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.

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

The post Reece Walker: Building the Structure Talent Deserves 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

The post DJD: The Soundtrack of a Scene first appeared on Fleckies - Discover the best local events in town.

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.

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.

Lee is the driving force behind Compakt Events, a proudly grassroots music brand that’s all about reviving local nightlife, championing under-the-radar talent, and building community from the dancefloor up.

But long before he was putting on shows in Burnley, Darwen and Ibiza, Lee was handing out flyers dressed as a fisherman… or a bee. “There are many pictures of me dressed as a bee across Facebook,” he laughs. “That’s where it started for me: being out on the streets in the rain, giving out stickers and free shot flyers and seeing the love people had for nightlife in our towns.”

Lee the Bee!

It’s that same passion that fuels everything Lee does with Compakt. His route into events wasn’t typical. He tried his hand at DJing and hosted the odd afterparty, but his heart was always in bringing people together. A charity night for a friend with cancer was the turning point. “He didn’t make it to the event, but we set it up in his memory, and I knew then I wanted to keep going. As Compakt grows, I hope I can keep his legacy alive through the music.”

That sense of meaning runs through every event he touches. Whether it’s a local party stacked with emerging DJs or two huge nights this September in Ibiza (yes, Ibiza!), Lee’s ethos is simple: create spaces where people feel included, and give emerging artists the spotlight they deserve.

“I’m from Burnley, and when I was younger, you could see big names right on your doorstep,” he says. “Now, everything’s in the cities. Tickets are £50, then you’re paying the same again for travel or a hotel. It just pushes people out. So I wanted to flip that and bring the party back home. Our events are £5–10. You get incredible local talent playing alongside DJs they admire. It’s for the people.”

That’s the Compakt difference. Real people, real energy, real opportunities.

From Burnley to Ibiza

His proudest moment? Of course, getting two events in Ibiza this year is huge. “Even saying it amazes me. We’ve got DJs from across the country heading to Plastik, and it’ll be a great chance to network and shine,” he says. “But honestly, the community we’ve built locally means just as much. We see the same faces at every event, always supporting the artists. That’s what this is all about.”

Lee’s also working on something deeply personal and important. On 20th September, he’s launching “United By The Groove” at The Yard in Manchester: a night focused on accessibility and inclusion in music, built in collaboration with Joe Skinner (who lives with cerebral palsy) and Gabe from Xtratrax. “It’s hard getting Joe into most venues – stairs, narrow spaces, no accessibility. That has to change. Music is for everyone. We’re raising money for Sense, and we’ve got some exciting names looking to support us too.”

Keeping it Local

Looking ahead, Lee’s got his eye on a return to Birmingham, a refined approach to Manchester shows, and potential expansion into Leeds and Liverpool. Always rooted in local community. “We don’t want to just follow the big club circuit. We want to grow something real in the places that need it.”

Lee and Joe Skinner

Words of Wisdom

So, what advice does he have for others thinking about starting a grassroots event or breaking into the scene?

“Be patient. Don’t compare yourself to others, and don’t stress over ticket sales. No one buys early anymore. So build your crew, get your DJs involved in promotion, offer little rewards, grow together. You never know what’s around the corner. I nearly gave up… and two weeks later I was booking Ibiza.”

At Fleckies, we’re backing that all the way. Support your local brands. Buy your tickets early. Show up, cheer loud, and know that your energy helps keep this culture alive. The big names didn’t get there on their own, and the next ones are playing in your town right now.

Follow Lee at @compaktevents or tap the link: https://bit.ly/m/Compaktevents

The post Lee Ashworth: Building Big Vibes in Small Towns and Beyond 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.

Tucked away behind the Citizen Hub, the space had never been used before, but three locals with big ideas saw huge potential – and turned it into a stripped-back, vibey courtyard that feels like it’s been plucked straight from Amsterdam’s backstreets. Minimal house beats, handmade cocktails, an outdoor bar, and a crowd that felt ready for something new.

This wasn’t just another party. It was a moment for St Neots.

A new era for St Neots nightlife

Behind Courtyard 58 are: Grace Marsh, Sam Squire, and Adrian Kabzinski. Together, they’ve set out to give their hometown the kind of nightlife experience it’s been missing.

“Everyone our age has kinda decided there’s nothing in St Neots for us to do and enjoy,” Grace told us. “We wanted to change that. Between the three of us, we have music, a venue, and a great bartender, so we thought – why not set up something really cool and bring young people back in… whilst still being a welcoming space for all generations?”

For Sam, it’s about unlocking potential – for both people and place. “There are so many young people here who are really talented but don’t have access to opportunity. We want to create a culture where people are proud to be from St Neots and excited about that one place they can call their own.”

Adrian added, “Creating culture is so important. Seeing everyone come together – people offering to volunteer, asking how they can help, even Seri and Beri Food & Wine dropping bits in for free – it’s been amazing. The community vibe is real.”

From left to right: Sam Squire, Grace Marsh and Adrian Kabzinski

A party with purpose

What sets Courtyard 58 apart is how deeply it’s tied to the Citizen Hub – a space already working to drive change in the town.

“This is true grassroots, bottom up,” Sam explained. “When people feel like they’re part of something, they buy into it. Every drink bought here helps support the wider initiatives running from the hub. It’s not just about a night out… it’s about building something together.”

Grace agreed: “I went to uni in Liverpool, and when I crave a proper night out, that’s still where I want to go. Despite being the largest town in Cambridgeshire, you just don’t get that kind of night here. It felt important to create something we’d actually love to go to ourselves.”

The first night of many

Saturday’s launch was capped at 100 tickets to test the space and see how it flowed, and judging by the smiles and the steady stream of cocktails, it passed with flying colours.

“The weather’s been on our side, and what’s nice is that most people didn’t even know this courtyard existed,” Sam said. “They’ve probably walked past hundreds of times. To open it up to the public and invite them in has been amazing.”

Adrian was still soaking it all in: “I’ve had moments today where I’ve just stopped to take it in. People are saying thank you, offering to help out at future events – like bar-tending or setting up. It’s been special.”

So, what’s next?

Grace kept it simple: “We’re here for St Neots now. This summer, we want to have fun and make a difference – and then see where it takes us.”

Sam summed it up perfectly: “We’re building something for the local talent and local people to enjoy. Today, we had a DJ play their first ever live set, and he was amazing – shout-out to Sam Norton – but that’s exactly what we want to do. There’s a huge opportunity here to create something intimate with good local DJs, good drinks, and a space people feel proud to be part of.”

The team are planning a full Summer Series and are actively asking for feedback and ideas to shape the space into something truly collaborative.

Want to get involved?

DM @courtyard.58 on Instagram or email info@citizenhub.co.uk. “We’ll take any type of support and we’re open to ideas,” the trio said. “We’re not working with huge budgets, but we are working with big energy.”

This is just the beginning for St Neots. And honestly? We couldn’t be more excited!

The post Meet the Trio Behind Courtyard 58: A New Era for St Neots first appeared on Fleckies - Discover the best local events in town.