My first release was a rework of Post Malone’s “Congratulations,” which gained strong support from Cloonee – he still plays it in sets to this day. The track picked up traction quickly, giving me a solid platform to build on. I capitalised on that momentum by releasing monthly edits that have continued to drive steady, organic growth in both followers and genuine fans. It’s still a crazy thought that everything kicked off with that first release but it set the tone for what was to come.

When producing tracks that include samples which might be difficult to clear, I’m usually left with a couple of options. My first instinct is to submit the track to well-established labels. However, in some cases, labels can be hesitant or unwilling to go through the sample clearance process. If that’s the case, I’ll usually choose to self-release the track on my SoundCloud. I’ve found that self-releasing tends to generate stronger engagement than releasing it on an insignificant label that will do the work for me.

I always invest $10–25 USD into Hypeddit promotion for each track to give it that extra push. In my opinion, attaching a Hypeddit gate is essential for the success of free edits — it helps build traction and reach new listeners. On the YouTube side, I’ve been fortunate that most of my SoundCloud free edits are consistently picked up by Musicon, a channel with nearly 150K subscribers. It’s an incredible privilege to be supported by such an influential platform in the scene, and it motivates me to keep creating free downloads that are easily accessible and aimed at reaching an even wider audience.

With tracks releasing on respected labels every month through to the new year, the growth I’m seeing is undeniable. The steady stream of DMs from fans sharing their support and purchases means a lot to me. On SoundCloud, the follower boosts I get through Hypeddit gates with each release give clear proof that my music is reaching new ears. The overwhelming global response and positive feedback keep me motivated to keep creating and sharing music that connects with people around the world.

It still feels surreal knowing that some of the biggest names in the scene are playing my music. In the past 48 hours alone, I’ve received video support from the legendary Gordo and a huge play from Sosa UK during his Creamfields set. Receiving that footage was an unforgettable moment. A year and a half into producing full-time, I never imagined things would move this fast. What once felt like luck now feels like purpose, I truly believe in myself and know I’m in control of my path.

My playbook derives from previous vigorous research of contacts. I have spent countless hours finding emails and trackstacks to submit my music and as a result my regularity of promos and support has created receptiveness from big artists often sending a thank you email back, something I never got when I first started reaching out.

At the end of the day, music is also a business and all the support in the world doesn’t mean much if you can’t get numbers through the door. I was lucky enough to be invited to dinner with two major figures in Sydney’s nightlife and hospitality scene, where they pitched the idea of launching my own event, using their venues as a platform to break into the city’s club circuit. That first event was a huge success, coming just shy of selling out the venue — and I’ve got some massive news dropping soon about the next takeover.

The gap I knew I could fill was in the music selection. Beyond playing my own unreleased tracks, which always do well, I’ve built strong relationships with artists around the world who send me exclusive IDs. I’m passionate about bringing that sound, the kind of music you’d hear in Ibiza or major cities in the U.S. — directly to dancefloors here in Australia. Being able to perform a set that’s impossible to Shazam is rare, and I feel privileged to do it while spotlighting both my own upcoming releases and the work of other talented producers.

What draws me to creating a remix or edit is always the timelessness of the sample. I’ve never been interested in chasing trends or riding the wave of what’s hot on TikTok — funny enough, I’ve never even downloaded the app. I’m not trying to be a TikTok artist or DJ. From my experience, timeless music is the real key to longevity and success.

A great example is my upcoming collaboration with top Italian artist Niine. Our track “Never Leave” drops October 2nd on highly respected UK label Gritty Records. The sample we used, “Never Leave You” by Lumidee, is one of those iconic tracks that never fades. It’s been remixed countless times, but what sets ours apart is the execution and vision behind it. We put real attention to detail into crafting something fresh and powerful, and the response has been huge — the track has already been played at major events like Metamorfosi, Elrow, and Creamfields. And I believe the hype is far from over — all because the sample itself is timeless.

That’s what keeps drawing me back to edits and bootlegs, taking something iconic and reimagining it in a way that connects across generations.

You know it’s a Sohail Godwin track by two things: the percussion and the drop. I play one of the most complex instruments in the world — the tabla, a South Asian percussion instrument you may not know by name, but you’ve definitely heard in films or soundtracks. My drums speak for themselves. I carefully craft each percussive element to have its own space, creating a dynamic call-and-response that makes it nearly impossible not to move to the rhythm.

Over the past few months, I’ve also locked in my signature drop — a consistent formula that’s now become part of my sound. It features a reverse crash, a quarter-note snare roll, and layered impacts built from my custom rack that no one can quite replicate. DJs and listeners alike will start to notice this evolution as my upcoming tracks roll out.

It’s time all the support I’ve been receiving translates across every platform — and I can’t wait for everyone to hear what’s coming next.

Cloonee was the reason I started making music. His sets, his branding, even the way he presents himself — it all left a huge impression on me. I’ve been wearing his merch, tagging my gear with Hellbent stickers, and even have a Hellbent car scent — his influence is everywhere around me. I’m fully manifesting a release on his label one day. That’s a milestone I’m working toward with everything I’ve got.

Another artist who’s had a massive impact on my sound is Cyava — a Spanish producer who might fly under the radar here in Australia, but deserves way more attention. His tracks are minimal yet powerful, with a hypnotic groove that’s shaped the direction of a lot of my recent work. Right now, I’d say he’s my favourite artist — his sound has played a huge role in my evolution.

A quick shout out my mentor Waitforme (Kirk) from the U.S. We’ve got five collaborations on the way, and I honestly believe they’re some of the best music I’ve ever made. He’s helped me level up in so many ways, both technically and creatively.

My third and final artist I would love to collaborate with are The Martinez Bros. These guys personify aura. The way they perform their style, their sets, their fashion – basically everything about them is just on another level. Collaborating with them would be a dream come true.

If there’s one plugin I’d defend with my life, it’s Endless Smile. I know Bass Kleph’s Washout essentially does the same thing, but Endless Smile has become a staple in every single track I make – whether it’s on vocals or the groove. I genuinely don’t think my music would sound the same, or be as successful, without it.

The best DJ advice I’ve received this year came at Vancouver Airport, of all places – on my way to Miami. I happened to be on the same flight as techno legend Danny Avila. We ended up having a great chat about music, life, and everything in between. One thing he said really stuck with me: “You’re not as far away as you think you are — and artist support matters.” He elaborated on both points, and I’ve really taken them to heart. Looking at where things are now, I feel like that advice is starting to prove itself true.

As for dream clubs it has to be Club Space Miami. I partied there earlier this year, and it was an experience like no other. I made a promise to myself that one day, I’ll play a main set there. Maybe it sounds delusional, but it’s that same delusion and obsession that’s gotten me this far in such a short time. Honourable mentions: Hï Ibiza and Desinofive both absolutely unreal.