Music was a big part of my home growing up. I didn’t have a dad, so my mum’s love of music became the soundtrack of my childhood. She adored Motown – Diana Ross, The Supremes, and The Temptations. I remember her love for Barbra Streisand and, most of all, Elvis Presley. Many afternoons she’d have Steve Wright on Radio 1 while she cooked or cleaned – and I absorbed all of it. My mum’s energy and joy when she danced in the kitchen left a mark on me. We’d often waltz up and down the living room together, me standing on her feet as she directed the dance flow before bending me back at the finale. Occasionally, I’d hear her sing along, and I’d just join in, feeling that connection without even realising it.

I also had exposure to a lot of rock and pop - Fleetwood Mac, The Eagles, Dire Straits - and I loved the storytelling in those songs. And then there were the big chart hits, of course. Top of the Pops was a weekly ritual, and I’d dance along in the living room, moving to whatever was on the screen. Tina Turner, Phil Collins, Madonna, ABBA - all of them shaped my early taste. I can still remember being completely mesmerised by Tina Turner’s energy and stage presence; she felt like a powerful person, and I wanted that too.

The first CD I ever bought with my own money was Big Mountain – ‘Baby I Love Your Way’. It cost 99p on CD. And I even remember having tapes! I had quite a few of those after getting a Sony Walkman for Christmas around 1989. I remember holding it and feeling proud that I had something tangible that reflected my taste.

When I was 14, I joined a local dance group, and that’s when it really clicked - that connection between movement, rhythm, and emotion. I opted for modern dance over ballet and tap.

It was around that time that Livin’ Joy – ‘Don’t Stop Movin’’ came out, and I felt inside myself that something shifted when that song came on. My school alarm was always set for 7:30 am and it was like clockwork that ‘Rhythm Is A Dancer’ by Snap would come on and set my day up before school.. That’s when I first really understood that music could make you feel something you couldn’t describe in words.

My friend Lee Harris whom I went to school with had always been creating mix tapes when we were kids. He got his first DJ gig at the dance group I joined called Stepz and I was always really inspired by him as his only focus truly was music. He became really huge in the music scene over the next 25 years and I’m so proud of him for what he achieved before his sad passing a few months ago. I guess being around people who love music with you from a young age meant that it affected me more than I realised. From then on, dance music was more than sound - it was freedom.

In 1999, I did my first season in Ibiza. I went out alone to meet my friend Gill, without any real plan as I was only supposed to be there for a week, just a gut feeling that I had to be there.
Seven days passed and my bag was packed, as I sat in the bay I was clock watching. I’ve never done anything as crazy as this in my life, but I called my mum and said “I’ve decided I’m not coming home”. And I didn’t.

Ibiza back then was raw and unfiltered. The energy was everywhere - the streets, the beaches, the clubs. House music was the heartbeat of the island: trance, funky house, Balearic of course! One of my favourite tracks that summer was DJ Quicksilver – ‘For the Love of a Princess’. I’d hear it in clubs and on the beach, and it became the anthem of that summer for me. I also loved ‘Stamp’ by Jeremy Healy.

One afternoon, my friends and I were sitting on the beach when a man approached with a camera and asked if we’d answer a few questions. It turned out to be Mixmag. I’d never heard of them before, but I went along. They took my photo, asked a few questions, and printed it later that summer. Holding that magazine for the first time - seeing my face in print - made me feel part of a bigger world. It was the first time I felt the possibility that I could belong in the music and entertainment scene.

Later that season, I started working at Es Paradis nightclub, I only did a few days before I moved on, and I also danced on the podium. It was insane! Walking in there for the first time was like stepping into another universe - mirrored walls, white arches, water, and a crowd that seemed to belong with the music. I’m not gonna lie I was 18 years old and I felt hugely intimidated. The DJs were legends, and couldn’t imagine even for a second speaking to them let alone even being near what they were doing. I didn’t understand the technical side yet, but I understood the feeling - the power of music to unite and energise a room. One night, I found myself dancing in the DJ booth with Jeremy Healy. The lights, the bass, the energy - guess what he played? That was the first time I truly imagined myself behind the decks. I watched him and he petrified me. I felt so small compared to all of these people I had yet to build my own confidence.

Even back at the villa where I lived with about eight others, music was central. We’d sometimes switch off the dance tracks and listen to artists like Tamsin Archer; I loved Sleepless Satellite - soulful, not the cheesy club stuff I disliked.
That mix of trance, house, and unexpected songs from back home really shaped my summer and my music taste.

After Ibiza, I came back to the UK, still buzzing from the music and energy, but uncertain of the next step. I auditioned to be a Redcoat at Butlins in Bognor Regis. Over 3000 went to get the job and only around 12 of us were picked. We were taught some choreography and had to dance to ‘Shake A Tail Feather’. I remember being awful at trying to mimic what the dance teacher has taught us. So I just got on stage and did my own thing instead! I quickly learned my confidence and energy could turn heads, and I used that to my advantage and got the job.

It was a huge contrast to Ibiza - structured, family-focused, and colourful - and initially, I hated it. I started in the kids’ club, running activities and trying to keep sugared children entertained. As an only child, I had zero tolerance for screaming kids. I was miserable - I wanted something more, and I certainly didn’t want to be the Pink Power Ranger on Sunday mornings!

Somehow, someone noticed my frustration and offered me the chance to DJ instead. I got given a nickname, as embarrassing as it was. I had a gem glued to one of my teeth so I was called DJ Twinkle. It wasn’t planned or expected, but suddenly I was behind the decks for the first time. That first set was simple: old CD decks, a small booth, families dancing in front of me. But as soon as I cued up the first track, something clicked.

Watching people start to move, feeling the atmosphere shift, and seeing the smiles and how they got excited - it was addictive. I realised that DJing was more than music; it was emotional connection.

At Butlins, I learned to read any crowd. Kids wanted singalong hits - S Club 7, Steps, Spice Girls. Adult nights demanded nostalgia, rhythm, and energy. The hardest request I ever got? Mixing the Teletubbies theme into Robbie Williams - I laughed, tried it, and did not make it work at all.

But they didn’t care how technical the transition was, they were just happy they got what they wanted. That moment taught me that DJing isn’t about ego - it’s about fun, creativity, and connection.

These sets, even if modest, were crucial. They taught me patience, observation, and the importance of building energy. Every little win - the first cheer, a dance-off, a song everyone sang along to - helped me understand the power I held behind the decks.
From Butlins, I was offered a role as Assistant Entertainment Director on Princess Cruises, but I’m not keen on boats so, I joined Cruel Summer on Trouble TV - one of the UK’s first reality shows before Big Brother. That show pushed me into the spotlight, giving me confidence and, most importantly, my first real decks: a pair of Technics 1210s won live on TV through a challenge. Holding those decks in my hands, I felt like I’d finally been handed the key to something I could get passionate about.

I started building my vinyl collection - everything from Daft Punk to Faithless. The first vinyl I remember enjoying was trance, as it resonated deeply with me. Learning on vinyl was brutal - there were no sync buttons, tutorials, or waveforms. I learned by ear: nudge the platter, adjust pitch, restart when you mess up. Every mistake was a lesson; every successful mix felt euphoric. That tactile connection to vinyl taught me rhythm, patience, and intuition in a way digital never could. I remember going into HMV and not having a clue what genre I liked or what tracks were dance, House etc I was just so lost.

After my initial foray into DJing, I also pursued modelling in London. I appeared in FHM, music videos, and huge campaigns.
Music videos were especially influential: the set design, lighting, pacing, and how the sound shaped movement fascinated me. One standout was working with Ben VP from Curiosity Killed the Cat on the remix for ‘Name and Number’. Being there, syncing with the beats, understanding how every shot could enhance a track - it informed how I now structure live sets.

I also loved Brighton’s music scene, hanging out with artists like James Wiltshire from The Freemasons. The city was quirky, experimental, and full of creatives - a playground where I could soak in inspiration, meet artists, and see where life would take me. I believed strongly in making connections to move forward.
Glen Jevon has been a huge influence and support in my DJ journey. We met at a polo event, and since then, he’s been a mentor, technical guide, and creative sounding board. Whether helping me troubleshoot software, lending me speakers for gigs, or giving advice about track selection, he’s been invaluable. Glen’s experience in production and live performance has boosted my confidence and given me the courage to keep pushing forward, even when I’ve doubted myself.

At 43, I finally stopped telling myself it was too late. I saw an advert for the Pete Tong DJ Academy, bought a set of Denon DJ SC Live 4, and dove back in.
The Academy challenged me creatively, helping me refine skills I’d only scratched the surface of, and encouraged me to play live. On May 1, 2025, I played my first live set at Hard Rock Cafe Piccadilly Circus - a two-and-a-half-hour set that I’ll never forget. My partner Rich, my friend Glen, and a small audience witnessed my first public DJ performance, and by the end, I was ecstatic - everything I’d learned, practised, and dreamed of came together. Just hours before the event I said to Rich I can’t do this, I was shaking like a leaf! And I remember him saying, you are doing this now get your stuff and let’s get going.

He helped me with my stuff and dragged my 20 kg flight case containing my decks through London and into the venue. Both him and Glen got me set up ready to go, and they sat drinking cocktails watching me play! By the end of my set, they were absolutely hammered, and I had a massive smile on my face. I’m so grateful for both their support.
Since then, I’ve played numerous gigs, including kids’ parties. At first, they seemed minor, but they reinforced a lesson: the crowd doesn’t matter, age doesn’t matter. It’s the connection. I’ll be playing at my son’s school in 2026, and I can’t wait to bring joy to that community. I also continue to work with London Sound Academy to sharpen my skills and prepare for opportunities at iconic venues like Ministry of Sound and Egg London.

I may not be a mobile DJ in the traditional sense yet, but I’m building towards it. My events business, Skyline Sessions, is about more than music - it’s about creating experiences, bringing communities together, and sharing the joy of house music. Our first big event launches on February 28, 2026, at the Spinnaker Tower in Portsmouth, 600m above sea level. That first night is called The House Summit, and it’s a dedication to community and culture, it’s our way of showing that DJing isn’t just about the tracks - it’s about making people feel something unforgettable. Which is why we have no huge headliners - just us showing you how music can shape more than just a night.

If there’s one thing I’ve learned, it’s that it’s never too late. From Ibiza to the Pink Power Ranger, modelling, music videos, Pete Tong, Hard Rock Cafe, and late-night practice sessions at home - every experience has built me up. DJing is about passion, persistence, and creating connection. You don’t need to be the most technically perfect DJ to make an impact. What matters is that you bring joy, energy, and memories to people, whether it’s a club, a kitchen, or a school playground.

Music is the constant. Connection is everything. And my story, even though it’s only just beginning, is proof that if you follow your heart, the world will dance with you.