G.error

I want to thank everyone who came to hear me play Peach at Ministry of Sound this weekend.

It’s hard to put into words what it feels like to be a professional DJ for 33 years, then stop completely for 10… and suddenly be back behind the decks for one night. It felt like leaving a galaxy and returning to it. Just surreal.

Not only was this my first gig in London—or anywhere—in 10 years, but for the past decade, I haven’t been to any clubs, haven’t bought any new music, and have no idea what other DJs are playing these days.

Naturally, I felt a bit apprehensive before the gig, knowing I was going to play a full set of 30-year-old records, while most DJs are, of course, spinning modern tracks with today’s sound.

I’m pleased to say I somehow managed to make it work.

My goal was to deliver a full-on Bagley’s set—not new music. I wanted the people who used to be there to feel that energy again. And for the younger crowd who came to hear me play—people who’d only heard stories about Bagley’s—I wanted them to get a sense of what it was really like.
At least a taste of it, since my Peach set at Ministry was only 90 minutes—while back in the day, my Freedom at Bagley’s sets went on for 8 hours straight, every single week.

Personally, it was one of the most surreal moments of my life. I’d just flown in from Argentina 24 hours before the gig. All my vinyl is in London, so I only had a few hours to pull it all together. Huge thanks to my good friend Alex Celler for letting me use his studio—and his time—to prepare.

The last time I played a Bagley’s set (aside from the reunion we did in 2011) was back in 2001. So this night wasn’t just a reunion with people—it was a reunion with my records, my past, and a part of myself.

One of the most powerful moments of the night was dropping Marmion “Schöneberg”—not the original mix, but a rare bootleg vinyl I’ve held onto for years. I can’t even describe what that felt like. It was a deeply personal, touching moment. Schöneberg wasn’t a massive tune on the straight scene, but it was absolutely huge on the gay scene. I actually remixed it for the Hooj Choons/London Records release back in 1997, and I used to play my remix regularly at Bagley’s. All in all, it’s an era-defining track for me.

I know club atmospheres in 2025 aren’t what they were in 1998, but for this one night, I wanted the crowd to react like it was the late ‘90s. And they did. There were five or six moments in my set where it all came flooding back—the energy, the emotion, the magic of Freedom. It was overwhelming.

Massive thanks to Chris Bayne, Graham Gold, and the entire Peach team for putting together such an incredible night. Their professionalism and passion are unmatched—it was an honour to play for them.

Honestly, this could have been my last ever gig. I don’t know if I’ll play again. But if this was the final one, what a way to go out. I’ll drop a short vid in the comments.

THANK YOU TO ALL OF YOU. ❤️