Effin has spent the last few years turning a SoundCloud habit into a signature. The producer, who first drew attention for flips of older records, now builds most of his material around vintage source audio, pulling melodies and vocal fragments out of recordings several decades old and rebuilding them as contemporary bass tracks.

A recent move to Nashville has pushed that further. In an interview with Dancing Astronaut, Effin said the city's history of session and background vocal work has become a practical resource rather than just atmosphere. One track in progress is built around a replayed vocal from the Anita Kerr Singers, the Nashville harmony group that backed a long run of pop and country records in the 1950s and 60s.

The same collage approach runs through his live sets, which he assembles around the city or occasion he is playing. A sunrise set at Bonnaroo was built around the sun as a theme and opened with a reworked version of The Beatles' "Here Comes the Sun"; a New York date leaned on vocals from the city's hip-hop catalogue.

He estimates he played around 25 festivals over the past year alongside tour dates and studio work, including a first appearance at Red Rocks in a support slot. On where bass music is heading, he described a genre that swings between heavier and more melodic phases, with audiences increasingly asking for curated sets and songwriting rather than mashups.