I was super nervous heading into this show — more than usual. But I was lucky to sink into a space where the anxiety didn’t take over. The moment I stepped on stage, it all washed away. Muscle memory kicked in. The gear felt like an extension of me. Played a mix of gritty live techno and soft, sensual vocal pieces. Some raw, some refined. It felt honest — and that’s what mattered most.

I wanted to bring a full live performance to one of my favourite venues. Calla asked if I could do some live techno mixed with some of my raw unpolished vocal performances. I ended up buying an Electron Octatrack so that I could move away from my Ableton Push performances. Tricky piece of gear that I am still getting my head around.

I was booked to play a late-night set at a micro-burn — one of those intimate, off-grid gatherings where the line between performer and participant melts away. My slot was by the outdoor campfire, nestled among trees and glowing bodies, the kind of scene that asks for something a little strange and a little sacred. So I built a set entirely from late-night house music layered with weird animal sounds. Think deep grooves punctuated by the screeches of jungle birds, warped frog croaks, feline snarls — a surreal sonic safari. It was intentional, a bit cheeky, and totally hypnotic.

The opening night of Calla of Ursa - went down an absolute treat. Played mostly originals, dabbling in both techno and bass wubs.

My farwell send off party ended up being a sunrise spectacle. A night to remember before heading off around the world...  

The Closet have done it again, pulling together a magical night of mischief and madness. It was techno turtles all the way down. 2:30am finish sharp. (Photos by Andrew Strugnell)

I played after Dylan C. at the Cherry Plush afterparty—rolling in right at the daylight saving switch. I opened with high-tempo techno and slowly guided the vibe down into soft, atmospheric closers. A 3-hour set full of contrast: some of the ugliest sounds I love, right alongside the most beautiful.

This one was a blast. Full dance floor the entire set. I was meant to play for 1.5 hours, but Connor didn’t show—so I kept it rolling and played for 2.5 hours straight. The crowd was loving it, and so was I. A big night of deep sea debauchery at A Kraken Good Time—nautical nonsense in full effect. Loved every moment.

A sunlight session, with kids running around with bubble guns, a delightful Wellingtonian Day. I played all my alternative Sanoi tracks that I never get to play.  Peter Liley jumped up and did several crazy sax solos. Over The Weir cover of innerbloom, which has a sax solo in it already - Just Epic. @peterlileymusic

This one was a blast. Full dance floor the entire set. I was meant to play for 1.5 hours, but Connor didn’t show—so I kept it rolling and played for 2.5 hours straight. The crowd was loving it, and so was I. A big night of deep sea debauchery at A Kraken Good Time—nautical nonsense in full effect. Loved every moment.

A sneaky backyard set in the sun to celebrate the launch of Tamara. A sustanability focused swimwear designed and produced by Flo.Our set was one of the first to crack open the festival, right after the opening ceremony. As we struck the first notes, the sky answered—rain started to pour, as if the clouds themselves were tuning in. But the audience? They were pure magic, standing strong through the downpour, fully present. There was thunder rolling in the sky, but also in Connor’s backing tracks—a wild, beautiful synchronicity. The storm above echoed the storm in our sound. It was one of those rare, electric moments where everything aligned. A truly unforgettable experience.

WOW—what an epic set! I played after Page Julia, who was dropping club bangers—not usually my vibe. The place was jam-packed, and I was a little nervous about switching up the energy. But I wasn’t about to play club bangers on burn night. So, I flipped the script and dove into a warm, high-energy techno set, sitting around 128-130 BPM. And it absolutely sent it.

So many people came up afterward saying it was easily the best set of the whole burn. It was pure magic for me. I ended up playing for two hours, surrounded by close friends who came up and danced with me on stage. We all finished up around 6:30 AM and rolled straight over to Bubbles and Bass. A night—and morning—to remember.

I don’t often play my tracks live but I trekked all my gear my Nord, Push 2, midi keys and samplers all the way to the burn, with David on samples and Will on Tabla. Took 5 hours to setup and 1 hour to pack down. Definitely an expensive energy exercise… But never the less, amazing to be able to play Live on one of NZ’s best sound systems.

I had the pleasure of DJing and performing live jazz at a speakeasy event. It was sexy, it was saucy. We opened with about 45 minutes of live jazz, featuring scat and vox from Sam Thomas, setting the perfect mood. Then, I transitioned to the decks, blending soft, tender moments with bursts of pure sauce. The vibe was rich and intimate—the kind of night that lingers long after the last track fades.

Straight after my solo show, I played with From Dust to Mountains. Epic tunes with epic people. Connor has a such a special sense of developing tacks that can be worked by different improvisations by different people. A really clever human, with great taste in music…

Our legacy night. I played a 2 hour set, and it was everything a classic YUM party should be. There were moments of high energy, with raging dance floors, and moments of low, where I intentionally brought the vibe down to conversation-level chill—perfect for those intimate, crazy duo dances that just happen in the moment.
We had a unique space at YumTown, with two large chill-out bell tents that split the vibe between the dance floor and the mellow zones. It created this beautiful dynamic where people could drift in and out, riding the waves of the set however they wanted. Ed Zuke followed me up, keeping the energy flowing. This one felt like a true journey—a night I’ll hold close.

That time I dressed up as Apera aka "Groovisu Maximus" and played his entire album...I'd do that for all my friends x

The final daytime performance of the weekend. This one was way more relaxed, under the blazing sun with that unmistakable midday Kiwiburn heat. It was funny—I realized not many people recognized me in my outfit, which was kind of nice. Being a bit anonymous felt freeing, like I could just melt into the moment without expectations. However it was too hot and I was melting myself in my tight spandex suit. Not in a good way

This was a special one. I played mostly my own originals, and on the Tangerine Steeze system, it sounded dope AF. But I realized I still need to figure out the low end—the mix didn’t translate as effectively as it could have. It hit me during this set: I need a dedicated mixing engineer. Still, hearing my tracks fill that space, even with the imperfections, was an incredible feeling. A huge step forward in owning my sound.

Right after *Kiwiburn on Ice* wrapped, I had 30 minutes to pack up my sunflower costume and hustle over to the TechnOasis stage. I was *nervous*. TechnOasis is a dream stage with an unreal sound system, and this was my first time playing there. Big moment.

Lexi was on before me, absolutely slaying it. The energy she had going was wild. I was greeted with open arms by Kelvin, which helped ease the jitters a bit. I had a set prepped, starting around 122 BPM, but Lexi was pushing 130 BPM, and the crowd was *loving* it. No way I could slow things down, so I had to throw my plan out the window and improvise on the fly.

I was a bit too in my head at the start, and the intro didn’t land as smoothly as I’d hoped. But about four tracks in, I finally settled into the groove. By the end, I felt solid. The crowd stuck with me, and I managed to keep the energy up. It wasn’t perfect, but it was a good set—and a big step for me on that stage.

Opening night of *Kiwiburn on Ice*, a musical masterpiece written by Mathias Corwin and directed by none other than Mathias' mum, Michelanne (iconic, right?). I went all out with my costume—a gigantic, over-the-top sunflower that honestly stole the show, if I do say so myself.

The scene was electric. A jam-packed audience on the very first night of Kiwiburn, buzzing with energy. The musical told the hilarious tale of an overwhelmed burner and a wild plot to bring the whole thing down from the inside. The crowd *loved* it. There was so much laughter echoing through the night, I could barely keep it together on stage. It was one of those gigs where the vibes were just right—pure, chaotic joy.

I had the chance to play with Connor Boyle’s band, From Dust to Mountains, at Twisted Frequency, and it turned out to be a milestone moment for me—it was my first time performing at Twisted. This festival holds a special place in my heart; it was my introduction to burner culture, and through it, I found a community that helped shape the person I am today.

Our set was one of the first to crack open the festival, right after the opening ceremony. As we struck the first notes, the sky answered—rain started to pour, as if the clouds themselves were tuning in. But the audience? They were pure magic, standing strong through the downpour, fully present. There was thunder rolling in the sky, but also in Connor’s backing tracks—a wild, beautiful synchronicity. The storm above echoed the storm in our sound. It was one of those rare, electric moments where everything aligned. A truly unforgettable experience.