revisiting & reflecting: with

OSMOSIS JONES (Q&A)

that sonder set:

a month ago now was Osmosis Jones’s debut on the main stage at Sonder Festival.

after speaking to plenty of partygoers across the weekend - including my fellow volunteers on the Green Team - it became pretty clear this was the set everyone had been waiting for.

what started as your classic “fun in the sun” main-stage energy quickly shifted into something else entirely.

as the sun began to set and OJ’s set started to build, it felt cinematic. the energy lifted instantly. the sound of cans cracking open moved through the crowd, layered over bouncy basslines and rolling melodies, and you just knew this was a feeling we’d all want to hold onto for a little longer.

with a crowd fully ready to embrace his sound, silly energy and pure whimsy took over as we celebrated music, friendship and local talent. singalongs and filthy drops kept everyone locked the fuck in.

and then came the standout moment.

whether you were there or not, you’ve probably seen it by now…

‘renegade master’ dropping across the festival grounds, booming through the speakers.

it’s been a while since i’d seen a crowd react like that - everyone moving in unison, bouncing around like literal bunnies to the beat. maybe it was the booze, maybe it was the spirit of easter. who knows for sure, but my guess is it was OJ’s energy.

and somewhere near me, front left in the crowd, i heard:

“fuck, music has never sounded this good.”

i remember that moment so clearly because it felt significant for many reasons.

in the current musical climate, reactions like that usually come when someone drops an unreleased track, a VIP, or something completely new - an example being the impact of ‘flight fm’ during the summer of 2024. 

but renegade master came out before most of that crowd were even born - me included. and while OJ was by no means the first to play it to an Australian crowd - and i have since been told it’s remained a staple selection for years, carried along by countless bootlegs and reworks - in that moment it genuinely felt like it had been handed a new lease of life.

released into the hands of a whole new generation.

educating while simultaneously creating a dancefloor.

making one of those rare, collective moments people keep talking about long after the weekend ends.

and that’s the thing a former teacher - and now full-time musician - does best.

——

dancing down under walked so catching z’s could run: 

2 years ago, i had the pleasure of sending across 10 questions to that “australian geezer…” - if you keep up with garage music, Osmosis Jones - one of Melbourne’s finest DJs and producers. 

under catching z’s old name, ‘dancing down under’, we got an inside scoop into future goals, plans, and current notable moments - all to be posted on the previously hideously designed blog, and for his answers to be read by, well, pretty much, no one. 

i like to think of it as dancing down under walked so catching z’s could run. 

but since then, OJ has pretty much taken the world by storm, and i’m very keen to say we’ve got him back in the hot seat (or in this case, whatsapp comms) to do it all over again.

in true catching z’s style, we’re taking a trip down memory lane and getting reflective - all while he’s in the middle of an australia headline tour and preparing for a move to the UK.

so let’s begin… 

——

Q&A:

Q: in the past, you described an OJ set as:

‘mixing the old with the new, focusing on keeping a crowd on their toes while paying homage to iconic tracks.’ 

do you still feel that’s true in your sets today, or have they evolved alongside garage/UKG, increasing in popularity and pushing a certain style through trends and audience expectations? 

A: "i definitely still stay true to this, and it’s only become more improved and refined in my mind. My sound is always taking little micro shifts here and there based on what interests me at the time, but this general ethos still rings true.

the term garage takes a different form in everyone’s mind, but I like to keep it pretty light and classic overall. I feel like I have my own sound within the genre, which is a crazy thing to say, as I came up just being a fan and appreciator of the scene. 

i try not to overthink it too much when explaining my sound and just move towards what resonates with me. And no, I never pander to audience requests too much, and if I did, I’d just be playing Damager, Doin’ It and Big Bad Banger or whatever it’s called, just strap in and enjoy some new sounds."

Q: when we last spoke in 2024, you named Glamorama as one of your favourite post-renovation venues to play. i loved looking back at that - because i now work on the venue’s marketing team after first playing there during your ITH Records takeover with DJ Q, so it feels pretty full-circle! since then, you’ve played bigger stages and festivals across Victoria and beyond - has that changed what you look for in a venue now? and is there anywhere around aus that stands out as a favourite to play?

A: "aye I never knew I could take credit for that, but there we go! Glam still holds a place in my heart even though I haven’t had the chance to play there for a while, probably since 2024, but i’ll roll through when I have other friends playing there, and it’s always a vibe. 

other venues I’ve had a lot of fun in lately are Revolver and Oxford Art Factory. I think what makes those places great is the capacity, up to 500, which is still close quarters enough in my mind, I need a slamming booth to catch the vibe of my own set, and I think that energy bleeds into the crowd.

bigger isn’t always better, that's for sure."

Q: Melbourne has such strong pockets of creatives, pushing different genres and sounds - it’s very unique sonically, something we have chat about previously.  i know you’re heading to the UK for a while  - is that because you feel the scene here is lacking in some way, or more just about exploring opportunities elsewhere?

A: ‘i don’t think anything is lacking in the Melbourne scene at all, and it’s an incredible incubator for all sorts of talent, and we can see that with all the DJs who are, and have, broken out globally from here.

i’d almost argue there aren’t too many better places to start a career than Australia because it’s less saturated overall, and the circuit domestically is really solid, plus the city attracts enormous DJs and events, which can also shine a light on locals. 

but the only downside is we’re quite far away from the rest of the world, and there aren’t as many cities to visit and play in, so after a while the natural progression is to spread your wings elsewhere.’

Q: when we last spoke, you said your proudest moment was finishing your Master’s degree with your parents there at graduation - such a wholesome answer! 

it ties in nicely with something i’ve been thinking about lately: how hard it can be to hold onto moments we’re genuinely proud of when we’re constantly encouraged to keep striving for more, particularly in a culture so driven by productivity and monetary success. 

do you have any advice - music-related or otherwise - on recognising how far we’ve come and taking the time to appreciate our achievements?

A: "ive been thinking about this a lot lately because I was pulling myself up on this. As a striving artist, you’re always focused on your next big opportunity and what’s getting you the next big opportunity after that. 

then, after a while, you become numb to it, and what once would have made you jump around the living room is now just part of the day-to-day. 

on the flip side to that, there’s a lot of self-assurance and growth involved in reaching that place and trusting your skills as an artist, but I think it’s, of course, important to hold on to some perspective. 

i like to think of my life as a book or a Wikipedia page, and what helps me remember and be proud of what I achieve is that i imagine writing that era out. If I look back at 2022-2024, I would title that as laying the foundations and when I think about all the cool things we did back then, when there was a tiny scene, and sounds were new, that bubbling pot of ideas and fresh excitement would be what interests a reader of your story more than whatever your biggest opportunity was. 

so just be happy with where you’re at, because those days might become legendary to you later down the track!!"

Q: Inside Kru - with you, Prizefight, Isgwan and Waxx Off - has been on a huge run lately, playing some of the biggest stages across Australia last summer. there is obviously a real chemistry to what you all do together. what do you think makes a collaboration like that work - friendship and connection, shared musical instinct, or something less tangible?  i’m fascinated by how much natural chemistry shapes creativity and collaboration, especially in music, so I’d love to hear your perspective on it. 

A: “i think this one has got to be genuine friendship because where we’re at now sonically is so different from each other, but we somehow manage to meet in the middle, even the sets seem to work, although those guys play way too fast for my liking. 

we just have chemistry and a trust in each other’s skills to take risks on different sounds when needed, also enough comfort with one another to express when we aren’t feeling an idea. Everything we’ve done is just the result of hanging out and having fun, really.”

Q: one of my favourite parts of our last interview was hearing you say that The Warehouse Project was a bucket-list venue for you. having spent a lot of time there myself - and knowing what a staple it is within the northern UK scene - that answer definitely stuck with me. so seeing that you’re now playing there this October for IPC’s takeover feels massive.

we’ve touched on how easy it can be to move straight onto the next goal without fully sitting with the last one, so it’s really special seeing something like that come to life for you - a reminder that manifestation really is real (alongside the hard work, of course).

how did it feel when you got that news? and now that it’s getting closer to the date? and i’ll be a little cheeky here - last time you also mentioned the beach stage at Strawberry Fields Festival and playing sets in Berlin… i’m guessing those might be on the cards, even if you can’t say much yet?

A: "yes, playing WHP and it’s probably on the best possible night I could have been lucky enough to get it. The whole thing feels like IPC wants to bring the garage scene together with that one, and I’m just happy to be there.

i was really excited to be honest, and I was counting down the days to announce so I’d be able to share the excitement with everyone else. I know everyone behind the scenes involved in it is excited, and so are the punters, so the sentiment is just sky high overall! 

and yes, manifestation is really real, and they cooked with

“believe in yourself” 

plus i am playing in Berlin next week too! Strawberry fields, we are still working on, but then i don’t know if i’d have any goals left.”

Q: lastly, to finish this off…

“what’s next?” 

is such a classic interview question and the final one i asked you in 2024, but it always feeds into this idea that we constantly need to chase, chase, chase.  the whole message at catching z’s and the wider project is about reducing pressure and letting creativity exist without strict timelines or perfection expectations. so instead of asking what’s next, i’d rather ask you: 

“what's the now for Osmosis Jones?” 

A: “right now it feels like there’s so much going on that it’s overwhelming. the deeper I get into this, the tougher the conversations you have to have, more pressure is attached to your performance, you have to make opportunities count, and it feels like everyone is watching your every move and silently judging you. 

i’m trying to slow things down a bit, not force productivity like I used to and take care of myself while regaining some new inspiration. 

what feels good to me right now is moving beyond making “tracks” and exploring some real artistry. I want there to be a unique vibe around what I do, not just sonically but visually and energetically, because I think that is more interesting to me than just having cool music. 

so yeah, outside of wracking my brains about what to do on social media next and where I’m travelling to this weekend, I’m trying to think of unique ways I can take the whole Osmosis Jones project forward.” 

——

huge thank you to OJ for the time and energy spent on this. 

i'll follow up again in two years ;) 

catch you soon, 

dozie xxx