Hi Marlie, how did the end of 2025 play out for you? Any special NYE gigs?

Hi there! Yes indeed - on Christmas Day I began a long journey from London to a little coastal village called Jericoacoara in the Northeastern part of Brazil. I had two days of much needed rest before playing a really nice festival called Aya. The next morning (29th) I travelled 40 hours to Bali and basically went straight to play at La Brisa to round off the year. It was epic!

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It's fair to say last year was a big one for you. Looking back, what are some of the highlights and were there any learning curves along the way?

Playing at Sunwaves in Mamaia has been a dream of mine since I started DJing, so ticking that off the list was definitely a highlight. Glastonbury and Unum Festival were also very high up there, as well as my first proper tour of South America.

In terms of it being my first full year on the road, there were so many lessons learnt. A big one is that my body is part of my instrument; managing energy offstage is just as important as managing it onstage.

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You played a couple of gigs in New Caledonia to kick off 2026. What's it like there? Is there much of a local electronic music scene, or is it mainly centred around tourism and holidaymakers?

It’s a very quiet island, not much of a scene at all, but to my surprise it was a sold-out show with the nicest crowd I’ve ever had the pleasure of playing to!

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You recently moved from London to Ibiza. How are you finding the change?

London was home for 12 years, but last year I made Ibiza my base. I still love London for its endless opportunities and nonstop music scene. One of its downfalls is that the weekly airport commute is very time consuming and expensive. In Ibiza, I’ve found a balance I didn’t know I needed. It brought me back to my natural habitat - sun and sea, hiking, cooking more, and living just five minutes from the airport. A real game changer.

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Plenty of North and South American gigs have begun to emerge in your touring schedule. How, if at all, does playing there differ from Europe? Particularly at say a festival like EDC in Las Vegas.

The crowd in America is very different from Europe, that’s for sure. I feel Europeans tend to put culture first and the party second. There’s also a lot of intimate parties where you’re given real musical freedom. In North America, it’s generally more of an entertainment-first, music-second kind of vibe. That said, I really love what’s happening in the New York underground scene right now.

South America is something in between them both. Some of the parties I’ve played have been incredible, while others have been a little more challenging. Depending on which city you are in, the crowd can be less musically educated which means you have to adapt your approach. 

EDC in Las Vegas was unlike anywhere I’ve ever played before. I played on the one underground stage they had at the festival and the level of hospitality, production and location were on point! It was an incredible experience.

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How would you describe your sound at the moment? And how has it developed since you first fell in love with minimal all those years ago? Has playing around the world to different crowds changed or developed your sound?

My love for minimal music will never fade, however playing certain parties, countries and larger crowds forced me to step out of that box I was once in. Nowadays my sets generally consist of deep, groovy basslines - mostly a micro house kind of vibe with a few techno, electro, acid tracks in between. I love throwing a jazzy or instrumental number or two somewhere in there as well!

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Which labels or producers are really exciting you?

In the past year or so I haven’t played many sets without a track from either of Gene on Earth’s labels, Limousine Dream or Nugnets. There’s some serious weapons on there! A few producers I’m into at the moment are Furz, Mateo Dufour and Nesta.

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Your Roots project has grown into a global community and brand. What was your vision for it when you started, and how has it evolved?

There’s nothing I love more than bringing my favourite people together. Playing music in off-the-grid locations is a bonus. When I came back to Sydney in 2016, the underground scene was super small. I wanted to help spread the sound that I was so passionate about. We started raving in local parks and war bunkers across the city (despite the warnings), and have since hosted parties in Prague, London, more parks, boats, warehouses - and more notably, Room 2 at Fabric.

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You're back in Australia and set to play an open-to-close set at Club 77 on Feb 5th. Do you get many opportunities to play extended sets?

I once played all night long at one of the coolest venues in London, Little Portland Street. Aside from that I don’t actually get the opportunity to do this often so it makes this night all the more special to me.

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Can you tell us a bit about your relationship with 77? Were you once a punter on the d-floor before getting behind the booth?

I first visited 77 in 2017. Some mates were playing and I was there to support. I then played for Afters as well as organised some Roots parties at the venue. Quite a few steps have been made on that dance floor, I can tell you that much!

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What's on the cards for 2026? Anything you're aiming to achieve?

I’ll be making my debut at a few new festivals which I’m stoked about and finally releasing some music as well.