ISSUE #2 - ANOMALY MAGAZINE WITH Samantha Loveridge

Samantha Loveridge talks through the need to balance originality with trends, growing as an artist, her ideal B2B set and more.

Hey Samantha, great to interview you for Issue #2 of Anomaly Magazine. For the readers that are new to your sound, Could you tell us a bit about yourself and your sound?

Sure! I’m originally from the UK but currently based in Sydney, Australia. I’ve always had a passion for music, but growing up, I thought you had to be a singer or play an instrument to be an artist. It wasn’t until I moved to Manchester for university that I was exposed to house parties and DJing, which led me to explore that path.

In terms of my sound, I primarily focus on Afro House, Melodic House, and Indie Dance. But to be honest, if I like a track, it doesn’t matter what genre it is. I draw inspiration from diverse musical styles, incorporating elements from various cultures into my productions..

We hear you're based in Australia. How did you end up 'down under'?

I moved to Sydney in 2019 for a better quality of life - which didn’t go to plan straight away, and it took me a few years to find my footing. I was looking for a change to focus on my well-being, and the move gave me an opportunity to take a break from music. But during the COVID-19 pandemic, I rediscovered my passion for production.

What’s the most important lesson you’ve learned in your career so far?

The importance of enjoying the music production process without pressure or expectations, and making sure to look after my well-being.

How did you approach your mix for Anomaly Radio? 

Recording an Anomaly set has been on my bucket list for a while, but I wanted to wait until the timing felt right in my career. I knew that when the time came, I wanted to take listeners on a journey so that’s exactly the approach I took. Hopefully, it comes across!

What's a weird or unexpected sound you've sampled in a track?

Hmmm, not so weird but definitely unexpected. I’ve sampled my own voice! I’m no vocalist, but with today’s technology, you can manipulate recordings in creative ways. It’s something I’ve been experimenting with and plan to keep using.

As a producer, you've made many hits, each with a different vibe. Is there a reason for this approach?

Honestly? It’s because I never know what I’m going to end up making! I can start with one idea, and it turns into something completely different. Ultimately, if it sounds good to my ears and still gets me moving after listening to it a million times, that’s what I’m going with.

If you could only produce music using three plugins/synths, which would you pick?

Good question! I’d say Arturia’s Jun-6 V, DIVA, and Serum.

If you could play a back-to-back set with any artist (dead or alive), who would it be and why?

It would have to be Trikk because he’s a massive inspiration for me and has been for a while. I will never forget a warm-up set I watched him play and it’s still one of the best, if not the best, I've ever heard.

How do you approach storytelling in a DJ set versus a produced track?

I actually try to incorporate storytelling in both. It’s easier in a DJ set because you have more time to build a journey, whereas a track is limited to about 6–7 minutes. For DJ sets, I usually start with lower-energy tracks and build from there. I prepare by listening to my tracks in advance to avoid mixing surprises and choose a couple of options for the first few tracks to ease into the set. For productions, I keep things evolving by adding new elements or variations as the track progresses.

How do you balance originality with current trends in electronic music?

Balancing originality with trends is about staying true to your unique sound while being aware of what’s resonating with audiences. Trends come and go, but your artistry is long-term. If a trend naturally aligns with your sound, embrace it. If it feels forced, let it go. I keep up with trends by listening to new releases, but instead of copying, I analyse what makes certain tracks work, whether it’s a fresh groove or a catchy vocal hook. Playing gigs also gives real-time feedback, so testing out new ideas in a set can help refine your approach while maintaining originality.

Could you tell us something people wouldn’t know about you that you’d like them to?

Haha, ummm… I’m a pretty open book, but here are a few random ones: I usually have to stand on a step when DJing because I’m so small. Making music is a mental battle for me, it doesn’t come naturally. I HATE baked beans. Oh, and I can’t swim!

You have a European tour coming up, including the White Isle & the UK. What are you most excited about and why?

I do! This tour includes a few parties I’ve had my eye on for a while, so I’m really excited about that. But the highlight has to be joining Camelphat for the launch of their Experience concept in their hometown, Liverpool. Not only am I looking forward to seeing it firsthand, but I’ve also been invited to play on the big stage both days alongside some heavy hitters, so I’m absolutely buzzing to be involved!

How do you see the future of electronic music evolving?

AI is definitely going to play a bigger role, it’s already happening. If artists can use it to streamline tasks and speed up workflow, I’m all for it. Whether it’s coming up with track titles, proofing content, or even helping transition a vocal for a specific outcome, AI can be really useful. I’ve even used it for things like life admin, which frees up more time for creating. But if AI is being used to generate an entire track from scratch with just a few words, I’m not so keen on that. It takes away the human feeling and emotion behind the music, and I hope it doesn’t go in that direction.

What’s a piece of advice you ignored at first but later realised was crucial?

Use reference tracks when producing.

FULL MIX AVAILABLE HERE