Bria is a curator and collector, building soundtracks in all her endeavours. She sequences her sets and radio shows meticulously, bringing together sounds that are both chaotic and cohesive. Based in Eora, she hosts Monday Arvos on FBi Radio and Hydria, formerly on Nomad Radio. Having grown her reputation on the Fruit Bowl roster and now at the cultural cornerstone FBi Radio, Bria remains firmly community-focused despite a string of accolades. Developing the local scene is what she finds most rewarding: even after a Boiler Room set and performances alongside legends like Moodymann, OK Williams, Guy Contact, and Floating Points, her highlights remain intimate gigs such as Community Chest or the local Heavenly night at Club 77. Bria is no stranger to the festival stage, and her influence extends beyond Sydney, bringing dance floors to life in Melbourne and Hobart. She has played a range of smaller festivals, as well as Strawberry Fields Festival, Sun Cycle, Echo Beach, and Whitvoir. Unconstrained by genre, Bria’s sets traverse bass, progressive house, breaks, Jersey, and everything in between. Through both her DJing and radio work, she fosters community and connection, establishing herself as a sure-footed local stalwart carving a lane for herself and those around her.

Naarm/Melbourne-based Close Counters’ diverse soundscape sits at the crossroads of house, neo-soul, broken beat and disco. Their 2023 Music Victoria Award-winning album, 'SOULACOASTA II', is a sample-infused expedition that further secured their spot as one of the top talents in their class, with the duo tirelessly sourcing niche samples from films and records on trips across the globe. The LP was touted by tastemakers Gilles Peterson, Folamour, Jamz Supernova, Jyoty Singh, Jaguar, Tarsza, DJ Mag, Bandcamp, and landed Album Features with Australian stations Double J, 3RRR, PBR and 2SER. Breakout singles from the pack were originally released by Melvo Baptiste’s The Remedy Project, an imprint of Defected Records. Their collab 'Rollout' with Young Franco featuring UK rappers Scrufizzer and Jay Prince, won over new fans across the globe and was added to the Official Soundtrack for acclaimed video game FIFA 23. In the past year the band have also performed or provided mixes for triple j, 3RRR, Defected Radio, FBi Radio, Soho Radio NYC, Baked, and interviewed on BBC Radio 1Xtra when hotly tipped as their ‘After Dark Discovery’ and ‘EP of the Week'.

LAYTX, an Eora/Sydney-based DJ and host of The Lunch Order on Area 3000 Radio, a show that exclusively showcases FLINTA artists. Her sets move fluidly through house, progressive, breaks, and acid, always guided by texture and energy, with a focus on connection and care. Known for her dynamic presence behind the decks, LAYTX has graced the stages of some of Sydney and Melbourne’s most iconic venues and festivals, including Lost Paradise, Chinese Laundry, and Revolver Upstairs. Her performances are about more than just sound, they create spaces where people can connect and release.

Leon Vynehall is part of a vanguard of artists expanding the ambition of electronic music. Highly regarded for his musical output, creative and forward-thinking approach, Leon has established himself as a genuine artist of musicality and craftsmanship across the world. His debut album 'Nothing Is Still' and follow up 'Rare, Forever' received widespread critical acclaim. Alongside accolades for his output as a producer, Vynehall is just as celebrated in his DJ mixes. From a shortlisted 'Best of the Year' Radio 1 Essential mix, to his now cult-like entry to the 'DJKicks' series, and a lauded Fabric Presents, as well as podcasts for Resident Advisor, DJ Mag, to a recent stint on the Radio 1 Residency.

Maribou State are Chris Davids and Liam Ivory, the UK duo injecting electronic music with a much-needed shot of soul. Since 2011, they’ve established themselves as major players on the global dance music circuit, melding a genre-fluid range of influences into a distinctly organic sound and redefining downtempo electronica for a new generation. They’ve become a hugely acclaimed live act, performing landmark shows from Glastonbury to the Sydney Opera House, as well as back-to-back sold-out UK, EU, and North American tours. Over three albums—including a forthcoming release—Maribou State have honed a delicate balance of intricacy, intimacy, and electronic expansiveness. Their vast sonic universe draws on UK club music, vintage soul, and evocative samples to create something entirely unique. Their 2015 debut, Portraits, was written and recorded in the shed at the bottom of Liam’s parents’ garden in Hertfordshire, just outside London, where the duo grew up. Building on Portraits’ success, Maribou State relocated to London but looked further afield for inspiration: 2018’s Kingdom of Colour wove together a sonic collage of ideas and field recordings from their travels across India, Australia, Morocco, America, and beyond. Lead single “Feel Good,” a collaboration with Texan trio Khruangbin, was a runaway success, while the album itself received widespread acclaim, leading dance music bible Mixmag to name Maribou State one of their artists of the year. The duo have always stayed true to their club roots. They began DJing together in the mid-2000s and pay homage to the lineage of UK dance music throughout their productions, including the much-loved single “Turnmills,” named after the legendary former London club. They followed it with 2019’s Kingdoms in Colour Remixed, featuring reworkings from HAAi, Maceo Plex, and DJ Tennis, and, in 2020, an instalment of Fabric’s esteemed Fabric Presents series. The compilation showcased their wide-reaching musical tastes, linking soul, disco, and bumpier house grooves with UK jazz and even neo-classical influences. Maribou State’s live show has evolved to the next level, cementing them as must-see headliners. Their band has reached its fullest realisation on their third album, Hallucinating Love. It’s a beacon of hope after a turbulent few years, both personally and professionally—Chris has been coming to terms with a major brain condition, bringing the duo closer together than ever. The highly anticipated album features a host of impressive talents, including vocalists Holly Walker and Andreya Triana, as well as producer Jack Sibley, celebrating community, togetherness, and triumph over adversity. Hallucinating Love is preceded by two exceptional singles, soothing balms for tempestuous times. “Blackoak” exemplifies Maribou State’s earthy blend of folk, epic strings, elastic funk bass, and earworm vocal hooks, while Andreya Triana’s sublime vocal on “All I Need” is supported by a ghostly trip-hop beat. It’s a complex tapestry of sound, but one that always brings heart and soul to the forefront.

Soul Wun is an artist whose engagement with music is rooted in a lifelong fascination and a decade of dedicated composition. His formative years were marked by an early and eclectic immersion in sound, from leftfield techno and obscure hip hop to an extensive record collection cultivated long before he owned a turntable. This deep-seated curiosity evolved into an intellectual pursuit, involving years of research into the mechanics of music, culture, and art, underscoring a profound respect for the craft and an expansive appreciation for diverse sonic landscapes. Stylistically, Soul Wun’s output is a sophisticated pastiche, held together by an enduring infatuation with breakbeat rhythms. Percussion remains central, stemming from an early immersion in hip hop and evolving into a nuanced exploration of bass, breaks and jungle. His process involves drawing subtle inspiration from a broad spectrum of cultural pockets – art, architecture and skate culture – all contributing to a unique sonic narrative. References to jazz, hip hop, and UK underground movements are woven into the fabric of his sound, evident in the swing and percussive arrangements reminiscent of jazz greats and later hip hop pioneers like J Dilla and Pete Rock. The atmospheric depth found in artists like Burial and the raw energy of jungle also inform his approach, creating a distinct auditory environment. The core of Soul Wun’s artistic intent lies in conveying profound emotion and transporting the listener. This is often achieved through the careful layering of sound, including phone recordings and audio from personal videos, imbuing each track with unspoken messages of love, loss, or relationship dynamics. His dedication has translated into significant recognition within the electronic music landscape. Soul Wun has amassed over 15 million streams on Spotify, a testament to his growing global reach. His recent debut album further solidified this impact, garnering over 3 million streams in six months and earning support from a notable array of artists and tastemakers including Chaos In The CBD, Kettama, Folamour, Barry Can’t Swim, Eliza Rose, Disclosure, and Bill Brewster. As 2025 progresses, Soul Wun is poised to unveil his most compelling music to date, accompanied by a new live show designed to present these auditory adventures in their most immersive form.

Felix Nyajo aka salute was born in Aspern to a cab driver and a nurse. Nyajo's older brother introduced them to R&B and 90s hip hop when they were a kid, and Nyajo also started learning to play a Yamaha keyboard. In their early teens, Nyajo became influenced by Scottish musicians, Rustie and Hudson Mohawke, and started producing their own beats on Fruity Loops. Nyajo first became interested in production after hearing the Sonic Rush soundtrack, taking further inspiration coming from the SSX On Tour and FIFA Street 2 soundtracks. Nyajo compiled their first works on their parents' computer using a pirated copy of FL Studio they had obtained aged 13. Nyajo began sharing music via SoundCloud in 2012. The first work to receive press attention was a remix of Aaliyah's "Rock the Boat". After a blog ran a piece on it, Austrian radio station. FM4 invited Nyajo in for an interview and then started playing their music. Shortly after that, Nyajo began playing shows in Austria and across mainland Europe. After relocating to Manchester, Nyajo released EP’s Gold Rush & My Heart in 2015 and 2016. In the following year, Nyajo’s grandmother and grandfather died. Nyajo responded by producing a trio of EPs, Condition I, Condition II, and Condition III, which came out between 2018 and 2019. In an April 2019 interview with Vice, they described the EPs as consisting of "memories", "pain and feeing shitty”, and “hope". In May 2018, Nyajo contributed keyboards and programming for Charli XCX's "5 in the Morning”. Following the release of Ultra Pool on Mall Grab’s Steel City Dance Discs and in August 2022. They then released the EP Shield in May 2023 via Technicolour Records, the first to include their own vocals, and which charted at number 12 on the Official Vinyl Singles Chart the following October. Shield included "Run Away With You", which featured No Rome, "Feels Like My Hands Are On Fire", which was co-produced by George Daniel, and "Peach" with Sammy Virji, a producer who released a remix of Piri & Tommy's "On & On". In 2024, Nyajo was nominated for Best Electronic/Dance Act at the 2024 MOBO Awards. Nyajo were featured on the cover of DJ Mag in April 2024. In July 2024, Nyajo released the album TRUE MAGIC, a concept album based on the concept of racing Japanese cars. The album featured contributions from Rina Sawayama, Karma Kid, Disclosure, Sam Gellaitry, なかむらみなみ, Empress Of, Léa Sen, Piri, and Leilah, most of whom were friends of theirs. It charted at number 5 on the UK Dance Albums Chart. Nyajo describes their style as “fast and soulful house music,”with influences including U.K. garage, techno, classic house, and French house. Personal life In March 2022, Nyajo announced that they would be introducing an inclusion rider to their contracts for live performances. It required that at least one act on any lineup they were performing on should be from an underrepresented group approved by them, such as female, Black, queer, or genderqueer. If a promoter did not adhere to this, Nyajo would not play the show. In an interview with Austrian Music Export in April 2023, they noted that they were inspired to institute such a policy after seeing a "couple of people in America" institute similar conditions.