From the banks of the White River in Mpumalanga, South Africa, to the heart of London’s electronic scene, Nick Castle has carved out a sound and story entirely his own.
A DJ, producer, and founder of the independent imprint Labyrinth Records, Nick’s journey bridges continents and cultures, blending Afro-rooted rhythms with melodic, club-ready energy. This year marked a defining moment for him: debuting his latest track before Solomun at Labyrinth on the Thames to 10,000 people, while his breakout remix of boys be kko’s “Pico” continues to climb past 330,000 streams.
With sets alongside the likes of Keinemusik, Fred again.., and Laurent Garnier, and international shows stretching from London to Istanbul, Nick stands at the forefront of a new generation of globally minded artists shaping the future of house music.
In this Q&A, we speak with Nick about the deeply personal inspiration behind his new single, how his South African heritage informs his sound, the rise of Labyrinth as an independent force, and what’s next as he continues to build his own lane beyond the traditional club circuit.
White River is a personal record, rooted in your experiences in South Africa. Can you tell us how it inspired the track both emotionally and sonically?
I actually made the track first and then thought of the name. I always associate music with places I’ve heard it at, or the place the music reminds me of – all of my artworks represent a place that I connect the track to. When I finished the track it reminded me of this place, which is where the name comes from…
Of course, my upbringing played a part in the inspiration too, as I’m naturally drawn to these sounds.
Nick Castle – Labyrinth on the Thames, Royal Navel College, Greenwich, London
You first played the track before Solomun this summer at Labyrinth on the Thames in London. That must have been a special moment for you? Can you tell us how it felt and the crowd reaction to the record?
I was really really nervous to play the track out. I’d spent a lot of time refining the master, so I was unsure how it would sound on a festival PA. The track is also relatively chilled at the start, with an emotional build and then picks up after the breakdown, so I wasn’t sure how it would feel on a big stage.
It ended up being a super special moment – the track is made to be played in a setting like that and once I played it and the nerves left me, it was very rewarding feeling.
This wasn’t planned, but Solomun also arrived on stage just after the track dropped which was uncanny. This was the first time I had met him too.
Nick Castle – Labyrinth on The Thames, Royal Navel College, Greenwich, London
The track bridges Afro-inspired textures with melodic London club energy. How do you approach blending those worlds, the organic and the electronic, in a way that still feels authentic to both?
I wanted this track to feel emotional through the richness of the vocal, but then also have an electronic feel that would hit in a club. The faster vocal on the drop and the change in baseline really allowed the track to move from one feeling to the other.
I’ve now had the chance to play it in an open-air and club setting and I’m super happy with how it works in both environments.
Labyrinth has grown into a powerful independent brand, from Notting Hill Arts Club to massive open-air shows. When you look back to those early days, what was the original vision for Labyrinth, and how has it evolved?
10 years ago, nobody was going to book me to DJ, so I did it myself! The vision was never anything more than to pour my all into something I loved and gave me huge satisfaction.
10 years later, I’m incredibly grateful for what Labyrinth has become and we’re all still doing it for the love of it.
You’ve played alongside some huge names like Solomun, Keinemusik, Adriatique and Laurent Garnier. What have you learned from sharing the stage with artists of that calibre, and how have those experiences informed your own performances and productions?
Over the years (until more recent times) I’ve generally been opening for these artists. Playing the early slot as the floor filled up, before a headliner will come on at peak hours. This is something I take great pride in – building a set and vibe is an art and you shouldn’t start playing 124 bmp to a room of 5 people. It really bugs me when we book other openers and they don’t respect this.
As a result, I think I’m drawn to music that builds to a moment and doesn’t give you everything all at once.
Your remix of boys be kko’s “Pico” was a breakthrough moment, crossing 300k streams and landing in major playlists. What did that track change for you in terms of exposure or confidence as a producer?
Never in a million years did I think the track would get this pick up, so I was just happy to know some people were listening to the music in all honestly.
Labyrinth on the Thames was one of 2025’s standout summer events. What did it take to pull off something on that scale independently and how did that success shape your thinking for what’s next?
Timing, hard work, resilience and a great team. It was an incredible feeling for us all to deliver those shows and for our future thinking – it’s a stark reminder for us to always push the boundaries and keep things fresh.
Nick Castle – Labyrinth on the Thames, Royal Navel College, Greenwich, London
Speaking of next, what can you tell us about your plans for 2026? Where do you see your sound, the label, and the wider Labyrinth brand heading from here?
Our only plans are to continue to put our time into projects that excite us. If we do that, we’ll get to our north star.
We’ve never been ones to plan 5 years ahead of whatever, if we’re excited and we deliver week in week out, life will guide us there eventually.
Head to The Night Bazaar page on Beatportal to check all of our exclusive interviews HERE.
