Interview
Lizzie Curious Talks Starting Her DJ Career, Big Break, Memorable Moments & More!
With two Billboard Number One hits to her name there is no question Lizzie Curious‘ music connects with the masses, and the universal message contained in her ‘One Day’ collaboration with Doc Brown rings true today more than ever.
Their original collaboration won over DJs and music fans alike, with its classic piano riff and Lizzie‘s powerful vocal lending it a classic house feel combined with the club edge inherent in all Unlearn‘s releases. Now just in time for the festive season, Lizzie has dropped a brand new remix. We caught up with her to get the lowdown.
How did you first get into DJing? Can you remember the first record you ever bought?
So I got into DJing back in the heady days of clubbing, whilst I was at university back in the early 00’s. I discovered this amazing world of electronic music and could be found dancing the night away at clubs like Bagleys in Kings Cross or Trinity at the Chunnel Club. I was transfixed by the music and very soon wanted to see if I could learn how to create that musical magic I was experiencing, through DJing myself. It may sound a little cliche, but I used my student loan to buy my first pair of vinyl decks and taught myself how to mix. In terms of the first record I ever bought… well when I wasn’t even 10 years old I remember saving up my pocket money to proudly buy coveted albums by the likes of A-Ha and Five Star (which I still have!) But the first dance music vinyl I bought came from my local record store in Guildford near London… I can’t remember the first record I bought there, but I actually managed to get myself a Saturday job there so I could get first dibs on the best tunes… and all of my wages always went straight back into buying more records!
Did you have any mentors when you first started out in your career?
When I first started out there wasn’t really anyone I knew who was into DJing, so I was completely self taught and I got my first gigs in bars and clubs around the town where I went to University. I worked really hard creating demo tapes (yep – actual cassette tapes) and started taking them to the nights in London that I loved. I eventually got my first break DJing in London at a club I loved called Feersum. In the mid 2000s I was really lucky to work with some amazing promoters who’ve really supported me with a residency, including Zoelee of Kurruption and the Knowwhere team. In the 2010s I connected with StoneBridge and over those years, he has provided me with an incredible amount of support, for which I’ll always be hugely grateful for.
Did you have a moment that you would consider your big break?
There’s been quite a few really momentous things that have happened in my career which I kind of all count as big breaks. These include my residency at Privilege in Ibiza with Robbie Rivera, getting my two Billboard Number Ones, having music played on Radio One, releasing on my fave label Toolroom Records and having the tunes supported by some of the DJs/producers I hugely respect… including Mark Knight, Roger Sanchez, and the legendary Fatboy Slim, who really got behind my collab with James Hurr ‘In Your House’!
What have been some of the most memorable performances?
I am so lucky to have had so many incredible shows all around the world. Through my residency with Groove Cruise (the world’s largest floating dance music festival) I opened for Kaskade at the Groove Cruise 10th anniversary beach party in Cozumel which was an amazing event for thousands of GCFam, set in a stunning location. I’ve also had many brilliant shows on different Groove Cruise voyages – from pool parties, to pop-up sets in a casino, to singing live at sunset, they really hit different when you’re on a cruise ship in the middle of the ocean, surrounded by thousands of amazing party people! I will always also remember the incredible boat parties and full moon beach parties from when I lived on the Caribbean island of Grand Cayman. The Deep House Brunch parties run by Scotty Boy in LA also have an incredible vibe, and I can’t wait to get back out to LA next year!
As someone who clearly thrives off the interaction with the crowd, how hard did you find not being able to connect with people during the pandemic?
At first, like everyone, I found it incredibly difficult and for those first few terrible months of uncertainty and shock, I felt like I had lost my purpose. But then I started live streaming on Twitch and to be honest that really saved me. I started just as a way to see if I could share some good vibes with people during such a challenging time and as an outlet for me to play music. It’s developed into an amazing community (my lovely Curious Crew) who tune in from all around the world. We all share a love of house music, good vibes and supporting each other. It’s a different way of performing as it’s more like doing a visual radio show than a club gig. I also do chat a lot, which obviously you wouldn’t be doing at a club gig – but I always put in the same level of ‘curious energy’ as I would in a club. Having this way to connect and share music has become invaluable to me and going forward, streaming on Twitch will always be a huge part of what I do. And in fact now we are able to have Curious Crew meet-ups at my gigs irl, so it’s become a great way for our community to keep connected.
On your new remix of One Day, how did you approach this given you also produced the original?
So originally my remix started out as a bit of a re-edit that I wanted to make for my DJ sets. The original collab was released in June 2020, and here in the UK in late July was when we were first coming out of lockdowns… so a lot of DJ sets for me were afternoon affairs where a banging, underground tech-house tune wouldn’t have been the right vibe to play! I started working on an edit that used more of a bouncy bassline, whilst still allowing the piano and vocal to shine through. However, after I had played it out a few times (and to my Curious Crew on Twitch!) I saw it was getting great feedback, so I reached out to DB messaged Doc Brown to see if he would be interested in releasing it as an official remix. DB really loved the remix, and brought in our fellow Groove Cruise resident Lavelle Dupree and Freshcobar to also remix the track.
How has it been working with Doc Brown and Unlearn?
Absolutely wonderful. The original One Day collaboration really fused both mine and DB’s styles together so well – whilst musically I would say DB leans much more towards the techy/underground vibe, our ethos and outlook on life and what we’d like our listeners to experience from our shows and music is very similar, so it has really been a great match.
You’re both playing Groove Cruise early next year… what makes this such a special event for you?
In January, after two very long years, the Groove Cruise family will finally be reunited in Orlando on 20th January. The GCFAM community is amazing, we really all like family and I know it’s going to be so special to all finally be back together. The voyage will bring together about 4000 like-minded souls on the biggest ship we have ever sailed on and I’m thrilled to be on the line-up alongside amazing artists including David Penn, Gorgon City, Ferry Corsten, Claud Von Stroke and so many more!
What can we expect from you next year?
Well just before the year is up I have a show that I am incredibly excited about – I am opening for Fatboy Slim in Brighton on 27th Dec! I am beyond excited for this show, and it’s also all for charity as well (The Martlets Hospice in Brighton) which makes it even more special. Two years ago I went to the same club (The Arch) to see Fatboy Slim, and now I will be back there, but this time on the DJ line-up! Then for NYE I will be headlining at an event at my favourite beach bar (which turns into an epic club by night) so I can’t wait for that. And of course then I have the Groove Cruise Orlando voyage on January 20th, along with the West Coast sailing in October 2022, both of which will be epic. I have been busy in the studio and alongside having more tracks coming out on my favourite labels, I also plan to launch my own label in 2022 as well. Alongside this, I will be continuing to stream every TUNESday and FriYAY on Twitch and looking forward to more gigs irl too.
Norwegian house trio The Bausa interview discusses breakout single Magnetic, their self-coined Scandi House sound, and what’s next for the Baerum-based three-piece.”
If you haven’t heard “Magnetic” on the radio yet, you will soon. The Bausa, a three-piece house act from Baerum, Norway, are making serious waves across Europe, and after a conversation with Fredrik, Edward, and Filip, it’s clear this is just the beginning. In The Bausa Interview, we’ll explore what sets this group apart and where they’re heading next.
The trio’s origin story is one of those happy accidents that makes for great mythology. Filip and Fredrik had been making music together for two weeks when Filip brought Edward into the picture at a high school party. “He showed me one of the tracks they made and it was so bad,” Edward laughs. “But he was interested in the whole thing, and none of my friends were making music.” A studio session at Fredrik’s home studio sealed the deal. They made a song in two hours and partied to it for the rest of the night. The Bausa was born.
The name has its own story. A friend suggested “Brødrene Bausa,” telling them it meant “boss” in German. They ran with it. Years later, on a trip to Germany, they found out it doesn’t mean that at all. “It sounds dope, it sounds cool,” Filip says, unbothered. When pressed on the actual meaning, they landed on something like “big” and “ambitious.” Close enough.
250 Tracks a Year and the Bus That Made Them
Before playlists and streaming algorithms, The Bausa were sharpening their craft in one of the most uniquely Norwegian ways imaginable: making music for russ buses. If you’re not Norwegian, this requires some explanation. Russetime is a rite of passage at the end of high school where groups of about 30 students rent or buy a bus, get it painted with their crew name and logo, commission custom songs from producers, and then party inside it every night for 30 days. They go to school during the day. They do this for a month.
One of those bus crews was called Tournée, meaning “tour” in Norwegian. They commissioned a track from The Bausa, and that song ended up becoming one of the group’s early breakthrough moments. At their peak, the trio were producing around 250 custom tracks a year for various russ groups, covering everything from hip-hop to drum and bass. “We got a lot of training from that,” Edward says. “We were mixing and mastering the tracks as well.” It’s an unconventional music school, but the output speaks for itself.
Finding Their Sound
Today The Bausa describe their music as “Scandi House,” a term they coined themselves for a style that blends disco, funk, and house in a way that didn’t fit neatly into any existing genre. Their first English-language EP came together almost by accident. They were working on a Norwegian album in January and couldn’t crack the lyrics for a particular beat, the one that would eventually become “Addicted to Your Love.” An English top line clicked where Norwegian hadn’t, and suddenly they were making an English EP.
“Magnetic,” the lead track, has been getting significant radio play across Europe, including here in the Netherlands. There’s an ease and warmth to it that translates across borders, a summery groove that feels effortless even if the work behind it wasn’t.
What’s Next
The Bausa have a busy summer ahead, with festival appearances lined up across Europe. When asked about a dream destination they haven’t played yet, the answer was India, a market with a passionate and rapidly growing electronic music fanbase that they’re clearly keeping an eye on.
As for Norway’s own scene, they’re optimistic. They see a new generation of house producers and underground DJs building something real in Oslo, and they’re quietly hinting at plans to help shape what that becomes. A house festival of their own? “We have some plans,” is all they’ll say.
In the meantime, follow The Bausa on their socials and streaming platforms. All the links are in the show notes below.
Want to hear the full conversation? Stay tuned for the complete interview, coming soon to the Ten Days in Dance podcast on Spotify.
Zehavi Interview: Aliya, Lior Narkis, And Music Without Borders as he talks Aliya, Mediterranean roots, and culture-crossing electronic music
Zehavi’s music began with the sounds he grew up around, from Arabic, Moroccan, Persian, Greek, and Mediterranean melodies to the bouzouki he first learned through his father. Those early influences now sit inside his electronic productions, giving his work a personal link to tradition without pulling it away from a wider audience. In this interview, Zehavi discusses his collaboration with Lior Narkis on Aliya, the creative control behind the release, and how different languages, instruments, and cultural references can meet inside one record without losing their emotional weight.
Great to have you with us. Before we dive in, can you tell us a bit about the artists, sounds, or moments that originally drew you toward music as a profession?
Growing up, I was exposed to music from many different cultures and languages — Arabic, Moroccan, Persian, Greek, and more. From a very young age, I already knew how to play full classic songs on the bouzouki, and those ethnic melodies became a huge part of my musical identity.
What excited me most was the idea of bringing those timeless sounds and emotions into today’s mainstream world through modern production and electronic music. Music was never just a profession for me. It has always been the biggest love of my life. It calms me, gives me energy, and has been there for me even during difficult moments. For me, music is not just work — it’s a way of life.
There’s a really distinctive blend in your work, electronic textures sitting alongside instruments like the bouzouki. How did that pairing come about for you, and how have you refined it over the years?
This connection started when I was very young. My father played the bouzouki everywhere we went, and during his free time he would teach me as well. Those sounds became part of me from childhood, so the emotional connection to the instrument was always very natural.
As I got older, I formed a band where we performed original music alongside classic songs in a Mediterranean and Greek-inspired atmosphere. That experience taught me a lot about live performance, emotion, and connecting with people through traditional melodies.
Later on, when I discovered electronic music, I immediately realized how fascinating the combination between these two worlds could be. The energy and production of electronic music mixed with the soul and emotion of live ethnic instruments felt like something unique that I wanted to build and develop further.
You’ve seen substantial growth across streaming platforms and social media recently. How are you processing that level of recognition, and what does it open up for you as an artist?
I think people connect not only to the music itself, but also to the authenticity behind it. That openness has created a very strong connection with my audience and opened many doors for me professionally and personally. It led to collaborations around the world, live performance opportunities, and relationships with incredible people who are still part of my life today. Sometimes people even reach out to me for advice about life, which is something I never expected. I’m truly grateful for all of it.
Taking full creative control on the release of “Aliya” alongside Lior Narkis, how did this collaboration differ from others you’ve worked on, and were there any challenges you faced along the way?
This project was very special for me because I really wanted to bring together different cultures and languages in one track. With “Aliya,” the vision was to create an English record combined with Arabic influences, which made the collaboration feel very unique from the beginning.
Seeing Lior Narkis, an artist of his level and background, step into a language and musical atmosphere that was less familiar to him was something very exciting and inspiring to witness. One of the biggest challenges was making sure the fusion felt natural and authentic, while still remaining accessible to a wide audience.
What moved me the most was seeing how people connected to it regardless of language or culture. The track reached audiences all around the world and showed me that music can truly break boundaries and unite people emotionally.
Credited as performer, producer, and co-writer, could you talk us through the creation process of this track and how rewarding projects like this can be?
Being involved in the project as a performer, producer, and co-writer made the entire process feel very personal to me. I wasn’t only focused on creating a good song, I was focused on building a full experience and emotion around it. Every small detail mattered, from the melodies and production to the atmosphere and energy of the track.
The creative process was very organic. We spent a lot of time experimenting with sounds, languages, and different musical influences until everything felt authentic and emotionally connected. Because I come from both a live musical background and an electronic production world, I always try to balance emotion with energy.
Projects like this are extremely rewarding because they allow me to fully express my artistic vision. Seeing people from different countries and cultures connect to something we created in the studio is one of the best feelings an artist can experience.
As a major collaboration, what was it like working with an established artist like Narkis, and what key lessons did you take from the experience?
Working with Lior Narkis was an incredible experience. Beyond being a great artist, he’s also an amazing person with a very special energy, the kind of person you instantly connect with. From the very first moment, everything flowed naturally between us, both creatively and personally, and I think people can feel that chemistry in the music as well.
One of the biggest lessons I took from the experience is to always listen to your heart and trust your vision. In music, there will always be different opinions from people around you, but when you truly believe in an idea and feel connected to it emotionally, you have to follow it completely. Sometimes the projects people doubt the most become the ones that connect the strongest with audiences.
With your career constantly on the rise, could you give us an insight into what the future holds for Zehavi, particularly in terms of new music and live performances?
This project is constantly evolving, and I feel like I’m only at the beginning of the journey. I’m planning to release a lot of new music and collaborate with artists from different countries and cultures, all with the same goal – to create music that truly touches people emotionally.
My live show is also constantly changing and growing. I always try to bring something fresh, emotional, and unexpected to the stage. Right now, I’m working on a brand new project that I’ll be able to reveal very soon, and I believe it’s going to take the Zehavi experience to another level.
Modal Nodes Talk ‘Destiny,’ ‘Jawa Dub,’ and Mystery as the bass act discusses Subtronics support, sci-fi influences, and what comes next
Modal Nodes have quickly become one of bass music’s most intriguing emerging projects, pairing a mystery-led identity with a sci-fi visual world and a sound tied to their fictional origin story. Their latest dual release, Destiny and Jawa Dub, gives the project two different entry points, with Destiny connected to their first shows and Jawa Dub rooted in the alien narrative behind Modal Nodes. In this interview, Modal Nodes discuss the concept behind the project, the brutalist architecture that influences their identity, recent support from Subtronics, and what may come next as their presence in bass music continues to grow.
Modal Nodes have quickly become one of the most talked-about emerging names in bass music despite still remaining anonymous. Was the mystery always part of the project from the beginning, or did it evolve naturally alongside the music?
Modal Nodes originally started out as an abstract concept on our home planet. It wasn’t anything serious to begin with, but has since progressed farther than we ever expected.
Your latest dual release, Destiny and Jawa Dub, showcase two very different energies. What inspired the direction behind each track?
We wanted to showcase the duality of what we’re capable of within one musical project. Destiny was inspired by our first shows, and Jawa Dub was inspired by a xenos race we encountered in our travels.
There’s a strong cinematic and sci-fi-inspired feel behind the music and visuals. What are some of the biggest inspirations behind the world of Modal Nodes?
Our sound and appearances come from the far reaches of the galaxy. We’ve taken a lot of inspiration from the brutalist architecture on our home planet, it plays a massive role in our identity and our sound tries to embody this.
You’ve already received support from major names in bass music, including a recent co-sign from Subtronics during Coachella and custom visuals at his sold-out Red Rocks headline. What has it been like watching the project gain traction so quickly?
It’s been incredible to see someone with such influence as Subtronics play our music out. We have never received this type of appreciation where we’re from. It’s been very rewarding seeing it received so well here on Earth.
Your early live appearances at events like Rampage in Belgium and Northern Invasion in Montreal are major milestones for a developing act. How has the live response compared to what you expected when starting this project?
When we first started the project we never considered the idea that we would have mistakenly arrived on this incredible planet. It came as a shock that humans were so receptive to it, and so far it’s been a dream come true. We are incredibly grateful.
Without revealing too much, what can fans expect from Modal Nodes as the project continues to evolve?
A lot more music, shows, collabs with great artists, merch and possibly something considered to be unnatural.
Thanks so much for taking the time to speak to us, is there anything else you’d like to say to our readers?
Thank you for all the support. We’ve only just begun.
As Modal Nodes continue gaining attention in bass music, the project is doing more than relying on anonymity alone. Destiny and Jawa Dub point to two different sides of their sound, while their sci-fi identity gives each release a wider concept to exist within. The references to brutalist architecture, distant planets, xenos races, and “something unnatural” also show that Modal Nodes are treating the project as a full creative world, not just a run of singles. With early support from Subtronics, appearances at Rampage and Northern Invasion, and more music, shows, collaborations, and merch ahead, the project is still in its early stages, but the direction already feels intentional.
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