Emerging as one of the most exciting talents in the electronic music scene, ESSEL has quickly established herself with her distinct blend of tech-house beats and catchy vocal hooks. Based in Liverpool, her music is deeply influenced by the city’s rich club culture, where she honed her sound in venues known for their minimal and tech house grooves. Since being discovered by Toolroom through their #WeAreListening platform, ESSEL has released several chart-topping tracks, including “Lennon” and “Sweat,” which have resonated with both fans and critics alike.
In this interview, she discusses the evolution of her sound from early releases like “The Franchise” to her latest track “The Edge,” her creative process, and her recent collaborations, including the infectious single “Move” with Meryll. ESSEL also reflects on her journey with Toolroom, the importance of diversity in her collaborations, and advice for emerging producers navigating the electronic music landscape.
How has your sound evolved from your early releases like “The Franchise” to your latest tracks such as “The Edge”?
Oh my God, “The Franchise,” what a track! I still play it in my sets now. I wouldn’t necessarily use the word evolved, as it’s not a departure from what I usually do. Considering tracks like “Sweat” and “Lennon,” they share the same vibe as “The Franchise.” However, I do enjoy being diverse in my productions, as evidenced by tracks like “Vibration” and “The Edge,” which are crossovers that offer something for everyone. I tend to create based on what I feel, not what people want, and I’m just happy that this translates well.
How does it feel to collaborate with Meryll on “Move,” and how did the fusion of your techy beats with her distinctive vocals shape the final track?
I was always a fan of Meryll from afar, so when the chance to work together on a track came up, I jumped at it—this vocal is a killer, just what I like, cool sleazy house sound!
With “Move” marking your second release of 2024 on Toolroom, how do you see this single building on the momentum from your recent Beatport #1 hits, “Lennon” and “Sweat”?
I just love working with Toolroom; it genuinely feels like one big family, and they totally get me as an artist. I hate to predict how tracks will perform, but there definitely feels like a really strong, buzzy vibe on this one, so fingers crossed it does half as well as those other two!
Could you describe your approach to blending catchy vocal hooks with driving dance beats, and how you balance creativity with club-friendliness?
I tend to start with a vocal that I like. Vocals can provide a lot of inspiration, and to be honest, many of the vocals I use come from Splice—it’s a great platform for inspiration. If you find a great vocal, it will fit well with a track, especially one with a heavy drop.
As a Liverpool-based producer, what influence has the city’s musical heritage had on your work?
Growing up in Liverpool meant that I frequented clubs in Baytown that played minimal house. This music featured lots of quirky leads on top of heavy kick sub-bass, which used to send my mind into overdrive. I absolutely lost my mind every weekend to this kind of music, so it has definitely influenced the way I create my heavier tracks.
Having been discovered by Toolroom through their #WeAreListening platform, how has this initiative helped you develop your craft and navigate gender diversity issues within the electronic music industry?
Firstly, I didn’t see gender diversity as an issue. If I did, I would encounter issues in every direction, so I stopped paying attention to them and focused on my goal: creating something beautiful that translates and helps people take that leap into becoming who they want to be. However, #WeAreListening is the reason I am where I am today. I just needed people to listen to me because I had talent and my music, but it was difficult at times to get my foot in the door. #WeAreListening provided that extra help I needed. I’m really grateful to be a female in the industry, especially now with all the hype around women and empowerment. I will be forever grateful to Victoria for coming up with the concept and to Toolroom for taking me under their wing.
What was it like debuting on Toolroom with “Love Vibration,” and how has this relationship impacted your growth as an artist?
Getting a release on Toolroom Records was a massive goal of mine. “Love Vibration” managed to connect through different genres, reaching a wide audience and translating well because of this. It has become my biggest selling and streaming track, so it’s really nice to have that as my debut on Toolroom.
How does Toolroom align with your artistic vision, and what stands out to you about its community?
The community is something I greatly value. Toolroom events mix younger and more mature crowds, making them inclusive for everyone. The vibe is always on point, and it’s great to be part of such a close-knit group of people that I now consider family. The music they release suits my style well, as I like to put out tracks that have quite a hype and use soulful vocals. In terms of management, they represent me well as an artist, and I couldn’t ask for a better support network.
You’ve performed at venues like Printworks and Ministry of Sound. How do you prepare your setlists for different types of crowds?
You can have an idea of what you’re going to play for each event, but you’re never really sure what the vibe or the crowd will be like. It’s important to not stick to a setlist and to go off the overall energy of the room. Reading the crowd is my forte.
Your collaboration with Alex Hepburn on “I’m A Woman” has resonated strongly due to its empowering message. How do you approach collaborations to ensure they align with your vision, and how does diversity in your creative partnerships impact your sound?
Before starting a collaboration, I usually have a vision for the track I want to create. I research and look up different vocalists I’d like to work with and envision how their sound would fit the track. My sound is very diverse, which is why I enjoy working with different artists to maintain that diversity.
Do you have any upcoming collaborations or features in the works, and what excites you about working with other artists?
I do have a few collaborations in the works with some well-respected names in the industry, some of whom are close friends, but I won’t reveal who just yet.
Could you share any details about your upcoming music or the direction you’re aiming to take?
I’ve always wanted to release a hard-hitting dance house track with a massive donk. With its resurgence, I thought it was a great opportunity to release “Straight Up” with James Hurr and Shayan on vocals. This is quite different from my usual releases, but it has connected well as I knew it would. Despite my diverse music style, I believe that if it’s good, it’s good, and genre should not matter. I am an artist and create based on feeling and emotion, so whatever comes out on the canvas is what it is.
What advice would you give to emerging producers and DJs navigating the current electronic music landscape?
Keep your head down, remember why you started, and always make sure you’re doing it for yourself!
MOVE is out now on Toolroom
The post “Always make sure you’re doing it for yourself” ESSEL interview appeared first on Magnetic Magazine.