London-based Siggy has carved out her own unique space in the capital’s ever-evolving house and disco landscape, bringing an infectious energy that’s taken her from intimate radio booths to the world’s biggest festival stages. What began nearly a decade ago as a weekly radio show on MEATtransMISSION has blossomed into something far more profound, seeing her navigate the challenging terrain of original disco mixing and develop a signature sound that seamlessly blends classic disco soul with contemporary vocal house.
From her early days interviewing artists at Sony HQ to becoming a two-time Glastonbury performer, Siggy has consistently pushed boundaries across continents. Her passport tells the story of a true musical nomad, with standout performances at Hideout Festival in Croatia, Secret Garden Party, the legendary Pikes in Ibiza, and most remarkably, the playa at Burning Man, an experience she describes as utterly indescribable and life changing. Closer to home, her residencies at venues like Egg London and La Discothèque, plus her role with the acclaimed Disco Disco parties, have established her as a vital voice in London’s disco revival, sharing stages with world-class performers at iconic venues including Room 1 in Fabric.
Now, as she prepares to take the decks for Decoded Magazine – Friday 26th September at SushiSamba London alongside Clive Henry and Ben Cain, we caught up with the woman who’s helping define disco’s modern renaissance. From hidden crate gems to her transformative festival experiences, from London’s underground pulse to her ventures into original production, Siggy Smalls is ready to share the stories behind the groove.
You’ve been deeply embedded in London’s house and disco scene for nearly a decade, from your early days at MEATtransMISSION to your residencies at venues like Egg London and Disco Disco parties. How would you describe the evolution of London’s house music scene during this time? What shifts have you witnessed in both the music and the community, and where do you see it heading in 2025?
I’ve found over the last ten years, London’s house music scene has really changed big time. In the beginning it was all about creating a lively underground vibe. As time has gone on house music has got a lot more attention and gone down the mainstream road, which is great but also the unground scene still needs its own identity from today’s ‘House Music’ scene…
As time has gone on the bigger clubs in London began to feature different subgenres and international acts, this made the sound a bit slicker and polished it sometimes felt too commercial for those who loved the underground scene. But…it has opened doors for new artists and fresh styles, adding more to the music scene. Everything is changing always but these days it’s happening much faster!
A lot of smaller events in today’s scene are focusing on roots and creating friendly spaces, which really helped build the community back together post Covid. The younger generation are growing and I see a push for diversity and representation, which is super important as the scene keeps evolving, but also keeping what it was all about from the very beginning, diversity and inclusion for all.
Looking at 2025, I think the scene will continue to change drastically, technology is changing fast and how music is being created and played, which could lead to exciting new fresh sounds. I expect we’ll see a mix of old and new, with fresh artists taking inspiration from classic house while pushing boundaries. The sense of community will still be key, as people search for real connections and shared experiences in a digital world with a focus on sustainability and inclusivity. I just hope they can start to put their phones down and have a proper dance together!!
On Friday, September 26th, you’re playing for Decoded magazine alongside Clive Henry and Ben Cain at SushiSamba London, quite an iconic venue with those incredible city views. What can you tell us about this lineup and what makes this particular showcase special? How do you approach preparing for a gig at such a unique venue that sits high above the London skyline?
Yes! I’m buzzing to playing for Decoded magazine with Clive Henry and Ben Cain at SushiSamba. It’s such a cool venue overlooking the city and it looks stunning at night with all the lights!
I’m excited to play along the same line up as Clive, he’s a legend on the scene and has this own deep groove while Ben brings his own funky style. I think it’ll create a fun atmosphere that the crowd will vibe too, I can’t wait to see how the night will blend musically together.
When I prepare for a gig, I like to get an idea of the venue and what type of crowd the event attracts. I’ll try to put together a set that fits the energy of the night and fitting to what Clive and Ben play but also staying true to myself so I can share with everyone there whilst complimenting the gorgeous scenery around us!
Speaking of Friday’s show, we know you’re always digging for those special cuts that move a dancefloor. Without giving away all your secrets, what kind of sound palette can Decoded readers expect from your set? Are there any particular eras of disco or house that you’re drawing from right now, or perhaps some unreleased gems you’re excited to unveil?
For Friday’s show, you guys can expect a set that really gets the dancefloor grooving! While I won’t spill all my secrets, I’m focusing on a mix of deep underground house and a touch of disco that keep the energy high. I love blending classic sounds with newer tracks to create something fresh.
Right now, I’ve been digging into some classic disco from the late ‘70s and early ‘80s it has such a feel-good energy that always gets people moving. I’m also looking at some more modern underground house tracks that capture that same spirit but abit more sexier. I’ve got a few gems that I will drop to see people’s reactions. It’s a great way to hear your tracks out loud, away from the studio and to see what the dancefloor is saying! Hit or miss! You can’t always expect them all to go off but it’s kind of like a little a gift to the crowd without showing off!
Your residency at La Discothèque has become quite the talking point in the UK’s underground scene. What initially drew you to that venue and its aesthetic? How has having a regular residency shaped your development as a DJ, and what’s the energy like when you have that familiarity with both the space and the crowd?
I was drawn to La Discothèque because of its loud and proud aesthetics, Kat who runs La Discotheque is the first female promoter I’ve ever worked with within my 10 years of being in the industry. I love what she represents for her brand and pushes boundaries with her dancers. She’s big on supporting the LGBTQIA+ community and I love that!
Having a regular residency there has been a big deal for my growth as a DJ. It lets me try out new things and really connect with the crowd over time. I get to see what works and what doesn’t, which helps me improve my sets, I’ve met some amazing legendary DJS playing with La discotheque, such as Jamie 326, DJ Paulette, Kenny Dope and more! It’s also given me the opportunities to play at some amazing locations and venues such as Kala festival, Pikes Ibiza, Drumsheds, Printworks, Glastonbury!
You’ve described Burning Man as indescribable and life changing, quite a leap from London’s warehouse parties to the Nevada desert with 80,000 people. Can you walk us through what that experience was actually like from a DJ’s perspective? How did performing in that environment change your relationship with music and your understanding of what a dance floor can be?
Burning Man was truly something else! it’s hard to put into words, but it’s definitely a life-changing experience. Going from London’s warehouse parties to the Nevada desert was abit of a shock to the system. As a DJ, performing there is unlike anything else. The energy is just wild! You’re in this massive, open space where everyone is there to express themselves and connect. There’s a sense of freedom that you don’t often find in typical club settings, It’s a place where people are fully present, and the vibe is all about community and creativity.
Playing in that environment really changed my relationship with music. It’s not just about getting people to dance; it’s about creating a shared experience. The dance floor becomes this fluid space where everyone is moving together, feeding off each other’s energy. It taught me to be more intuitive with my sets, responding to the crowd in real-time and embracing the spontaneity of the moment.
Overall, Burning Man opened my eyes to the possibilities of what a dance floor and community can be it’s more than just a place to party, it’s a space for connection, creativity, and self-expression. That understanding has definitely influenced how I approach my sets back home. I definitely came back a different person for the better!
There’s been a massive resurgence of disco over the past few years, with everyone from Purple Disco Machine to Barry Can’t Swim and newer artists bringing fresh ears to the genre. From your perspective as someone who’s been championing disco since your radio days, what do you think is driving this renaissance? How do you feel about seeing disco pull in a completely new generation of listeners?
The resurgence of disco over the past few years is really exciting to see! I think a big part of it comes from people craving that feel-good energy and those uplifting vibes, especially after everything we’ve been through. Artists like Purple Disco Machine and Barry Can’t Swim are doing an amazing job of blending classic disco sounds with modern production, making it accessible and fresh for new listeners.
As someone who has championed disco since my radio days, I love seeing this genre pull in a new generation. It’s great to watch younger audiences discover the joy and groove of disco, reshaping it in their own way. There’s something timeless about disco music that resonates across generations, and it’s awesome to see how new artists are putting their spin on it while still honoring the roots, it’s great to see Artists such as Kirollus and Minna playing authentic disco music on vinyl and seeing a young crowd absolutely loving it.
This revival also highlights how music can bring people together. Disco has always been about joy, celebration, and community, and seeing it capture the hearts of new listeners is a reminder of that magic. It’s a great time for disco, and I’m excited to see how it continues to evolve!
You mentioned starting with original disco, which can be quite challenging to mix, before moving into disco edits. What are some of those hidden gems that never leave your crate, the tracks that consistently ignite a dancefloor regardless of the venue or crowd? Are there any particular labels or producers whose work you always trust?
There are certain tracks that I always keep on hand because they really get the crowd moving. Classics like Donna Summers “Love to love you baby” and classic King Tutt “You’ve got me hung up’ both are guaranteed to create a sexy atmosphere.
When it comes to labels and producers, I’m a big fan of Classic Music Company and Glitterbox. They put out fantastic disco edits that feel modern while still honoring the original sound. I also have a lot of faith in artists like Natasha Diggs, Rahann and Jamie 326 they really know how to capture the essence of disco.
The disco and house scene seems to be experiencing an incredible wave of new talent right now. Who are some up-and-coming artists or producers that you think Decoded readers should be keeping their ears on? Any fresh voices that are particularly exciting you in the studio or on the decks?
Hmmm this is a tough question as there’s so many DJS and artist popping up everyday! And I’m a little out the loop for the younger generation! Haha
I would have to say to look out for artist such as Storm Mollison – she had some wicked releases out this year. Abana, Niteplan, EVIE , Black Fancy there’s so many to name!
As a true Londoner who’s experienced the city from every angle, from playing private events with Mark Ronson to sweaty underground clubs, what are your go-to spots for dining and drinks that you’d recommend to our international readers? We’d love to know your insider knowledge on where to eat, drink, and soak up London’s culture when they’re not on the dancefloor.
Hmmm this is pretty easy as I love food and when I’m not DJing I love to have a good dinner and expensive wine with friends.
Places I would recommend are:
Plates in Dalston – vegan food
Angelina’s – for a fusion of Japanese and Italian.
Manteca – Shoreditch for amazing pasta. I highly recommend the duck ragu. It’s 10/10
Pearly Queen by Tom Brown – for Seafood with a twist – try the deep fried buffalo oysters as a starter. Wow!
Mr Porter steak house on Parklane – A new venue which is a must try for their steaks and lobster! And amazing wines to compliment the dishes. There’s a cool vibe there too making it feel more than a typical Mayfair vibe they play rare grooves and great disco music too
You mentioned working in the studio and finding your sound as a producer. How has transitioning from radio host to DJ to now producer changed your relationship with music creation? What can we expect from Siggy Smalls in the studio, and how do you see your sound evolving as you continue to bridge that gap between classic disco soul and contemporary production techniques?
Transitioning from radio host to DJ and now to producer has definitely deepened my relationship with music creation. As a radio host, I focused on curating and sharing music, developing a keen ear for what resonates with listeners. DJing allowed me to connect directly with the audience, understanding how tracks can create energy and emotion in real-time. Now, as a producer, I’m digging into the intricacies of sound design and arrangement, which gives me a more hands-on role in the creative process.
In the studio, expect a blend of classic disco soul vibes infused with modern production techniques. I’m experimenting with layering live instruments and samples, all while incorporating electronic elements that keep the sound fresh and relevant. My goal is to create music that honors the past while pushing boundaries, making it accessible to both old-school fans and new listeners. I see my sound becoming more nuanced, exploring deeper grooves and collaborations that challenge me musically. I want to create quality music that resonates across generations. That’s the dream anyway!
Catch Siggy on Friday 26th September with Clive Henry and Ben Cain at Sushisamba Heron Tower – London in conjunction with Frangipani and Evermix. Last tickets remaining – be quick – Available here
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