moment Azul outgrew its hometown, they knew the next chapter had to be bigger.

2025 saw their first ever London event at 93 Feet East – a huge step up and a proper milestone. And I was there for it.

“Thank you for coming,” Charlie smiles. “It was daunting. We’d never ventured outside one of our local towns, and suddenly we were given main room in a prestigious venue at the last minute. But the response was amazing. It felt like a new chapter.”

And then came Halloween, when Azul were invited to play for LoveJuice – one of the biggest brands in UK house music.

“To play main room at one of the best venues in London was a dream come true for all of us. Being trusted by a brand that huge definitely makes it feel like we’re doing something right.”

Together, these moments cemented Azul as a brand with real momentum – rooted locally, recognised nationally.

“Making the move to London was always part of our plan,” Charlie says. “We’re constantly trying to move forward and do something bigger and better.”

COMMUNITY, CONNECTION AND CONSISTENCY

If there’s one theme that runs through everything Charlie does, it’s community.

“It’s so important to us and to the scene in general,” he says. “Having friendly, like-minded people support the event makes it so much more enjoyable. It brings a sense of familiarity even in a new setting, and people can feel the energy from our community as soon as they walk in.”

Azul is built on real people, real support and real connection – not hype, not ego, not empty branding. And that resonates deeply with how we see things at Fleckies.

When I ask him for advice for new DJs, promoters or creatives starting out, his response couldn’t be more aligned:

“Stay consistent. Do not stop working. Even if you only have one hour that day to practise or create or produce, get it done. Keep moving forward.”

It’s simple, but it’s exactly how he built Azul – small steps every day, no shortcuts, no pretence, just passion and graft.

WHAT’S NEXT – UPPER EAST AND BEYOND

Azul’s next event lands this Saturday 22nd November at Upper East, an intimate 200-capacity container space with underground roots and a wicked sound system.

“This venue is smaller than the room we had at 93 Feet East,” Charlie says, “but it’s more intimate and we love that. The energy is unmatched. This time we’re welcoming DAETOR and Scott Steer, who are both absolutely killing it right now.”

And 2026? They’re already ahead of the curve.

“We have the first half of 2026 planned. Stay tuned. All I’ll say is that the first event of the year will be in London – bigger and better.”

Knowing Charlie, it will be exactly that.

Charlie Wick is one of those rare energies in a scene that moves quickly and forgets easily. He’s proof that kindness goes a long way, authenticity resonates, and community will always be the heart of underground culture.

Azul is in very good hands – evolving and building something real – and it’s only just getting started.

Follow Azul: @Azul_UK
All links: Azul Link Tree
Tickets for Upper East: Get Tickets Here

The post Charlie Wick: Building Azul, Building Community first appeared on Fleckies - Discover the best local events in town.

I first met Dean Church, better known to most as DjD, through a mutual friend, Stacy-James. But honestly, I’d heard his name long before that. In Kettering’s music circles, Dean’s the kind of figure people speak about with genuine affection and respect – a local legend mentioned in the same breath as other pillars of the scene. For years, we’d crossed paths at events but never properly chatted.

That changed when Dean launched The Social. I went along with Stacy, finally met the full crew, and instantly got it – why everyone talks about him the way they do. And over the last two years, as I’ve had more interactions with Dean, that feeling has only grown. He’s one of the good ones: calm, kind and the definition of community spirit. He’s been behind the decks for decades, watching dance music evolve from vinyl to USBs, from tiny basement nights to festival stages, all while keeping his love for connection at the centre of it.

Over a year ago, we finally sat down for a proper long-form interview. It took months to actually happen – busy schedules, life, everything in between – and the plan was to pair it with our first ever Fleckies digital cover shoot. But due to many moving factors, that vision has never quite made it over the line (one day!) – nevertheless, these words deserve to be out in the world, so here it is.

“IT ALL STARTED WITH MY MUM BUYING A HOUSE RECORD.”

Dean’s story begins, fittingly, at home.

“My mum and dad both had great taste in music,” he tells me. “Soul, Motown, a bit of disco – all that 70s and early 80s electronic stuff. My mum actually bought the first house record in our house – Farley ‘Jackmaster’ Funk’s Love Can’t Turn Around. From then on I was hooked.”

He laughs about sneaking into local clubs as a teenager, hearing DJs spin early house and techno at places like Times nightclub. “I was fifteen, shouldn’t have even been there, but that’s where I caught the bug,” he says. “Back then you didn’t buy decks first – you collected music. You built a collection before you even thought about DJing.”

FROM JUNGLE TO JAZZ – AND EVERYTHING IN BETWEEN

In the mid-90s, Dean helped pioneer one of Kettering’s first regular jungle nights.

“We started a little session under the train station – probably 1995 – and it was the first proper jungle and drum & bass night in town,” he remembers. “There weren’t many people doing it back then. We’d do two nights a month, small crowd, but pure energy.”

That night evolved into Flava Unit, a run of events that spanned everything from Thames boat parties to New Year’s Eve sets.

“We’d book DJs like Randall, do house in one room, drum and bass in another. It was a proper community thing.”

Even as the sound of DnB shifted – from soulful rollers to techier edges – Dean stayed rooted in the music’s heart.

“The crowd knew their records,” he says. “You could feel the energy build when they recognised a tune coming in. That’s something you don’t always get now.”

VINYL ROOTS, DIGITAL FUTURE

Like so many who came up through the 90s, Dean’s relationship with vinyl runs deep.

“We were all vinyl back then. You’d spend your wages on records every Friday. But when people started sending me new music, I bought one of the first Pioneer CDJ-1000s locally – just so I could burn the tracks to CD and play them without spending forty quid on dubplates.”

Eventually, the shift to laptops and digital DJing came naturally.

“Technology opened everything up,” he admits. “You’re not limited to what’s in your record bag anymore – you can play anything, anywhere. It’s made DJing more accessible, which is great, though sometimes people see it as a shortcut to fame rather than about the music.”

For Dean, it’s always been about the music. “I’ve never chased the money. I just enjoy playing records to people.”

MENTORING, MEMORIES AND MOMENTS

Dean’s influence reaches far beyond his own sets. He’s helped guide countless DJs in the area – including Kettering LEGEND Rhys Alford, who went from messaging Dean for advice about headphones to playing main stages within a year.

“I’ve always tried to give people their first chance,” he says. “We weren’t ever a cliquey thing – if someone loved the same music, they were welcome. Seeing those people still DJing now, years later, that’s what it’s all about.”

And then there are the moments that remind him why he still does it.

“I’ll never forget playing the Cellar Bar in Oxford,” he smiles. “Tiny room, low ceiling, packed to the walls. I was ill all week, nearly didn’t go, but ended up playing jungle all night. People banging on the air-con units, sweat dripping off the ceiling – pure madness. Nights like that stay with you.”

ADVICE FOR THE NEXT GENERATION

After decades behind the decks, Dean’s perspective on the next wave of DJs is grounded and honest.

“To really make it nowadays, you’ve got to get into production,” he says. “Back in the day, DJs were DJs and producers were producers. But that changed. Once record sales dropped and people weren’t making money from vinyl anymore, producers had to move into DJing to earn a living. And now, if you want to stand out, you need your own music. It’s the quickest way for people to recognise your sound.”

But he’s quick to add that the technical side isn’t everything.

“Community matters just as much,” he says. “It’s not just about getting gigs – it’s about building genuine connections. Sharing music. Supporting each other. Being part of something. That’s how scenes grow. That’s how you stay grounded. And that’s how you make a difference beyond just what comes out the speakers.”

THE SOCIAL – A HOMEGROWN INSTITUTION

Fast forward to now, and The Social has become one of Kettering’s most loved nights. It all started, fittingly, with Dean’s 50th birthday.

“I hired the room upstairs at Aura,” he says. “Invited everyone – open invite, all ages, loads of old faces. The next day Chris came to me and said, ‘We should do this more often.’ So we did.”

What began as a one-off became a bi-monthly ritual – part gathering, part celebration, part throwback to simpler times.

“We start at seven, finish at one,” Dean laughs. “If the place is packed at one, we still cut the PA – we’ve all got work or families now. But it works. People can come straight from work, have a few drinks, catch up, dance, then still be in bed before the birds are singing.”

What makes The Social special is the openness.

“Some of the people who play aren’t even DJs – they just have amazing record collections,” Dean says. “It’s not about perfection, it’s about sharing music and seeing mates you haven’t seen in years.”

That simplicity has become its magic.

“We’ve had people in their 20s through to their 70s come down. It’s just about reconnecting. That’s what music should be.”

LOOKING BACK, PLAYING FORWARD

After decades behind the decks, Dean’s approach remains refreshingly grounded.

“We’re not trying to ‘make it’ anymore,” he says. “We’re just happy plodding along, playing tunes, and seeing people enjoy themselves. Anything extra is a bonus.”

Still, his influence runs deep – from shaping Kettering’s early jungle nights to inspiring the next generation. And as The Social heads into its next chapter, it’s clear Dean’s legacy isn’t just about the music he’s played, but the people he’s brought together through it.

“AT THE END OF THE DAY, WE JUST LOVE PLAYING MUSIC.”

That line sums up Dean perfectly – humble, passionate and quietly iconic. In a world that often chases hype, he’s proof that longevity, kindness and community still matter most.

So tomorrow, Friday 14th November, The Social turns two, celebrating with another of its now-iconic nights at Aura, 7pm – 1am (and not a second later – beauty sleep, you know). Entry’s free, the vibes will be golden, and if you can get down there, trust me – you should.

Follow The Social: @the.s0cial

Follow DjD: @dean_DjD

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I first met the Mas Fuego trio through a mutual friend – MiddleGround (aka Scott Fouracre) – at his debut FOUND event in Northampton. They’d come up from London to play on the lineup and support Scott, and within minutes of meeting them I knew they were my kinda people. Their energy was infectious – genuine excitement not just for the music or the night, but for connecting with new people, talking shop, and celebrating underground culture in its truest form. They instantly reminded me why I started Fleckies in the first place.

So ahead of their next event, BUTTAH VII, happening this Saturday 15th November at a secret East London location (find me on the dancefloor, once I’ve found it!), I sat down with Mas Fuego to find out more about the collective, their journey, and what’s coming next.

“WE’RE ALL IN, EVERY TIME.”

Mas Fuego are made up of Greeso, Jamo, and Roddy – three London-based DJs and producers with a deep love for underground sounds.

“We’re a DJ collective from London with a passion for underground music and the underground scene as a whole,” they tell me. “We love raving – whether we’re playing or partying, we’re all in every time, and that translates to the music we play and the connection we have with the people that come to see us.”

And that connection really is the heartbeat of everything they do.

FROM SCHOOL FRIENDS TO THE DANCE FLOOR

The story of Mas Fuego started long before the decks.

“Grindr,” Roddy jokes when I ask how they met – before laughing it off. “Nah, just kidding. Greeso and I have known each other since school, and we met Jamo through SoundCloud.”

Roddy’s cousin was running a hip hop and R&B night called Love at First Vibe, and seeing the buzz around that inspired them to do something similar – but for their own corner of club culture.

“We wanted to create something for the tech house scene, so the collective was born,” they explain. “Now we’ve got BUTTAH, our own promotion, which has become one of London’s best underground parties and a platform for emerging artists and DJs to make a name for themselves.”

DIFFERENT ROOTS, ONE RHYTHM

Each member brings their own background and influences, which collide beautifully in their sound.

“Roddy’s from an Afro-Caribbean background, I’m from an Arab background, and Jamo’s from Kent – so we’ve all got different musical roots,” says Greeso. “Music is a huge part of Afro-Caribbean and Arabic traditions, and Jamo’s mum was a bit of a raver, so you could say it’s in the blood! Growing up in and around London, we were heavily influenced by jungle, grime, DnB, garage and house – and you can hear all of that in what we play and produce.”

That mix of culture, style and perspective is exactly what gives Mas Fuego their edge.

THE MAS FUEGO SOUND

Their sound is hard to box in – a deep, groove-led fusion of tech house, afro house, garage and minimal.

“Different ideas, upbringings and cultures allow us to create something unique and distinctly our own,” Jamo says. “I’ve got a lot of Romanian mates who introduced me to the Rominimal style, Roddy’s a garage fiend, and Greeso was into afro house before it was cool. We bring all those influences together to make filthy deep tech and tech house bangers.”

That chemistry has been built over years of producing together. “We’ve always had good chemistry, and we inspire and motivate each other to keep getting better,” they tell me.

THE BIG MOMENTS

They’ve played at some serious venues – KOKO, Ministry of Sound, and even Tantra Ibiza – but when I ask about their standout moment, there’s zero hesitation.

“There’s plenty of honourable mentions, but there’s only one answer – our first BUTTAH party,” they say in unison.

They threw that first event in a church in Central London after announcing it as a secret location. “It felt like a gamble at the time,” they admit, “but it went off without a hitch. It’s still one of our most talked about parties, and seeing what BUTTAH has become since then – no other moment can top it.”

THE BUTTAH BLUEPRINT

If you’ve been to a BUTTAH night, you’ll know the vibe is different. It’s underground in the purest sense – secret locations, surprise lineups, and an atmosphere that feels more like a movement than a party.

“Our manager and queen of the underground, Kadz, used to run her own promotion called Service and she numbered her parties, which was pretty cool – that’s why ours are numbered now,” they explain. “When she became our manager, we decided to merge the two brands and take it forward together.”

“We’re inspired by 90s rave culture – that energy, that freedom. Back then, raving was about people coming together from all walks of life, escaping reality for a few hours, not taking selfies or filming the DJ for clout. We wanted to bring that essence back.”

So at BUTTAH, there’s no VIP, no tables, no bottle girls – just the dance floor.

“We encourage DJs to mix with the crowd rather than stay in the green room. Everyone’s part of the same experience. That’s what makes BUTTAH special – you really feel part of something.”

ENERGY IN THE BOOTH, ENERGY IN THE CROWD

When it comes to performing, their chemistry is as unpredictable as it is electric.

“There are three of us and we never plan our sets,” they laugh. “So for two-thirds of it, we’ve got no idea what the others are going to play – which means we’re basically raving behind the decks too. The crowd can see that and feeds off the energy.”

And yes, they’re known for sharing their riders mid-set. “We see you going hard out there!” they grin. “If you’re partying, we’re partying.”

KEEPING IT REAL

But for all the fun and freedom, they’re also honest about the challenges of navigating the industry.

“The hardest thing to deal with is the lack of authenticity,” they say. “In the social media era, anyone can blag their way to the top without real skill. Promoters book DJs based on big follower counts or viral clips, thinking they’ll bring a crowd – when in reality, they couldn’t draw a crowd with a pack of crayons.”

They’re not bitter – just real. “It can be disheartening when you’re grafting and watching people get opportunities over you, but that’s life. You have to enjoy the struggle. We’ve learned not to take things personally and to do this purely for the love of the game – even if it doesn’t always love you back.”

WHAT’S NEXT

Mas Fuego are only just getting started. “We’ve got a release called These Moves coming out next year on a wicked label, and we’re sitting on tonnes of unreleased music,” they say.

There’s also talk of launching a BUTTAH label, to give a platform to other producers in the scene. “Helping other artists get their sound out means a lot to us. We’re buzzing for that next chapter.”

And of course, the next big event – BUTTAH VII – is right around the corner. “It’s happening this Saturday (15/11/25) at a secret East London location. If you’re reading this, grab a ticket and come see what the hype’s about.”

Tickets here
Follow Buttah on Instagram

“DO IT FOR THE LOVE.”

Before we wrap, I ask them what advice they’d give to anyone coming up in the scene.

“If you love it, don’t quit. Doesn’t matter if you’ve got one follower or one million – do it for the love, not the recognition. If you can’t get gigs, throw your own parties. If you can’t do it alone, find your people and build something together.

Support smaller promotions too – some of the best parties we’ve ever been to had less than 100 people. Bigger isn’t always better. It’s better to be a bigger part in a smaller machine and grow with it than be a cog in a big one that overlooks you.”

And that’s the Mas Fuego way – no egos, no gimmicks, just pure passion for the music and the movement.

Follow Mas Fuego: @masfuegomusic
All links: linktr.ee/MASFUEGOMUSIC
Event: BUTTAH VII – Secret East London, 15 Nov 2025

The post Mas Fuego: The Sound of London’s Underground first appeared on Fleckies - Discover the best local events in town.

I first met Blaine at his birthday event back in 2024 at Tunnel Club. It was my first ever Selecta night too, and it set the tone for everything I’ve since come to love about this corner of the Drum and Bass world – community, energy, and pure heart. Blaine had it all. He’s got that rare charisma that can command a crowd with ease, but beyond the hype and mic control, what’s always stood out to me is his kindness. He’s genuinely grounded, and gracious – a proper gentleman of the scene. Watching his growth over the past year has been amazing, so sitting down with him ahead of his massive birthday showcase at XOYO this Saturday (8th November) felt like the perfect moment to reflect on the journey so far.

“I STARTED B-LINE WHEN I WAS 17…”

For anyone who doesn’t already know, B-Line’s story starts in the Midlands, where music was part of life from early on.

“I started B-Line when I was 17 and started on bassline music. I moved into drums when I was 19 and have done it ever since,” he tells me. “I always grew up on the likes of Eks, Evil, Andy C, Fatman D – my sister was always into raves and would bring me CD packs. I loved ‘em.”

You can hear that old-school influence in his delivery – there’s a nod to the golden era of MCing but with a modern, fearless edge.

He laughs when I ask what life was like growing up: “I can’t lie, I was very blessed and looked after. Mum and Dad didn’t have much when I was growing up and I saw them struggle a few times, but they were dedicated grafters. Dad always encouraged me into music.”

That early graft shows. Even as a teenager, Blaine was the type to stay up practising flows, learning every Harry Shotta bar by heart and pushing himself to go faster, sharper, better.

FINDING HIS FLOW

“Timing came natural to me,” he says. “I’ve always loved rhythm, but finding different flows came from just constant practice. If you heard me shout ‘Wowzers’ three years ago to now, you probably wouldn’t even think it was the same person.”

That evolution is something fans have watched in real time – each set, each event, a little more refined, a little more confident.

When it comes to inspiration, Blaine lights up talking about the artists who helped shape him: “Eksman, Evil, Fatman, Spyda… and for DJs, Total Recall and Logan. And although he’s a good mate of mine now, Amplify still inspires me loads. His work rate is second to none. He earned his stripes through pure graft. All of these guys have given me advice at some point, and I still appreciate every conversation.”

THE BIRMINGHAM HEARTBEAT

There’s something special about the Birmingham DnB scene – it’s loud, loyal, and proud. Blaine doesn’t hesitate: “There ain’t no place like Birmingham. The scene is so alive right now. The support and fan base I’ve built here is special – without them, I wouldn’t be achieving the opportunities I have. I’m blessed.”

That sense of community runs deep. And a big part of his journey has been Selecta, the powerhouse Midlands brand that helped push his artistry to the next level.

“Clem always booked me for Selecta,” he says. “The hospitality was second to none. Even if you were brand new, you were never exploited. Payment was always on time, and Clem always supported me as B-Line. In return, I helped him when he needed it. That trust turned into a proper management partnership and took both Selecta and me to places we never thought we’d reach. He’s a good pal – even if he don’t appreciate me belling him at 6am with a job list on my way to work,” he laughs.

BATTLE OF THE BARN – KEEPING MC CULTURE ALIVE

I have to bring up Battle of the Barn, because I was lucky enough to be there at Bass Barn for the live finals. It was something special – six DJs, six MCs, all paired up on the spot, performing in front of a live crowd and a judging panel packed with heavyweights like Amplify, Weejii Man, and Furniss.

It was raw, exciting, and gave real shine to new grassroots talent.

“When I started, competitions were a big thing,” Blaine explains. “Evil did Who’s On Smoke, Eks did Next Hype Dreps, Azza and Grima all threw comps. I entered all of them. I wanted to showcase what I did.

“Now, comps don’t define you – and I went runner-up more times than I won – but I never stopped grinding. There’s been a lack of MC culture these past few years, so I wanted to do my bit. Give up-and-comers a chance to showcase what they’ve got.”

And that he did. Winners got bookings, exposure, and a platform that’ll keep growing – with Battle of the Barn already set to return in 2026. “Props to everyone that entered,” he grins. “It’ll be back earlier next year. Big up Settla and Louis the Don on the win.”

(You can still watch the full stream back here on YouTube.)

NEXT STOP: XOYO

This Saturday, Blaine returns with his fifth annual birthday bash – a full B-Line showcase – at XOYO Birmingham.

“If I’m honest, we knew we had to go bigger this year. The growth’s been crazy! I can’t wait to present my first ever B-Line showcase to the ears of Birmingham,” he says.

With Selecta’s Casino Royale concept setting the stage, expect nothing less than high energy, heavy basslines, and a full-circle celebration of how far this young artist has come.

Tickets available on Skiddle

LESSONS, GRAFT AND WHAT’S NEXT

The DnB world moves fast, and B-Line’s learnt to balance it all. “Working full-time can be hard because I don’t really take holidays – I save them for promo or festivals,” he admits. “That can lead to burnout and holes in creativity when you’re tired. This year I’ve also had some health challenges out of nowhere, but things are looking up now.

“Keeping up with friends and family can be hard too, but it’s important to make time. I don’t see Drum and Bass as a chore – it can be challenging, but the love I’ve got for what I do always pays off somewhere.”

After XOYO, things don’t slow down. “Next up is the Macky Gee tour – I’m honestly buzzing. Macky was one of the first people I listened to when I got into drums. To say I’m hosting his tour is something I’ll always be grateful for. My goals for next year are to push out to a wider audience, hit more festivals, maybe even beyond the UK, and keep releasing music consistently. I’ve got loads lined up.”

“STAY HUMBLE, PERFECT YOUR CRAFT…”

Before we wrap, I ask him what advice he’d give to anyone trying to carve out their place in the scene.

His answer’s simple but solid: “Stay humble. Perfect your craft. If you feel like you’ve found your sound, don’t give up on it. Work together as artists and build something.”

And that’s exactly what he’s doing – building something real, brick by brick, rhyme by rhyme.

Follow B-Line: @bline_uk
Watch Battle of the Barn: YouTube Live Replay
Tickets for Selecta Presents: Casino Royale (8th Nov @ XOYO Birmingham): Skiddle link

The post B-LINE: The Rise of Birmingham’s Own first appeared on Fleckies - Discover the best local events in town.

Building a Sound and a Scene

Scott’s love affair with music started young – rummaging through CDs at HMV, Woolworths, and market stalls, before being captivated by the sounds of UK garage and house. His brother, already a DJ, gave him an early taste of decks in Spain, where Scott spent his teen years surrounded by vibrant nightlife.

But it wasn’t until his mid-twenties that MiddleGround truly began to form – first as a duo with his friend Steve, then as a solo project honed through countless hours of practice during lockdown. Since then, Scott has landed sets at Ibiza’s Tantra, Malta’s La Grotta, and major UK festivals, steadily carving out his place on lineups alongside rising house music talent.

“I work full-time, I’m a dad, and I’ve got a flat to keep up – so it’s still not my ‘job’ yet,” he says, “but I won’t stop until it becomes more than a hobby.”

The Highs & Lows of a Breakout Edit

Like many DJs, Scott knows how unpredictable the industry can be. His explosive edit of Money Talks racked up over 100k streams, landed plays from Syreeta at Drumsheds and Solardo, and even caught the attention of EMI – before being taken down due to licensing.

“It knocked me back of course… but you have to pick yourself up from these knockbacks and move onto the next one.”

The experience reshaped how he approaches production – focusing on original tracks while still keeping the same raw, dancefloor-driven energy that first caught attention.

FOUND – A New Chapter for Northampton

Now, MiddleGround is channelling that same energy into FOUND, a new event series aimed at connecting local music lovers and DJs while showcasing Northampton’s growing underground scene.

The debut event takes place Friday 29th August, featuring a hand-picked lineup including Mas Fuego, Cribb, Hadz, Charlie Barker, and Sequel – all selected for their technical skills, unique sound, and connection to the community.

“I want to bring that MiddleGround & Friends vibe back, but on a bigger scale. Northampton is ready for it – there’s not a huge amount happening here, but the scene is growing and we want to help shape it.”

What’s Next?

With new releases lined up – including a remix on Baikonur next month and a three-track EP in November – plus more FOUND events planned, MiddleGround’s 2025 is shaping up to be his biggest yet.

His advice for up-and-coming DJs?

“Be patient. Don’t compare yourself to others – it puts a negative spin on your journey. Stay in your lane, keep learning, and make yourself known. If you’re progressing, your time will come.”

Connect with MiddleGround & FOUND

Instagram: @middleground_music | @FOUND_ofc

Linktree: linktr.ee/MIDDLEGROUND.UK

The post MiddleGround: House Grooves, Local Roots & The Launch of FOUND first appeared on Fleckies - Discover the best local events in town.

“I wanted a name that felt inclusive,” he says. “Something open-armed, fun, and rooted in community.”

And that’s exactly what Harrison’s music – and everything he touches – represents. A self-taught producer who first got into music at 14, he cut his teeth learning production with friends, navigating the kind of early setbacks that make you or break you. For Harrison, it made him. After a chat with his uncle made him realise he could pursue music full-time, everything clicked – and Drinks On Me was born.

His signature sound? A punchy mix of low-end bass and emotional melodies he sums up as: “Bass in your toes, tears in your eyes.” It’s a sound that hits just as hard on the dancefloor as it does in your headphones at 3am. It also speaks to the careful balance Harrison strikes in his work – high energy for the clubs, but always layered with feeling and storytelling.

But what really sets him apart is what he builds around the music.

Drinks On Me

The Healing Process

One of the most exciting grassroots events in London right now is Harrison’s own: The Healing Process. Forget hype lineups and ego-driven bookings… this night is about connection, community, and creating a safe, thoughtful space where people come to actually feel good.

“It’s about how the whole night feels – from the door staff to the glow sticks to the crowd,” Harrison explains. “It’s not about big headliners or profit, it’s about building a music-minded audience that truly listens.”

Everything about The Healing Process is intentional, from the artists selected (often underrated gems who deserve a spotlight) to the way the event fosters a sense of shared energy between performer and crowd. The goal? Make people feel seen, heard, and looked after.

“There’s a gap in nightlife right now. People crave real experiences – not just parties. So that’s what I’m trying to create.”

Behind the decks at The Healing Process

Beat Battles, Collabs & Pure Internet Gold

When he’s not curating club nights, Harrison is making waves online with his Beat Battle Series alongside longtime friend Rob Southby. The concept: new production challenges every week, all shared online with full transparency.

One recent standout moment? Bringing his nan into the studio to remix It’s Raining Men.

The internet (obviously) loved it.

But for Harrison, it wasn’t just a viral moment – it was about connection. “I wanted her to really understand what I do. For people of her generation, production seems like a mystery. So showing her that world, and letting her be part of it was so special.”

It’s that same spirit of accessibility and openness that defines everything Harrison does, both IRL and online.

Rob & Harrison

What’s Next

The rest of 2025 is set to be huge. Harrison’s scaling back The Healing Process to four standout shows per year, focusing on quality over quantity – and making each one unforgettable.

There’s also a self-released EP coming soon, plus more high-effort content and community work via his Discord server. In classic Drinks on Me style, it’s about building slowly, meaningfully, and with purpose.

His advice to other DJs and creators? “Take yourself out of it. Think about what it would feel like to be a fan of your own work. What would make someone want to belong to what you’re building?” It’s solid advice, and something we really admire.

We can’t wait to see what Drinks On Me does next, make sure to give him a follow and tap into the full world:

Discord

Spotify | Apple Music | SoundCloud

Instagram | TikTok | ️ X/Twitter

The post Drinks On Me: Basslines, Big Energy & Community Vibes first appeared on Fleckies - Discover the best local events in town.