In need of your new Peaktime Techno fix? Look no further because Justin Hahn has been busy cooking up an absolute banger with his new single “Lost in Love”, releasing March 20 via Reload Black. The german based techno powerhouse delivers his highly energetic driving reiteration of Legend B’s 90s techno staple.

With a straightforward build-up and a powerful, hypnotic drumtrack, Justin Hahn channels a full display of 90s techno culture, while giving it a modern touch. This brilliant fusion of old & new is set to be his new signature sound, and we’re all for it.

“Lost in Love’s” drums are dirty and raw, and the synths grow beautifully progressive until Justin Hahn allows his audience a well deserved Break with pure Hands Up in the Air atmosphere, before fully diving back into the main part.

This is techno at its finest.

Stomping feet and moving crowds are guaranteed.

With “Lost in Love” Justin Hahn proves his mastery of classic and current techno production alike and cements his place as a striving techno DJ to be closely watched if your aren’t a fan already.

Don’t miss the wild ride that is “Lost in Love” by Justin Hahn, available on all major streaming platforms March 20th.

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20+ legendary 90s POP artists perform for one night only on 29th October 2022

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Hold onto your seats, this show is about to blow you away. 90s Baby brings you the greatest 90s pop artists performing live at the monumental AO Arena. This is a once in a lifetime opportunity to see all your favourite 90s pop artists together for one night and guarantees to transport you back to simpler times.

The multi-platinum song Barbie Girl arguably sums up the late 90s pop era by itself and its europop creators, Aqua, will be performing live this October. Hailing from Turin, Italy, Eiffel 65 came together in 1997 and the group quickly gained global popularity. Their singles Blue (Da Ba Dee) and Move Your Body from the album Europop proved immensely successful worldwide. Heyyy Macarena! We’ve all heard those legendary lyrics at parties up and down the country. We’re bringing Los Del Rio to the arena, the creators of the globally successful tune Macarena released in 1993.

British soul singer, Heather Small joins us and is the lead singer in the group M People which went on to win Best British Dance act at the Brit awards in 1994 and 1996. Lou Bega’s performs live! His iconic tune Mambo No. 5 topped the charts in most European countries including France, Germany, and the UK. Next up, Gala’s incredible tune Freed From Desire – another Eurodance belter from 1996 which peaked at number 2 in the UK charts for 8 weeks.

Atomic Kittens formed in 1997 and their songs Whole Again and The Tide Is High captured an era. Two original members, Liz and Natasha will be performing these classics and more live. Irish girl group B*Witched also join us, best known for their tunes C’est La Vie, Rollercoaster, To You I Belong and Blame It on the Weatherman. These songs all reached number one and the group sold millions of records worldwide.

2 Unlimited’s legendary acid-house track Get Ready For This released in 1991 and reached dizzying heights across the globe. Corona created seminal dance tracks such as The Rhythm of the Night released in 1993, which is up there with the best dance music to come out of the 90s. Italian dance act Whigfield created the legendary tune Saturday Night in 1993 and joins us at 90s Baby. We can’t wait for you to see them!

Las Ketchup’s The Ketchup Song (Asereje) sold over 7 million copies worldwide and immediately transports you to those early noughties’ times. British boy band Five formed in 1997 and released their tracks Keep On Movin’ and Everyone Get Up several years later. Their hip-hop and dance tunes are not to be missed. 20 years ago, fledgling popstar group Liberty X came onto the scene and in just a few years went on to become UK superstars. They released ten consecutive UK top 20 singles such as Just A Little and Got To Have Your Love.

British boy band, Damage, had huge success in the 90s with eleven hit singles such as Forever – Lady of Soul and Wonderful Tonight and of course the legendary Ghetto Romance! Also performing live is 911, the iconic 90s boy band who have had international success, having sold over 15 million singles and albums worldwide. The female British group The 411 captured an era with their song Dumb with its smooth R&B vocals and catchy lyrics and have reformed once more to perform live at 90s Baby. London’s hip-hop group Big Brovaz known for Booty Luv also join us, promising to deliver nostalgic 90s vibes. Chico starred in the quarterfinals of The X Factor and is best known for his number 1 single It’s Chico Time in 2008.

The truly iconic Gareth Gates performs live on 29th October 2022. Starting his career on Pop Idol, Gates went onto achieve immense success in the early 2000s and is best known for his tracks What My Heart Wants and Go Your Own Way. S Club Allstars includes original band members Tina, Brad, Stacey who will be performing some of S Club’s most iconic tracks. S Club 7’s You’re My Number One was reached number 2 in the UK charts and its success increased through the noughties.

We’re excited to have the British R&B girl group, Honeyz join us in this jam-packed line-up. They group skyrocketed across the UK charts with their tunes Finally Found in 1998 and Won’t Take It Lying Down in 2000. They’re not an act to miss. Finally, the Cheeky Girls will be performing live. Yes, they’re still going strong after their debut single Cheeky Song sold over a million copies internationally. Make sure you get your tickets soon before they’re snapped up! Let’s get ready for the biggest 90s pop show Manchester has to offer.

UK dance music dons Solardo have remixed Rozalla and Dave Ralph’s new version of the dance classic ‘Everybody’s Free’, out 8th April.

Injecting fresh, euphoric energy into the iconic original, the Solardo remix of ‘Everybody’s Free’ centres around a hypnotic bassline that’s been crafted with special dancefloor moments in mind. A further rework from electronic music visionary Dave Ralph, and another from dance music legend Paul Oakenfold is also in the pipeline.

“It’s been wicked working on this remix for Rozalla and the legend that is Dave Ralph,” Solardo say of the track. “With such an iconic vocal we know this is going to smash some of our summer sets!”

First released by Rozalla in 1991, ‘Everybody’s Free’ is one of the era’s defining dance crossover records. The song hit #1 on the ‘Hot Dance Club Play’ chart in the US, reached #2 in Belgium, the Netherlands and Spain, and made the ‘Top 10’ in Denmark, France, Germany, Ireland, Sweden, Switzerland and the UK.

It marks the latest in a long list of star-studded collaborations for the Solardo boys, who recently linked up with fellow UK dance music duo Maur, a track that has racked up 4.7 million Spotify streams and counting. Prior to that they remixed the Camden Cox hit ‘Under The Water’ and linked up with Leeds-born, London-based artist Alex Mills on high-energy club heater ‘Keep Pushing’.

Other recent highlights include collaborations with Chicago house legend Marshall Jefferson on ‘Move Your Body’, a single that has amassed 30 million Spotify streams, with Spanish producer Wade on ‘Get Your Money’ and UK dance music tastemaker Paul Woolford on ‘Tear It Up’. The Manchester duo will also perform at Terminal V Festival, Kingsland Festival, ABODE In The Park Brighton and Creamfields South in the coming weeks.

Dance music stalwart Dave Ralph started out performing at legendary clubs such as Cream and Shelley’s in the 80s, and also worked regularly with Paul Oakenfold, for whom he opened on his 1996 world tour. More recently Dave relocated to California, where he worked on the curation of Insomniac’s EDC festivals and more recently now heads up Global Head of Electronic Music at Pollen.

The Solardo remix of ‘Everybody’s Free’ is destined to become one of the defining sounds of summer 2022 -stream it in full here.

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For more information on Solardo, please visit:

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From launching Urban Torque Recordings to co-founding the Fancy Human label, Leigh Morgan has been an important DJ and producer in the house music scene for over a decade.

The London grown artist is renowned for leading club nights at notable venues, such as Heaven and being joined by esteemed DJs including Juan Atkins and Craig Richards. Leigh continues to serve up releases on his imprint and showcase his dreamy tracks that have had early support from the likes of Tensnake, Dave Angel, Colin Dale, Moodymanc, Matthias Vogt and many more. 

We wanted to catch up with Leigh to hear about his upcoming projects, debuting his first release on his Fancy Human label and his views on the ever changing electronic music scene.

Hey Leigh, thanks for chatting with us today. What are you up to currently? Are you locking in studio time as we come into the winter months or are you preparing for a DJ gig?

Many thanks for having me! The last year in all honesty has been a little quite on all fronts. My partner gave birth to our first child and we have recently moved house, so there hasn’t been much time for music. The album was made prior to my sons birth, so now I’m itching to get back to making music again, my studio is half way rebuilt. So immediate plans are to finish the set up of that so I can begin to make new music again. So I’m hopeful winter will bring lots of studio time and fresh inspiration.

Your debut album ‘A Knack for Calamity’ recently dropped on your co-founded label Fancy Human features vocals, organic sounds and atmospheric synths, do you find you have a go-to piece of hardware or software you use when starting a project? Do you prefer digital over analogue or vice versa?

 I originally started out producing purely digitally, either with Ableton or Logic or a mix of the two, but to be honest I struggled with that, I never really found a work flow that helped me. Eventually I started to buy hardware and just found that I could have a lot more fun and it felt more natural to work with gear. So effectively I ditched digital apart from the DAW itself and effects plugins and have worked exclusively with hardware for the last four years or so. Ableton PUSH is an integral part of the set up, being a non musician, it really helps me extract what’s in my head.

Nord Lead RackOther than that, the Nord Lead 2 Rack is a wonderful synth and I pretty much used that on every track of the album, it has so much scope to sculpt the sound and create wonderful leads or lush soundscapes. I don’t have a particular way of starting a track other than an idea of what I want to make, whether it be more house sounds, or more electronica.

If it’s house I’ll usually start buy building a drum kit and laying down a groove, or more recently get going with the Roland TR-09. If it’s a more electronica type vibe a usually start with some chords or melody from the Nord Lead. Either way I much around for a few hours laying different sounds until I have some semblance of an idea I’m happy with. I also love the Roland JU-06, I always wanted one of the originals, and the Boutiques do a good job of getting there in terms of sound. In fairness I probably jump around a few bits of gear to kick things off before I find something that sticks.

Outside of music, what inspires or directs your creativity? Are you influenced by certain environments, interactions or activities?

I think that’s quite hard to put a finger on. Creativity is difficult to capture, particularly when studio time has to be fitted around a day job and family life, so you hope it strikes when it coincides with the time you eek out. It’s difficult to say, for me at least what actually inspires it. I think particularly now, being inspired by nature, given where I live and the access to beautiful countryside simply by stepping out of my front door is probably where it comes from now. Conversely, now I don’t live in the city, visiting London or elsewhere provides something else, which I can’t put my finger on as yet.

Heaven Nightcub at Charing Cross in London

Since moving to London in the late 90s, how would you say that the City’s electronic music scene has developed and evolved? Would you say that’s a more eclectic mix of genres and artist or certain trends repeating themselves that you have witnessed before?

An interesting question, and one no doubt you’ll get many different perspectives and answers. I almost look at it from an outsiders point of view. It’s very different to when I was DJing regularly and going out in the late 90’s and early 00’s. Back then, I suppose I was part of the scene, I’m very much not part of any scene these days, which is natural when you get older, go out less and focus on other things like family. I think there are certain aspects of the scene as a whole which are a little stale. You can put that down to a number of factors, socioeconomic in that the make up of London and the expense of living there naturally changes culture, and for me it has become homogenised in a lot of areas, not just in music, but across cultural life. There are scenes which are interesting. The London Jazz scene has become a lot more vibrant in the last few years, particularly with younger artists coming through and blending jazz with electronic sounds. When a scene becomes successful and buzzing, people do gravitate towards it and it eventually loses it’s sparkle. This has always happened, but particularly it feels right now this goes on for longer periods.

There’s more amazing music being produced than ever before, but often it’s drowned out by a sea of the mediocre. This is something that should be got to grips with eventually, but it makes it hard for a lot of very talented artists who don’t go with the flow to get heard. I think at the moment, you just have to dig deep to find the most interesting stuff going on, whether that be music or club nights or whatever.

What is interesting is that niche genres can exist now quite happily without the need to mass market PR, radio and press. They can exist online, with dedicated fans who follow artists and labels, I don’t think this was as possible in the past, as the route to the audience was very controlled, which is not the case any more. So really it means communities are becoming less and less confined, what’s happening in London or any other city can easily be heard and grow anywhere in the world, and to me that’s more exciting than talking about any particular city.

With such a busy year already in the studio and getting out releases, outside of your own work, what would you say are your top five releases this year so far? Are there any specific records that you keep playing or does a selection change quite fluidly?

While house music will always be my first love, as I get older I find my musical tastes expanding. I was always so focused on house music, that for a good period of at least 10 years not much else got a look in. Over the last few years the world of Jazz has really been something I’ve opened my eyes to a lot more, and given it’s significance across all genres but particularly it’s influence on house and techno it was quite remised of me not to be delving in to much much earlier in my life.

Inherently I love electronic music which is melodic, hypnotic and has groove. The new Floating Points album I expect to be up there this year, Flying Lotus and his Brainfeeder label can do no wrong. I think also I’m more influenced by more global sounds.

In my day job I’ve been lucky enough to work with record labels from all over the world, labels like Soundway for example opened me up to lots of African Music from the 60’s, 70’s and 80’s, and over the past few years haven been introducing new artists from there and from South America. Anything DJ Koze does stands out also. I don’t really like to pick out favourite particularly, as I think a lot depends on mood, there’s stuff I’ll listen to obsessively and then not be in the mood for it for a while and then go back to it later in the year again.

In your local area are there any hotspots that you get inspiration from? Such as certain venues you like to check out, record shops to do some digging at or places you get to hear new music?

I moved to the countryside in the summer, so my environment has changed dramatically in comparison to living in London for the past 20 years. So it’s a very different kind of inspiration, peace, tranquility the landscape. It will be interesting to see how this influences the music I make from here on in. So far, I haven’t at any point missed London, so I get more of a kick out of being out and about in nature than I would say browsing in a record shop these days.

The first release on Fancy Human was a collaborative release with Lucatwana aka Robert King & Tom Coulling, does the idea of composing more joint releases ever come to the forefront of the label? Have you been involved in any other collab-projects? 

Tom and I did do a couple of tracks together which haven’t seen the light of day, so there was a kernel of an idea to do more together, but alas we are spread far and wide in terms of proximity to each other so in practical terms I don’t think collabs are on the agenda any time soon. But you never know, I tend to enjoy working a lone more, the idea of just sharing parts back and forth could be a way to bridge this.

What else do you having coming up in the near future? Should we be keeping an eye out for any specific tour dates, releases or any other projects you would like to mention?

At present, it’s a blank page, I didn’t really think beyond getting the album out. The main aim is just getting back to making new music. I don’t wish to repeat the sound of the album, but I really enjoyed making the album. It was more of a challenge than making straight up house tracks to release as singles, and I think that process and having a goal was quite inspiring. Since making the move out of London and having a child, I have been thinking a lot about what I would do next, and I think the idea of making another album and moving the sound on from the first make sense. I finished the album at the start of 2018 so it’s a long time since I had that in my mind in terms of what I wanted to make with ‘A Knack for Calamity’. I think my thoughts have moved on from there to another vibe, perhaps to a sound which is a little more dark, tripped out and hypnotic, we’ll see.

That’s really exciting to hear and we will definitely be keeping an eye out for your next project. Thanks again for catching up with us and we can’t wait to hear from you again soon!

Leigh Morgan’s ‘A Knack for Calamity’ on Fancy Human is out now. 

Download/ Stream it here:

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1. Hey Nathan, thanks for talking to us today. Where about’s are you at the moment?

Hey I’m good thanks and speaking to you from my home in a very very hot Ibiza at the moment.

“I was buying 7inch records like they were going out of fashion… except they were back in fashion and I was discovering a side to James Brown and his many side kicks beyond his commercial side.”

2. Can you talk to us about your musical influences growing up?

Growing up, I was into lots of music but the street sounds Electro compilations stand out in memory and I started buying imported records at shop near where I lived, buying tracks on labels like Tommy Boy Records and Sunny View Records to name a few. I stared doing the robot dance and then got into body popping, so the music was a perfect fit. Later I got into the rare groove scene, championed by the likes Norman Jay and discovered a love for late 60’s to early 70’s Funk. I was buying 7inch records like they were going out of fashion… except they were back in fashion and I was discovering a side to James Brown and his many side kicks beyond his commercial side. Roll on a few years and the acid house revolution started and the rest is history.

3. Your brand Wiggle has now reached a monumental 25 years after it was birthed in 1994. Can you tell us about some of your favourite moments? Was there a particularly special chapter for you?

There have been so many special moments and I can’t believe it’s been 25 years. Obviously our London parties have always been very close to our hearts, as they were and still are a get together with familiar faces you’ve literally grown up with over the years. Some great early ones were at the old Tram Shed in Woolwich, they were really special. Also, the Wiggle sound was starting to gain interest internationally and was suddenly in demand in countries like Croatia, Serbia, Holland, Belgium and lots of other countries besides, so it was an exciting new adventure taking the Wiggle vibe on the road and getting to experience new countries and cultures.

“There was always a bit of a cat and mouse game with the police.”

4. How would you compare the parties then compared to now? Did you prefer the illegal, spontaneous warehouse parties when you were starting out in comparison to the organised events now?

We’ve had Wiggle parties in all kinds of spaces and the buzz in the early days of not knowing which warehouse you would end up using next and the feeling of being rebels added to the buzz and atmosphere of it all. There was always a bit of a cat and mouse game with the police, but I would always talk with them and they were just doing their job at the end of the day. My stress levels were a lot higher back then, that’s for sure but that was part of the adrenaline rush. There’s obviously a big difference having a venue where you know everything is safe and sound and there’s no risk of it being stopped but I think it was more fun finding somewhere that hadn’t been used before.

5. ‘Wiggle for 25 years’ dropped on the 31st of May on Wiggle. Can you tell us a bit more about the compilation. How did you pick which artists were to feature?

Well the name says it all I suppose We just wanted to put together a compilation with artists that have played at the parties over the years and that had that obvious Wiggle flavour to their sound. We’re really happy with the way it’s turned out and the DJ feedback has been amazing across the board, with so many of them remarking on how much they love the comp and Wiggle Records, it warms your heart.

6. We’ve seen Wiggle celebrating with many events across the year for your anniversary. What’s been your favourite so far?

They’ve all been really great to be honest, with so many lovely faces from the past coming, as well as lots of new younger faces too. The Wiggle at the Cause was brilliant, as the club has that warehouse feeling from the old days and the management and staff are all so lovely. The one in Brighton, was fantastic too, as Brighton is such a great place and there’s a big following there. The lovely Magnus Asberg always gets involved with the Wiggle parties in Brighton, so they’re always good fun!

“You do have to sift through a lot more of the commercial end of tech house to uncover what you really like.”

7. You’ve been said to be one of the artists responsible for the birth of tech house. What do you think about the way tech house has developed now?

It’s really nice to be sited as being a part of something that’s become such a big thing globally. It’s definitely not the same sound in general as it was back then and you do have to sift through a lot more of the commercial end of tech house to uncover what you really like, but the sound is still there amongst it all for sure when you dig deep and I think the Wiggle For 25 Years compilation is a good example of that.

8. What other projects are you working on apart from Wiggle? And what can we expect from Nathan Coles and Wiggle in the future?

We’ve got some great new releases in the pipeline and we’ll also be re-releasing some of our back catalogue, as it’s amazing and humbling how much the new generation are loving the old releases on the label. When you see the prices some of them are being sold for on dis-cogs, we think it’s only right and fair that we make them available again to buy where possible. We will of course be doing some more parties in London and Brighton, plus we have some great gigs coming up around the world to celebrate 25 years of Wiggle.

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