Beat Street

If we think of breakbeat itself as a clever young entrepreneur riding the mid-nineties storm of musical confidence, then the noughties saw our kick-snare hero down on his luck, relegated to niche nights and backstabbed by the electronic community at large.

The sweeping modern success of Baltimore, dubstep, experimental glitch and even disco as sub-genres owe much to traditional breakbeat, something Jason Laidback of UK breaks alumni Slyde acknowledges."That's it - it's no longer a dirty word," he says. "Breaks is having a bit of a resurgence in the UK, it's big in Spain and Germany, the Lady Waks parties in Russia are huge, but you hit the nail on the head ... it just hit hard times when it shouldn't have. It spawned a million little sub-genres, so I'm happy that it's starting to make headway again.

"The future garage stuff is inspirational, as is the crossover between techno, rave and dubstep. I'm not really into the slow rinse dubstep, but the faster, broken stuff is great and is really breaks to me, just under another sub-genre. People seem to like to do that when something new comes along. The producers Martyn and Joy Orbsion are doing good things. Kode 9 is pretty cool, his DJ Kicks mix was tasty. My staple favourites are Stanton Warriors, Deekline and the Plumps when they play breaks."

Slyde recently joined Fingerlickin' Records, arguably the most successful and enduring of all the nineties UK breaks labels. "It’s the best, most consistent label that's ever been about in the breaks scene. Some of the best, biggest artists and tracks have been released on that label over the years and it's a total privileged to be associated with it.

“I like to think we're flying the flag well for them. People have splintered off doing their own digital labels now - we're doing Slybeats - so everyone's sort of in control of their own destiny, which I quite like. I'm enjoying having control of what and when we put things out ... we're looking to release something every six to eight weeks this year.

“An album? I'm not sure ... people's attention spans aren't what they used to be, and people tend to cherrypick albums for their favourite tracks. I'll give the dubstep kids props, they seem to have the patience to sit down and listen to a whole album.”

Jason's earliest exposure to electronic music was an orgy of old school, an influence that shines through the layered breaks he creates. "Early days, right back in the eighties. I saw the film 'Beat Street' and really got into Afrika Bambaata and all the early electro coming out of New York alongside Run DMC, early Beastie Boys and LL Cool J, and then onto Chemical Brothers ... The first gig I saw I was about 15 and I saw Run DMC in Camden, their first ever UK gig. Inspiring times, man."

After two banging shows in Sydney and Melbourne followed by a decent bit of downtime, he's amped to show Brisbane what's up his sleeve. "Australia's always a great place to play. I'm out here by myself this time; Rob's in Miami at the music conference. Last time we came out it was Parklife with the Plumps, and that chunky breaks sound really works at a festival. Every track I'll be dropping this time around will be brand new, fresh remixes and re-edits and only a few Slyde singles get played that have been released - there will be a lot of unreleased stuff and I think that's what makes it special.

"I'm not a fan of Serato, I tend to think you should take tunes with you and make the best of what you've got and you're not cheating, bringing your whole bloody collection with you. We've used CDJs for a long time now, and I really like what I can do on them, little tricks and doubles and loops and samples.”

Slyde play Barsoma March 26.

Unstoppable

Like any dedicated musician would say, practice makes perfect, so sitting with your guitar, keyboards or in front of a computer screen 24/ 7 is what needs to be done in order to get it right, which is why DJ Eko is where he is today – on his way to the top.

For a Sydney boy who would come home from school every day to play with the turntables until bedtime, is an obvious sign that DJ Eko was destined for great things before he even began his career. Now an international name, Eko has come so far yet still has plenty more to accomplish before his days are over.

“When I was in high school, I went to a few house parties and they had DJs there and it just got me really intrigued, watching them and then I started looking into it, and didn’t really know anyone that was sort of into the same thing, so I just went in and I did it myself and taught myself everything, and just watched videos and tried to copy them.”

His career highlights range from meeting and working with Proof (R.I.P) from D12, appearances on MTV, and touring with Nelly and Cypress Hill. But his originality and self-taught techniques are what separate him from the rest.

“I think it’s my turntable ability I guess, and my track selection; I come from a DJ battle sort of background, so all of the technical turntable trickery and my track selection. I try to cater for everyone and I try to educate everyone through my set as well with new music or old music they haven’t heard in a while.”

Competing in battles and competitions since 2003 has led the hip hop music junkie to work with numerous Australian and international acts as well as working on an EP and producing, yet he tells me he never thought he’d end up here.

“I didn’t think it was going to be like this ... I didn’t think I’d ever open up for certain artists like internationals, but being in the industry and knowing the people that you meet throughout your career sort of just elevates your career, which is awesome, it definitely helps me!” he laughs. “I’m just very fortunate that I’ve been able to make it as a career for myself, as full time job, which I love. I get to do what I love doing every day.”

CATCH DJ EKO ON THE RNB SUPERCLUB PARTY ANTHEMS NATIONAL TOUR. THE COMPILATION CD IS OUT NOW.

HipHop Hooray

Rogers Room is one of the freshest DJ duos kicking around Sydney at the moment. Experimenting with old school hip hop sounds, the pair (Luke Calder and Smart Alec) have recently expanded into production. “We’ve just finished our first original track with a crew called Hey Now … I think it’s something to help us move forward.

I mean, there’s so much competition in the DJ industry, it’s hard to distinguish yourself. We’ve always prided ourselves on the fact we can play lots of different genres and mix up our sets and keep it entertaining. But I still think you need to have production,” Smart Alec, aka Alec Brown, says.

With audience demand comes a fresh sound for Rogers Room, who have been going back to the good ol’ days with last decade’s hip hop beats. “We’ve recently turned to hip hop because one of the top clubs in Sydney at the moment is called ‘theclub’ and they kind of have an old-school hip hop policy. So that got us playing all our old year-ten house party records, and that’s just helped us broaden our skill set. It adds another dimension to our live set.”

Known for their ability to play just about anything genre-wise, and their love of an assortment of sounds, dabbling in hip hop is a lot of fun for the duo.

“We also enjoy house, and big room, all the doof doof. But I’ve enjoyed playing all these hip hop songs because all the chicks and a lot of the guys like partying and remembering and singing along to these songs from years back.”

Aside from theclub, Rogers Room also frequent White Revolver and Soho, two Sydney hotspots where they hold residencies. “We love what we do, we play all the time, as many gigs as possible … we’re doing six or seven gigs a week and we’re playing at least four nights a week around Sydney.”

A twist of fate gave Rogers Room a support slot alongside Peaches in the party-mad Indonesia. They obviously impressed and have been asked back to tour at the end of this month. “We’ve got two shows in Bali, two shows in Jakarta and a show in a place a few hours out of Jakarta … they’ve got the craziest party scene. The clubs they have over there are absolutely wild. It’s the craziest thing, people just go absolutely nuts.”

ROGERS ROOM IS PLAYING A HIP HOP SET AT GPO ON FRIDAY OCTOBER 22.

Market Watchdog

Combat Wombat DJ MonkeyMarc dropped his debut album ‘As The Market Crashed’ December 1 last year through Omelette Records.

MonkeyMarc has had the debut on the boil for quite some time. He explains the album's context as well as the ideal behind it. "It's been about two to three years working on it but some of the tracks are almost six years old. The whole concept behind it is the stock market crash and the ass end falling out of the banks over the last couple of years."

It's a concept ripe for exploration as MonkeyMarc has employed an assortment of vocal snippets to illustrate his stance on the phenomenon. "I think it's ridiculous really to bail a bank out with taxpayers money when the banks were originally taking individual's and poor people's money down at the same time. I think it's a tragedy really, especially what's happened in the States."

The DJ is ready and willing to put forth his ideas about the shape the world is taking over the past couple of years. It's a truly global and bold move to attack such a topic with a collection of refined hip hop and dub instrumentals.

Indeed, 'As The Market Crashed', in itself, is a testament to the potency of globalisation. MonkeyMarc elaborates on the story of how the mixing and mastering processes were a very literal journey. His hand was forced by the timing of some festivals. in Germany and England. "Well basically I recorded the whole album in my studio in Melbourne. All the recording and the first half of the mixing was done here. I ran out of time because I put in for a few overseas festivals. They accepted me but I only had three weeks to get over to Europe. I had to book the ticket and started asking around for engineers. I luckily found a great place in Paris, although it sounds very romantic, it was purely incidental. I then went back to the UK and asked around for mastering and found a place just down the road from where I was staying in London which just so happened to be where all the big UK dubstep producers get their stuff done."

MonkeyMarc might be forgiven for feeling the pinch of pressure following this whirlwind tour of album completion but as he explains, the response thus far has been pleasant. "It's been a really good response. Melbourne has probably had the biggest response so far with Triple R radio making it their album of the week, that was a real plus for me. It's also been getting a bit of play on the old Triple J. It's starting to get some editorial from a couple of reviewers overseas as well, in San Francisco. It's had a bit of an international flavour to it which has been quite a surprise really."

Fans of Australian hip hop music would be familiar with the level of stigma from overseas fans and critics, particularly in the US, towards the idiosyncrasies of Australia's take on the genre. However, if one were to postulate about a possible breakdown of this ignorance, you would have to think producers will be the first to bridge the gap given the obvious; music's global nature. MonkeyMarc articulates his perspective on the matter. "You can't really go on about beer and barbeques for the next ten years and expect that Australian hip hop to advance anywhere special. I think people from overseas really want to see an educated emcee talking about their country for sure, but also something that they don't know about. Maybe educate them whether it be a political education or some sort of social commentary on what life's like in say Brisbane."

Aside from his overseas live aspirations, MonkeyMarc has his sights set on a national tour. "Yeah at the moment I've got my album launch happening in Melbourne, February 11. I'm slowly planning a national tour hopefully in March, April. Hopefully be rocking up towards Sydney and Brisbane so that's the main plan. I'll possibly be doing a gig in Alice Springs in April as well. It takes a while for word to get out, especially with an instrumental album."

‘As The Market Crashed’ is out now through Omelette Records.

Independent MC

There's no escaping multimedia superstar Lyrics Born. The hip hop veteran is everywhere from radio and TV to the internet and computer games. One of the most licensed hip hop artists in the world, the music of Lyrics Born has featured on ads for Diet Coke, Motorola and Nokia.

Fans of the TV shows 'Gossip Girl', 'Six Feet Under' and 'Gilmore Girls' will also be familiar with his work, and he has featured on soundtracks for computer games produced by EA Sports and Atari. Not bad for an independent artist who also does voice overs for The Cartoon Network and runs his own online radio station, YouTube channel and Twitter account.

“Ten years ago when I first started making albums and touring it was nothing like this,” LB says of his cross-genre success. “There's an instant connection with the people following me and my music and they have an instant connection with me. I don't have to rely on labels or any other 'machine'. I have far more control. I can release singles when I want and videos when I want.

“I've been very fortunate because I've had great success, but it's challenging because I've always been a creative artist and that's why doing these things has been incredible. I can do all the things I want to do without having to constantly convince people to take me on and do the job for me. It's thrilling, it really is.
“The world that we're living in now allows me to do all those things. I can produce, write, rap, do voice over work, act. It's just an exciting time to live in.”

With so many different projects on the go, LB is conscious of avoiding burnout. â€œI used to be the guy that just said 'yes' to everything, but I've realised that I have to prioritise things and do what makes sense. In every endeavour, no matter what I do, the music always comes first because it's really what drives me creatively and it's what drives my career. Without it, none of the other things would ever had a chance.”

LB returns to Australia early next year to play songs off his upcoming album 'As U Were'. The follow-up to the 2008 hit 'Everywhere At Once' has been heavily promoted online and is set to drop in the first quarter of 2010. â€œThe reception so far has been really, really great - it's been fantastic. I've dropped three singles so far and we're getting ready to drop another one in February. The way in which we've been doing it has been great and we're doing it all our own way, as an independent.
“I've never really cared if my records came out on a major or independent label, the only thing I cared about was that I could still make the record. If a major label were to come along tomorrow and say 'hey Lyrics Born, we want you to sign' I'm like 'okay, but you know what you're getting yourself into here, right?'”

With a back catalogue of hits featuring the singles 'I Changed My Mind', 'Callin' Out', 'I Like It, I Love It' and 'Hot 2 Deff', LB has enjoyed solid support from Australia. His first live album, 'Overnite Encore: Lyrics Born Live', was recorded in Sydney and Melbourne and he is a regular on the festival circuit. â€œI think Australians just love to party and so do I. I think there's a certain part of my music that kind of caters to that. I love all the cities, they're all special in their own way. I played Splendour In The Grass last year and that was just amazing, I had a great time.
“I travel all over the world and I do consistently come back to Australia and I'm very thankful that I have so many supporters in Australia. I don't know what it is about Australia, but great bands have always come out of Australia and great actors have always come out of Australia. For such a small country it's just amazing to see what has been produced.”

Lyrics Born plays the Beach Hotel on January 6 and The Hi-Fi with Ugly Duckling on January 8.

Managing The Schedule

It was earlier this year that Disko Diva rolled into the Brisbane club scene like a perfect storm. Having made a name for herself on the other side of the Tasman with her blazing take on funky hardhouse, she's quickly built upon that success working the busy Fortitude Valley nightspots.

“To be honest, it's crazy to think that six months have passed,” laughs Melissa, as her landlord knows her. “When I first came I based myself out at Cleveland, just having a bit of a holiday, but before you know it I'm trying to live as close to town as I can because I'm playing every weekend and honestly it's just been crazy. It's already December - what's the deal?!”

You can understand the disbelief: Melissa is kept busy with her residencies at The Met and Planet, while she also plays regularly at both Birdee Num Nums and Limes Hotel. â€œAt the Met I'm resident in the main room, which has a fairly commercial focus, but then I also play sets down in Coco booths that focus more on the b-sides of the tunes - it's what's on the other side of the vinyl and a little bit different and a little bit underground. People are going down there more to appreciate a slight change in the music rather than just dance to stuff they know in the main room.
“With my residency at Planet I can sort of mix both the styles - it's a bit more underground with the commercial stuff mixed in because they've really only got the one room.”

Melissa's approach to mixing has changed over the years, becoming a lot more organic. Where she once tried to plan her sets, experience has given her the ability to work much more on the fly. â€œBack in the day I probably used to mentally plan my sets a lot more than I do now. I'd say to myself, 'I'm gonna start with this one', and then as soon as I got up there I'd be like, 'No, let's do this one!' You always just have to roll with what's happening because sometimes you think, 'Oh, the crowd’s going to love this', and then you can see them standing there scratching their heads. But after that you might try a different angle and before you know it the dancefloor's full. You just have to roll with it tune by tune.”

A big part of Melissa's professional life since moving to Brisbane has been the monthly 'Sex And The Valley' shows at Planet. Packing an all female DJ line-up and providing free entry for the fairer side of the species, the nights have proven a massive success. â€œYeah, they're are doing really well,” says Melissa. “I think it's awesome that Planet has set aside a monthly night to dedicate to the girls playing and the girls coming in. It's free entry all night for the ladies and then the guys come because there's going to be a bunch of girls there, you know what I mean?! On those nights many girls say to me, 'It's so awesome to see a girl DJ playing'. So I think that a lot of them come in and feeling all 'Go girl!' without actually saying it. They really are fantastic nights.”

While Melissa may have built her reputation on house music, she's the first to admit her style has changed in tune with the diversifying tastes of her audience. â€œI think it probably has. It's just new styles and time progressing. I think back to when I was first DJing and I was just playing funky house and that was the main dance floor style. But now the tunes are a little more staccato and a little more jagged in their feel. You look at how people shuffle around on the floor - just the way people dance is very different.”

And while Melissa may be busy, it doesn't look like things will be getting any quieter in 2010. â€œI'm going back to Auckland for New Years, and then looking at 2010 I'm doing another two weekend tour in New Zealand. After that I'm hoping to get down to Sydney and Melbourne before I head off to Thailand at the end of February, so it's all go!”

Disko Diva is resident at Planet every Friday and The Met every Saturday.

Mr Nice Guy

Chance Waters - aka Phatchance - is a young MC from Sydney who’s been honing his talents for some time now. After what seems like an eternity, his debut album, ‘Inkstains’, dropped recently after being picked up for distribution by Obese Records.“The response so far has been overwhelmingly positive,” Waters says upon being quizzed in regards to the album's reception.

He goes on to describe the phenomenon of polarisation invariably generated from bold artistic forays. â€œThere have been some mixed reactions though. I guess when you do an album that's different to a lot of Australian hip hop, a lot more personal, you're opening yourself up to some criticism. There are always going to be people who don't dig it and people who it really appeals to.”

The personal nature of ‘Inkstains’ is perhaps the most prominent characteristic of the release. Waters crafts verses that candidly discuss all manner of distressing circumstances, from an alcoholic parent to the bitter demise of a 'first love'. So does he agree the introspection is the cornerstone of his lyricism? â€œDefinitely. I like the idea of doing stuff that is relevant to me personally. I think with a debut, it's very easy to talk about experiences that have brought you to the point you're at when you're creating that album.”

Waters is frank when explaining the nature of the album and the potential consequences of pursuing such a style. â€œIntrospection is a very big part of my work. There’s going to be some people who will want to connect to you personally and there will be some people who will find it self-indulgent - that's the difficulty of doing a release like this.”

It’s refreshing to encounter a youthful artist with the capacity to view their music from a reverse angle with a well-founded perspective. Many would struggle to take that step externally; to give commentary on the impact of their nuances as a recording artist.

Though Waters is not always completely self-assured. Tracks like ‘I Don’t Know’ communicate an insecurity about the craft, no doubt a product of the long wait preceding ‘Inkstains’ release. The MC displays further intuitiveness in articulating the post-release experience. â€œThe more something is exposed to the public, the more bad criticism and the more good criticism you'll get. You're really just looking for people who want to connect to the energy you're putting out.”

‘Inkstains’ is available nationally through Obese Distribution.

Made In Heaven

Considering the amount of you lovely ladies who get out on a weekend and shake yo money maker, it's surprising how few of you can be found up there in the rarefied air of the DJ booth - one kickass exception to this rule is Sydney's very own Miss Match who doesn't so much break glass ceilings as make them vibrate and hum to her own special groove.

How’s does a country lass like yourself get into house music?
I grew up in Tamworth (yes the Country Music capital of Australia) though I came to Sydney a fair bit for modelling when I was still in highschool. So I started getting a taste for it then, but really fell in love with house music when I actually moved to Sydney at the age of 18. Definitely a late bloomer but I like to think that I had fresh approach and energy that wasn’t drowned out by partying my youth and hearing away.

What in your mind are the key ingredients for a killer club track?
At least one or two massive breakdowns, doesn’t necessarily have to have vocals BUT there needs to be something very infectious to make it stand out and be remembered amongst everything you hear that night. Dirty bassline of course, and introducing a whole new sound, tempo, key or style is what I think makes a fresh killer club track.

Is dance music a bit of a boys club?
Well yeah, it is still a predominately male industry, but females are always coming up through the ranks. I think we bring a breath of fresh air to the scene with a varied angle of entertainment and performance behind the decks. Obviously there are differences in what people see, but personally, I think females have a better edge of being able to read a crowd thus the energy and what people hear and absorb is slightly different. Technique, musical background, preparation, music choice, personality and experience are always dependent on the individual though – no-one is purely a better DJ due to being a particular sex.

People can catch you on your regular Thursday night NRL Footy Show stint – how did that come about?
It came through Groove Academy, one of the agencies I am respresented by here in Sydney. Basically The Footy Show was after something a bit different so thought to try their luck with a female DJ. So far it’s been great, a lot of fun and the exposure has been wonderful too.

Miss Match plays the Coolangatta Sands Hotel Saturday September 5.

Indian Goat Cheese?

On tour with Grafton Primary and Cassette Kids, Sydney DJ collective Hey Now DJs aren’t afraid to spice up clubland. You can find the likes of Martin Solveig, Mark Ronson and Hot Chip within a usual Hey Now DJ set. The Godfather helps us dissect the madness that is a Hey Now performance.

So we're told you guys are on tour with Grafton Primary and the Cassette Kids; so out of you three, which act likes to party most?
Well everyone is quite the partier so far, but we've actually decided to make the Brisbane night the deciding force in crowning the party kings of the tour. I can't go into too much detail but I can tell you that it will involve a Twister board, a football helmet full of goats cheese and a small Indian child.

You're making a minor detour on this trip with the Grafton Kids to play Monastery; are you packing a different flavoured set for this show?
Absolutely. The focus on the Grafton tour for us is to complement the bands so we play to set-up the vibe. Monastery will feel the full force of the musical equivalent of sexual frustration. We’re going to come out guns blazing with a mountain of energy. Add to that I will be covered in goats cheese with a small Indian child tied to my chest and it should be memorable.

Can we expect you to drop the 'Baywatch' theme mid set?
Hahaha! Ever since our ‘Gaywatch’ megamix years ago people still request that song to this day. Since you asked nicely... no... ...ok fine.

What's been the strangest encounter you've faced whilst on tour?
Disc Jockey Hansom and myself went to see a movie in Hobart and got lost in this little town. We ended up getting a cab ride with a 50-year old woman who also worked as a prostitute out of her cab and was offered money by a dude while we were in the cab. That reminds me... Disc Jockey Hansom owes me 300 bucks!

Supporting the likes of The Presets, Felix da Housecat, Switch; does it boost your confidence to play in front of those kind of cats?
Yeah it does. You can get very complacent performance wise if you play the same places every week. We are lucky enough to always be playing to new crowds. Also getting to play with some of the people who inspired us to start DJing in the first place is also a big honour.

When you're watching other DJs perform, what's the one thing that makes you cringe the most, where pure hatred boils over and you have to give them a verbal spray?
I once saw a hard house DJ at a festival that will remain nameless, play an entire pre-recorded hour and a half set to a huge crowd and just pretended to twiddle the knobs. I'm sure this probably happens more than I'm aware of, but this guy was just SO happy with himself. I didn't give him a verbal spray but I did spit my Long Island ice tea all over my brand new jodhpurs.

Further to that, have you ever been compelled to jump in a DJ booth and grab the headphones and take over another DJ's set?
No, never had the urge to do that. But I do break into a lot of DJs houses and take over their identities. Just call me Tommy ‘Trash/Trumpet’ Van Goodwill... Dance legend!!

One of the photos on your MySpace has you guys looking the part in leather jackets - what constitutes a kickarse jacket that not only looks good but is equally practical?
Wow, there’s a lot of leather in that photo isn't there. I assure you it wasn't planned. Our manager begged us to not wear the leather chaps so I guess we compensated. A good leather jacket has to be wearable after a big night on tour but can still say "hey... I dig the Bloody Beetroots, I'm cool right?".

Hey Now DJs support The Galvatrons and Cassette Kids at The Zoo September 5; they then back-up later that night at Monastery.

$100 Tipper

Miss B is not only a self-taught talent, now she’s one of Sydney's premier and most versatile female DJs. Not only does she grace the decks with energy and attitude, she runs a successful artist management company on the side. And she is far from stopping.

On her upcoming gig at Planet (her first time playing in Brisbane) she had just a few words on what to expect. “One hell of a crazy night… look out!”

To expand a little, Miss B describes her sound as unique and diverse. “Basically what I am playing at the moment is the mainstream club house and also the progressive house - I play everything from your funky house through to your techno and high energy, believe it or not.”

With a reputation for playing killer sets, I had to ask what's her key to being such a crowd-pleaser. “Just watching what your crowd wants, you know testing the waters obviously to see how far you can go with the sound that you bring. I've been told that you guys like it quite dirty up there so that's a good thing.”

Dirty indeed. Though she's never ventured to Brissie, Miss B is psyched about venturing north of the Tweed. “From what I hear it's more underground so I'm kind of drawn to that, which is great, but I'll see when I come up there.”

Working as a DJ in a profession that is very much male dominated, I ask how Miss B handles it. “I think there's a been a real shift in the industry - now there's a lot more female nights and there's a lot more focus on girls out there. I mean in this last year there's been a lot more gig offers and opportunities for female DJs. So I'm all for supporting the females!”

Not only is Miss B an admired DJ, she's an accomplished businesswoman to boot. With her artists management company and a production business in the making, what can't she do? “I've just set up a business where I look after some international artists and their Australian bookings. That will lead in to overseas bookings once my connections get more established overseas. It's turning out to be quite successful.”

But she's not one for standing still for too long. Expanding on her DJing, Miss B is itching to get amongst the production side of the industry, working one of her own clients to learn the ropes. “I'm looking at organising an Australian tour for DJ Booty. He's worked with a lot of big artists and we've become quite good friends now, so he'll be the master and my ears and my eyes as I learn to get through the programs. Slowly but surely it's happening, the ideas are there.”

And aside from excelling in the corporate world, Miss B has a few musical collaborations up her sleeve. She is one busy woman. “I'm collaborating with a few local people here, another female, which is great. She's a vocalist so we're going to work on doing some underground sounds and see how that goes.”

Being a DJ with the repertoire of Miss B's, has lead to some pretty awesome experiences. “The opportunity to play in Ibiza last year was just the most amazing and life-changing experience as far as music comes. I've really seen the club scene over there, which was crazy, absolutely crazy. But you know each gig brings its own unique experience. Like the other night I was working at the Bank Hotel and the crowd was going off, and this woman just came up and handed me a $100 bill and said 'here, you deserve it, you're going off'. It's just the best job in the world basically, it's unreal, I love what I do.”

Well, she's a woman with the world at her fingertips. With a huge tour planned for next year, this Sydney DJ is not holding back. “Next year I'll be touring, going back overseas, in the UK, Ibiza, Dubai, Singapore and some other places in Asia, which is pretty exciting. So I'm very busy but I love it. Not many people are lucky enough to have something like that in their lives.”

Miss B plays the Sex and the Valley night at Planet Friday September 4.