For more than a decade, TCTS has been blurring the lines between club energy and polished production, moving seamlessly from underground dancefloors to radio airwaves. Now, with the launch of his imprint TACTICS and a string of new releases lined up for 2025, he’s doubling down on his own sonic identity.
His latest single, Take Me (Favourite Place), channels classic trance motifs with a modern, Balearic twist—setting the tone for a run of five tracks that feel connected, intentional, and built for the dancefloor. Meanwhile, his Kiss Dance residency has evolved into a platform for back-to-back sessions with names like Marshall Jefferson, Gorgon City, and Young Franco, reinforcing his instinct for shaping moments beyond just his own records.
With a packed release schedule, a growing radio presence, and an eye on international shows, TCTS is stepping into a pivotal phase. Alongside this exclusive mix, we caught up with him to talk evolution, influences, and what’s next.
Your sound has evolved significantly over the years. How has that evolution shaped your latest releases?
I guess as the scene around you shifts, and sounds get pushed in various directions you can’t help but be influenced by it – the people you’re playing with, or seeing DJ, or collaborating with in the studio. I feel like I’m always learning, becoming a better producer. I also spend a lot of time producing for other people’s projects, which means I’m surrounded by a range of sounds. To me evolution is important, I want to push myself and explore sonics. House music is a big tent, and people have wide tastes.
With this new single, what was the starting point for the track in the studio, and how did it develop?
I wanted to write something dance floor focused; quite chuggy and march-y, and influenced by some early trance records – where you have that one repeating filtered synth note that goes the whole record and the rest of the tune is build around that spine. I wanted to lean into that old school influence with the balearic vocal chants, throwback ibiza style.
Releasing a series of singles over the coming year suggests a clear creative direction. What ties these tracks together, and how do they build on what you’ve done before?
Its been a long time since I’ve worked on an EP. When I first started releasing music they were far more common, my first releases were EPs on Greco Roman and MTA records. Now that Spotify dominates everything everything has moved to more of a single by single approach, especially in dance music. Don’t get me wrong, I enjoy that – I like moving between labels depending on the sound of the track, it suits how I write. But I also missed writing a bunch of records that work together and are meant to live together as a body. These records I’m releasing through TACTICS were all written around the same time, and there is a creative through-line between them; I see them as belonging together.
Launching your own imprint marks a new phase in your career. What kind of space are you hoping to create with it, and how does it change the way you release music?
I’ve always liked keeping things consistent across projects and labels – whether its a mastering engineer, or a designer, etc I think it all adds to the 360 view of an artist – its part of the sound. I’m hoping for this to be a space for purely my music where everything feels like it belongs together, where it feels like a natural fit.
Your residency on Kiss Dance has grown into a platform for collaborations and B2B sets. How would you like to see the show evolve over the coming year?
I’m really excited about what we’re doing with the Kiss Dance show – as a station theres a big commitment to new and exciting dance music, through our broadcasting, live events etc, and with this new Saturday 9pm time-slot its a perfect platform to bring in artists and jump in the mix B2B with them. We’ve already had people like Chaney, Marshall Jefferson, Young Franco, D.O.D and theres lots to come.
From Printworks to Ibiza, your sets have landed in a wide range of club spaces. Has a particular dancefloor moment ever shifted the way you think about production?
A clear one in terms of inspiration was when I was at uni in Manchester and at Warehouse Project, and someone played James Blake’s Limit to Your Love really early on in the night, as it was still filling up. Hearing that sub bass bouncing off the brick walls – music that was designed to be heard in spaces like that, I just thought I want to be able to do that. I have lots of similar Manchester memories, very lucky to be in a city like that discovering dance music. I don’t think you ever stop having poignant dance floor moments either – the next record I’m putting out is a piano lead record I wrote after seeing an incredible LP Giobbi sunset set at the Cause last summer.
Bridging underground club culture with mainstream radio appeal is no easy task. Is that something you consciously navigate, or is it more of a natural outcome?
I think its very hard to get right and really easy to get wrong, as many of us have a few times. I grew up playing guitar and piano and listening to guitar music before I discovered dance music. So that informs how I write and produce – theres always some musicality to it, a bit of pop brain coming into it – I’d find it difficult to write a super underground techno record for example, because my brain doesn’t work like that – which is why I have so much admiration for people who can. House music for me is the perfect fit, you can inject it with emotion or pull it in a certain direction through chord choices or synth sounds, but you can underpin everything with beats that make you want to dance.
Dropping 10 releases last year was a serious statement of intent. Has working at that pace changed your creative process, or do you still approach each track with the same mindset?
Last year we worked with some great labels, legendary ones too that it was surreal to see your name underneath. Personally I love being able to get music off the hard drive and released, and we stacked the schedule last year, but I think theres also something to be said for giving releases a bit of breathing room so we’re going to try and find that balance this year.
Tell us about the mix you’ve put together for us – any specific tracks you’d like to highlight?
Its a journey through some records I’ve been loving playing recently, records that have inspired me in my own releases, and a snapshot of some of the sounds I’ve been enjoying – from uplifting peak time stuff, to more chuggy moments to some more swung, minimal bits.
How’s the rest of the year shaping up for TCTS?
I’m going to keep the music coming, alongside DJ sets. In the process of sorting a US visa at the moment so fingers crossed I’ll be able to get out there soon too.
Take Me (Favourite Place) is out now on TACTICS
Tracklist:
DOUG! – Renegade 2.1
Goosey, Jamie G – Way U Move
Louden – Jack it Up
TCTS – Favourite
Jaded – Welcome to the People
TCTS – Sarge
Max Styler – Time to Go
Azzecca – Holding Back
TCTS – Desire
MK – Burning (ANDJACK Edit)
Bontan – Wile Out ft. Sura Sen
TCTS – Take Me (Favourite Place)
Loofy – Last Night (Sam Divine Remix)
Archie Hamilton – Lucky Ones
Audio Bullys x TCTS – Paperwork
Prunk – Heat (Hot Since 82 remix)
The Shapeshifters – Lolas Theme (Tripolism Edit)
Robin S x Radiohead – Show Me Everything, In Its Right Place (Justin Jay Edit)
TCTS x Hyzteria – Amnesia (VIP mix)
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