In the ever-evolving world of drum & bass, we have been blessed with so many new household names coming to the forefront of our scene over the last decade. In 2017, a producer called Michael Hitches embarked on a journey that would see him become one of the most popular names in the electronic dance world. Known to everyone worldwide as Mozey, his killer productions, and epic DJ sets, have orchestrated a meteoric rise which has shown no signs of letting up any time soon.
The eccentric performer from Essex has been the name on everyone’s lips over the last few years, responsible for some of your favourite drum & bass sets in recent times. His euphoric energy resonates with that of the old-school hardcore scene, which he took a lot of inspiration from back in his early raving days. A truly one-of-a-kind entertainer behind the decks, it’s clear to see for all how passionate he is throughout the abundance of stellar performances he’s executed. His undeniable understanding of the rave scene is a real cornerstone in how he curates his sets in the dance. In his artillery of tracks, he boasts some of the best jump-up songs in the game including, the bouncy, ‘Hands In The Air VIP’, the recently released ‘High Energy’, and the climactic ‘Run (Part 2)’ – you can expect a relentless energetic aura around each and every production.
With releases on some of the best labels around including Rinse, Hospital Records, V Recordings, and Souped Up, as well as playing at some of the most iconic venues in the UK and around the world, it’s fair to say his journey has seen him reach the very top. On the back end of his UK ‘High Energy’ tour which includes a big London show at Electric Brixton and XOYO event in Birmingham over the course of the weekend, as well as already completing sold-out shows in Southampton, Brighton, Nottingham, Bristol, and Cardiff throughout November, and a final event in Leeds coming up on December 6, we are treated to a final act of the year that will undoubtedly sign off 2024 as Mozey’s most prolific period to date. We caught up with the maverick selector taking a look back on his fascinating career, and what we can expect from him moving forward.
What influenced you to follow the drum & bass scene growing up?
Musically, I was always into alternative music. Stuff that was outside the box like metal and punk. The dance music sort of came a little further down the line. Once I was getting ready to leave school, I had a couple of mates that had started raving and that’s what got me into the drum & bass scene. I was more into the old-school hardcore stuff. My first rave was a Tranzmission one at Alexandra Palace. That was a big one to start with. In regards to DJing and producing, that was way down the line for me. I was definitely a raver before anything else. For about 10 years, I was just happy with going raving. Just through having a lot of mates in the scene, and having my face recognised, helped a lot when I decided to give a career in the scene a go.
I guess meeting a lot of people through your raving days helped you understand how the scene worked a lot better.
Yes, it did. In my time raving I’d be getting to know the promoters, DJs, and a bunch of other people who were heavily involved in the scene – going out with them to the events. It was equally as important to see what mistakes people were making and learning from that. A lot of acts come into the scene quite green and it’s easy for them to get wrapped up in it all. Because I was a bit older when I was making a go of it all, I think that it helped me not make a lot of the mistakes that other people might make. When it came down to my productions, it helped that I already knew a lot of the legends in the scene through various different friends. For example, if there was a release on V Recordings it helped that I already knew Bryan Gee and Jumpin Jack Frost. Obviously the tracks needed to be good, but it goes a long way in terms of getting your tunes heard if you already know the people who need to listen to it. Networking back in my raving days certainly achieved that.
What DJs and producers were you feeling during these formative years?
My favourite DJ at the rave was Hazard. But also, the likes of G Dub, Sub Zero, Original Sin, and Taxman were levelling up the jump-up stuff around that time. Things started feeling a little bit more thought out. This was a time where jump-up was getting played out across the board throughout the scene. Funnily enough, when it came to making music I wasn’t really making jump-up to start with. I was making the deeper, liquid stuff. In the end, that side of things wasn’t really what I was about as a raver, so I started making the sub-genres I enjoyed listening to from the events I used to attend.
What was life like before Mozey the DJ?
I started off as a plumber at a school. Then I became a heating engineer. I was doing mechanical engineering. I got a degree in mechanical engineering with the Open University. I did that whilst I was working with a renewable energy company. That actually helped me get in the mindset of just getting stuff done. I was working and studying, whilst also trying to make tunes. It’s really prepared me for the busy schedule I now have. I did actually have a career change after the mechanical engineering gig and went back to my studies to learn about sound engineering. I ended up getting a job as a sound engineer in a post-production studio. I was doing the audio for films and adverts for about five or six years. I was really progressing within the profession but my music career started to drastically pick up so I had to let the studio know I was going to take up my music full-time.
Before we move onto life as Mozey the DJ and Producer, what were some of the standout raves you were attending as a punter?
The Breakin Science events were always the best for me. I did love the vibe. Although it was a proper rough drum & bass crowd. Anything that was at the old Coronet was so much fun. Also, the MC conventions at Brixton’s Mass were mad, there were some horror stories from that venue. Back then, I loved nothing better than a rough jump-up rave.
How did the journey as Mozey the DJ begin?
Well, my first release was in 2017 and it took 2 or 3 years before I moved on to Serial Killaz, Souped Up, and stuff like that. In that period I was only just finding myself as a producer. These things always take a bit of time. Especially trying to find a sound that makes you happy. When it came to DJing, first and foremost, I was always just a producer. I used to muck around with some mates on the decks back in the day, but it was never anything serious. It was only when I was starting to get noticed through my own tunes that I started to get a couple of bookings. I realised then that I needed to start learning how to DJ properly, as that part of it was never really something I tried to achieve. The first set I did was a COVID-restricted event in Bristol where everyone was sat down. I struggled that day, but gradually as I started watching and learning from other DJs I began to get better. Within a few months, I was able to sort myself out. Despite the initial struggle I just got on with it to be honest, and I’m still learning all the time.
Wow, you’ve really picked up that side of things quickly!
Thanks, I’d like to think so. I’ve learnt that things are constantly changing. What the ravers want can change, so it’s important to keep in touch with that. Just getting yourself in front of a crowd really helps. Once you have the massive club monitors near you, or something cuts out, or the CDJs aren’t working properly, you learn how to manage a bunch of different scenarios during the rave. If something goes wrong now I’m way more equipped to deal with it.
It seems you’ve taken things to the next level over the last two years. What’s been some key moments contributing to your rise within the scene?
One of the big ones was the DnB Allstars 360 set at The Cause last April. The set on YouTube did really well. It would’ve been the first time a lot of people saw me being serious about the DJ side of things. Beforehand, everyone knew I was on the production graft. It was the first real taste a wider audience got of what it’s like to see me play live. I was able to showcase my energy. Playing on the main stage at Printworks was a gamble DnB Allstars took with me and I feel like, again, I was able to show off what I’m all about. The reach these sets get online does really help. So a Big thanks to them. Playing at Wembley for Hedex’s event, as well as when he brought me out on Boomtown’s main stage in 2023 for his closing set were also big moments for me. Playing at a festival like Boomtown where I’ve been going as a raver for so many years and being on such a big stage was such a full-circle moment.
Were there any releases that you’d say have been significant to your journey?
The last 12 months have definitely been very important release wise. The ‘Hands In The Air’ VIP became a staple tune in loads of peoples’ sets. Serum encouraged me to VIP the track. The difference between the original and the VIP was that this one was easy to build in the clubs. I learnt a lot from Serum showing me that there were different ways to market and get a record out. ‘Party Muscle’ and ‘Run’ were also other big tunes for me. I feel like they were unique ideas at the time. ‘Run’ was especially a big one that blew up in the club as well as the socials. Having these types of club tracks is what I’m all about and it’s definitely cemented me as a good club DJ. It was wicked to do a few releases with Rinse at the beginning of the year. My latest single ‘High Energy’ is out with them and it’s already been doing the rounds in the club scene.
Souped Up Records seem to have really believed in you with some of your most noticeable tracks coming with them. How does it feel to get support from such an exciting label?
It’s great. Serum, who runs the label, has been like a mentor to me over the years and has been a massive part of my journey so far. The relationship between me and the label really works because of my approach to music. I’m here to try and have fun and entertain people, I feel that’s the ethos of the label. It’s been a while since I’ve worked with the label so I’d love to get back working with Souped Up again next year.
Let’s talk about the High Energy Tour.
It’s sold out which is amazing. So far we’ve had Southampton, Brighton, Nottingham, Bristol, Cardiff. We’ve got London, Birmingham, and Leeds to come at some unreal venues. I’d already done a few headline bits that have sold out like at Village Underground and Earth Hackney, both in London. I guess the next step was to get a regional tour going around the UK to give back to the fans. It’s been flying with some unreal DJs on the bill. Headline shows are my favourite thing to do because it’s your crowd. I’m sure everyone says it, but I feel like my crowd are the best ravers. The other acts that play on my bills will always tell me about how amazing my crowd was for them. It’s a real blessing being able to play out my tunes to such a brilliant set of fans.
What were some highlights of the summer?
I did a big Australia and New Zealand tour with Chase & Status. The scene over there is unreal. It blew my mind that they knew all my tunes considering I was so far away from home. I’ve got more stuff coming up over there so I can’t wait to go back. I also did a North America tour with Hedex which, again, was insane. Every crowd over there really brought the energy. I did especially love going to New York though. The UK festival season really delivered for me this year. My set at Parklife had a huge crowd. It was a surreal experience. Playing The Glade stage at Glasto was wicked. What can I say? Glasto is Glasto. Finally, going to Ibiza is always a treat. There were so many things to choose from.
Your fanbase is arguably one of the loudest in the scene. It must be nice to have such dedicated support…
I’m the luckiest person in the world to have that kind of fanbase. I try to give as much back to them as they’ve given to me. I grew up watching so many DJs, I remember if I didn’t feel a certain energy back from them I’d start questioning whether they even wanted to be there. Every time I step in front of a crowd of ravers I give it a hundred percent every time. It’s a really special thing. I try to interact as much as I can with them on socials. At the end of the day, if you haven’t got your fans you haven’t got much else. When I was a raver and meeting my favourite DJs I remember how special that was. I’ll always put in the effort with my following, I enjoy it as much as they do.
Have there been any standout collaborations you’ve had?
In terms of DJing, I’ve loved going back to back with Serum. Hopefully, we can play out together more. And with production, I’ve enjoyed doing a couple of tunes with Hedex. I really get on, and work well, with him. In general, I don’t like to do lots of back to backs or production collaborations as I like to play my own sets. I have to admit, collaborations in the studio or on the decks are quite rare for me. But if I buy into the idea of working with someone then I’ll definitely give it a go.
What’s next for Mozey?
In 2025 there’ll be lots of international stuff, as well as plenty more UK events. In terms of making music, I just want to carry on enjoying making my music and see what happens. I’d love to do a bigger project next year, whether that be an album or something to that scale we’ll have to wait and see. Hopefully, there’ll be some collaborations with people I enjoy working with. It’s hard to picture too much. As things have started going on such an upward trajectory for me, it’s important to just stay focused and work as hard as I can.
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