Ahead of his upcoming appearance at Ministry of Sound alongside David Penn on Friday 19th December, we caught up with Chewna to talk about the evolution of his sound, formative influences, collaboration and what it really means to let the music lead.
Your vibe sits between nostalgic and futuristic groove-driven house. What new sonic elements are you experimenting with in your sets this winter?
Over the past year my sound has really settled into UK garage and bassline, and that’s very much the direction going forward. I’ve always loved groove-led music, but lately I’m leaning harder into swing, weight and low-end pressure. More shuffled drums, deeper subs, cheeky bass riffs, and those little nods to late 90s and early 2000s UK club culture. This winter I’ve been enjoying pushing that sound in the club, letting tracks roll longer and really locking into that head-down, hands-up feeling. It feels natural, and it feels honest to where I’m at.
You have talked about being inspired by a specific DJ set on Radio One that rewired your understanding of music. How does that moment still influence your track selection and set building today?
That moment was DJ Heather’s Essential Mix for Radio One at Yousef’s Circus night in Liverpool, and honestly it changed everything for me. The energy, the connection, the way she told a story without saying a word, it just hit something deep. I remember thinking, this is what DJing really is. Not tricks, not trends, just trust in the music and the room. That set lit a fire that hasn’t gone out since. Even now, I think about flow and intention every time I play. I’m always asking myself if the next record adds something meaningful or if I’m just filling space.
Ministry of Sound is iconic for its history and crowd energy. What can we expect from your set at the fabled club?
Ministry is one of those rooms you grow up hearing about, so getting the chance to play there feels special. I’m coming into it confident and excited. You can expect a proper club set, groove-heavy, bass-led, and built with purpose. I want it to feel fun, uplifting, and physical. It’s about locking into that crowd energy and letting the room carry the night forward rather than forcing moments. When Ministry clicks, it really clicks.
Chewna
Are you planning to include any unreleased music or exclusive edits in your Ministry of Sound set that fans haven’t heard yet?
Yeah, definitely. I’ve got a few unreleased tracks and edits that have been working really well in recent sets, and Ministry feels like the right place to let them breathe. Nothing too flashy, just records that sit naturally within my sound right now. I love testing new music in rooms that actually listen, and Ministry crowds tend to really lean into that.
How do you prepare differently for a headline club date like this compared to a festival slot? Do you tailor your music selection or technical setup?
A headline club show gives you more freedom to stretch things out. At festivals you’re often dealing with a mixed crowd and a tighter window, so you’re more direct. In a club, especially somewhere like Ministry, you can take your time and really read the room. I’ll prep a wider selection and let the night guide me. Technically I keep things simple, but musically I give myself more options so I can react properly.
Your Beatport catalogue shows a range from club-ready house to more vocal-driven tracks and collaborations. How do these different vibes influence the energy you shape in a live DJ set?
All of those sides come into play when I’m DJing. The tougher club records bring drive and momentum, while the vocal or collaborative tracks add warmth and connection. I like sets that feel human as well as energetic. It’s not about sticking to one lane, it’s about knowing when to push and when to let people breathe for a moment.
You’ve worked with vocalists and other producers like Tony B. How important is collaboration in shaping your evolving sound?
Collaboration is massive for me. Working with other people challenges your habits and pushes you out of your comfort zone. With Tony B., for example, there’s a shared understanding but also different instincts, and that’s where the magic usually happens. It keeps things fresh and stops me getting stuck in my own head.
How has your approach to DJing and production grown over the past year, and what’s one lesson you’ve learned from performing at high-profile venues?
I’m definitely more confident and more patient now. Playing rooms like The Louvre in Dubai with Eats Everything, and recent shows at Pikes Ibiza, really reinforce that you don’t need to rush. Trust the groove and trust yourself. Those experiences have been huge for me, and I’m buzzing to be back at Pikes next year with four confirmed dates already locked in and more in the pipeline.
You’ve talked about drawing inspiration from travel and creative exploration outside music. Has any specific place or experience shaped a track you’ve released this year?
Travel always feeds into my creativity, even if it’s subtle. Spending time in places like Ibiza, especially somewhere like Pikes where the atmosphere is so unique, definitely seeps into the music. It’s not always obvious, but it shapes the mood and energy of what I make.
Looking ahead into 2026, are there particular goals, new music, collaborations or stages that you’re especially focused on?
I’m focused on building momentum properly. More music that really represents my sound, more collaborations that feel right, and playing rooms where sound and vibe come first. I want to keep growing without losing the essence of why I started.
Finally, for those experiencing your music live for the first time at Ministry of Sound, what do you hope they feel by the end of your set?
I want people to leave feeling lifted and connected. Like they’ve shared something together, not just watched a DJ play records. If they walk out smiling, sweating, and wanting to do it all again, then I’ve done what I came to do.
Catch Chewna at Ministry Of Sound on Friday 19th December. Head HERE for tickets.
