Image Credit: Portrait of Oscar Farrell

London-based producer, DJ and musician Oscar Farrell has quietly established himself as one of the most distinctive new voices in UK dance music – an artist whose work captures the emotional after-hours of the city he calls home. His sound feels inseparable from London itself: late-night buses, long walks, grey skies and the introspective comedown that comes when the noise fades and you’re left with your thoughts. Rooted in 2-step, grounding basslines and glitch-driven self-voiced fragments, his productions balance club vibes with atmosphere, restraint and feeling.

Farrell’s path into electronic music was shaped early on by encounters that shifted his perspective – most notably meeting Lil Silva, whose approach to music-making helped crystallise what this world could be. Since then, his rise has been measured and intentional. Signed to dh2 (Kelly Lee Owens, Surusinghe, Bodhi, 2D0GS), the electronic label founded by George Daniel (The 1975), and managed by Only Helix, Oscar has released two acclaimed EPs – I’ve Already Called and So Far South – alongside a run of singles and edits that underline his emotional, club-informed vision.

Along the way he’s collaborated with artists including Sampha and Mount XLR, while building a reputation as a DJ through sets at Phonox, The Glove That Fits, Café OTO, New York’s Public Records and Glastonbury’s San Remo stage. Looking ahead, he names composer/musician/producer Oliver Coates as a dream collaborator – a natural fit for his fascination with the space between acoustic and processed sound.

With a flurry of London dates on the horizon – including an EP release party in April 2026 and an intimate DJ set with George Daniel at Phonica Records (Soho) on Wednesday 11 February (see you there!) – Oscar Farrell feels very much in motion. What follows is a conversation about London, collaboration, vulnerability, and building a sustainable creative life inside an ever-shifting industry.

You’ve spoken before about moving from music tech at school, through bands and jazz, into electronic music. Was there a specific moment – a room, a sound, a night – where you felt: this is it, this is what I want to do?

Not really, it’s such an eclectic world and it’s pretty hard to feel fully accepted. Although, the biggest shift in mindset for me was meeting Lil Silva, he really changed the way I saw music-making and what it was all about.

Your music often feels like it belongs to London after dark – night buses, late walks, the quieter emotional comedown of the city. What parts of London life are feeding your work right now, and how has the city shaped the way you listen and create?

I’m finding a lot of solace in the multiculturalism of London, the world is so mad and scary at the moment but seeing how intertwined and reliant London is on being a melting pot of different cultures definitely keeps hope alive for me. As a city I think, being somewhere so big, overwhelming, and grey, it can be really isolating which has definitely had a big impact on how I make tunes. It constantly feels like everyone has a whole universe around them thats completely separate to your own, maybe that sounds lonely but I feel like its made me take more comfort in making music to process what’s going on with me.

Video Credit: George Daniel & Oscar Farrell – volc3. Directed by Samuel Bradley. Edited by Matt Kitchin. Colour by Houmam.

When you sit down to make music, what usually comes first: rhythm, texture, emotion, or something less tangible?

Everything starts with emotions for me, or at least how I’m feeling because of something that’s happened. I’m pretty bad at blowing stuff out of proportion in my head and focusing on fuckups I’ve made, and musical ideas are my best way of getting them out of my head. Most of the time I seem to just store up things to get out when I’m in the studio and that usually steers how the rest of track ends up.

Image Credit: Photo of Oscar Farrell and Sampha, for ‘Dream Therapy’.

You’ve worked closely with Sampha, Mount XLR, and now through dh2 alongside George Daniel – what do you look for in a collaborator, and do you see yourself returning to these creative relationships long-term?

I’ve just been very lucky to have the people I’ve ended up working with as friends. Yeah absolutely, it’s been a pretty eyeopening experience over the last few years, getting to know people you feel comfortable enough around to make music with, especially without feeling self-conscious or nervous about what you’re trying to process by writing together.

Video Credit: Oscar Farrell – Dream Therapy (feat. Sampha). Directed by Pablo Gallegos. Edited by Matt Kitchin. DOP Dom Lake. Produced by Amelia Studios.

You’ve mentioned Björk as a dream collaborator – which already says a lot about your creative compass. Looking ahead to 2026, who else is on your wish list, and why do they feel like a good creative collision?

I’d love to work with Oliver Coates. I’ve gotten pretty obsessed with his music, the duality between acoustic and processed sounds really resonate with me.

Image Credit: Photo of Oscar Farrell and Mount XLR.

You’re managed by OnlyHelix, and as your world expands – releases, touring, collaborations, long-term vision – the role of management becomes more than logistics. What does a good artist–manager relationship look like to you?

I think trusting each other is the most important thing. Having a really passionate manager lifts such a massive weight off your shoulders, the comfort of knowing you’re in this thing together, sharing the same values, lets you both push each other forward I think. Each artist project is a tiny business in a very volatile industry and that’s pretty scary to step into, but doing it with someone who has the same vision makes the whole thing seem do-able.

Image Credit: Portrait of Oscar Farrell.

You’re coming up at a moment when electronic music feels both oversaturated (thinking of AI) and creatively exciting – scenes moving faster, audiences fragmenting, algorithms shaping taste. What are you loving about the industry right now, and what do you hope changes as we move into the next few years?

Yeah, it feels a bit crazy at the moment. I guess that’s what I’m loving and hating about it, it feels like we’re on the edge of a huge shift that hopefully we can steer in the right direction.

Finally, which three venues, communities or grassroots scenes do you consider your cultural home – the places you return to for energy, belonging or inspiration? And beyond releases and touring, what can we expect from you in 2026 that might surprise us?

Probably Cafe Oto, the Deviation parties, and The Glove That Fits.

I’m working in some different formats this year, some composing for screen, some different instrumentation, and maybe even a few nights that might be a surprise.

Find Oscar Farrell @oscar_farr and on rinse.fm. Sign up to the record label dh2.co for latest updates

dh2 present Oscar Farrell + George Daniel + 2D0GS
Phonica Records, 51 Poland Street, Soho
Wed 11 Feb, 19:00-21:00
Sign up to RSVP via dh2.co

Oscar Farrell: EP3 Release Party
Friday 13 April
Details to be announced
Sign up to dh2.co for latest updates