Chloe MooreChloe Moore sat down with rising North Dublin house artist E.T.C to talk bedroom beginnings, major-stage warm-ups, and how one of Ireland’s most promising new selectors is carving his path amid a changing nightlife landscape.
E.T.C is one of the most promising new names in Ireland’s house music scene. Rising swiftly from bedroom setups inspired by his dad’s Technics to warming up major stages at the 3Arena, Punchestown, and Liverpool’s Blackstone Warehouse, the North Dublin DJ and producer has established himself as a respected opener with a sharp ear for moving droves of people. His recent release “In The House” has already garnered support from artists including Obskür, Alisha, and Ryan Resso, its driving bassline proving an instant floor-filler.
Amid ongoing challenges facing Dublin’s nightlife, from early closing times to a shrinking number of venues, E.T.C remains focused and forward-looking. We spoke with him about his journey into DJing and production, the lasting influence of Dublin’s deep house heritage and crews like Belters Only, his approach to reading crowds and curating sets, managing anxiety in a high-pressure industry, key lessons from a packed 2025, and his ambitions for 2026 and beyond.
Can you tell us about your journey, how you first got into DJing and what inspired you to take it seriously?
From a young age, I was always around electronic music, with my dad mixing records on Technics up in the attic – he introduced me to a lot of that when I was 9. I was in 6th class back in 2013 when I notably fell in love with modern house music, an era which influenced a lot of people. I had the Djay app on my iPad Mini, and my cousin and I would pretend we were playing to a crowd of thousands. When Covid hit, I got my first pair of decks & started DJing properly in 2021. I only began producing music in 2023 – from there on, I’ve become obsessed with making music & growing as an artist.
You’ve been super busy playing big spots lately-the 3Arena, The Sound House, Omni, the works. How do you handle all that pressure, and has playing such different places changed how you approach your sets or your career generally?
I love being as busy as possible; the more gigs/events I do, the more I feel it adds to my drive. I definitely feel playing major gigs like 3arena, Punchestown, Blackstone warehouse in Liverpool & travelling Ireland playing has shifted my approach to sets & track selection. I enjoy playing the opening/warm-up slots – it needs to be carefully curated and respected when playing to any size crowd, big or small. As someone who suffers with anxiety and overthinking, I definitely feel staying fit & healthy is also a massive help, keeping your mind and body right. Especially now in the social media era, which can heavily influence burnout.
What key takeaways or experiences from your busy summer are you planning to incorporate into the remainder of the year?
2025 was another mad year with so many standout moments. Over the summer, I gained a nice bit of support from some top DJs, my main takeaway from this would be that – if you have a track finished, don’t sit on it too long trying to perfect it & obsess over it. That becomes a slippery slope as there’s always gonna be something you’ll change. Send it out to DJs who you might think would like it; you’ll be surprised at the outcome. Also, how beneficial it is to show face at events, integrating into the scene, chatting to artists, promoters, agents, etc.
How has the Dublin music scene influenced your creative work?
I definitely feel that going to clubs/festivals as soon as I was old enough had a big influence on me. The music scene in Ireland has so much culture to it, no matter the genre. I’m always drawing inspiration. Since being house music mad from a young age, I grew up to realise how prominent the deep house scene was in Dublin. Even now, I still hear from the crew about SIN nightclub & how sick it was back in that 2012-2015 era. Unfortunately, I was way too young to go.
The Belters Only circle, in particular, have influenced me greatly over these past few years. The lads – Robbie, Bissett & Evo (who is now my manager) believed in me from when I first met them in 2022. And when I began making music, they continued supporting me, offering advice/guidance & I have so much to thank them for.
Your new track, “In The House,” has just been released. Could you give us some insight into the production process and the intended impact of the track on the dancefloor?
In The House was one of those tunes that just came together smoothly. I got the bassline melody down and got that dancefloor-ready vibe from it straight away. The intended impact would be to hear that bassline come through & grab attention from the crowd. It was sick to see some big support come off the back of it, too, like from Obskur, Alisha, Ryan Resso, to name a few.
Could you describe your track selection process for a set? In particular, how do you go about reading the crowd?
When preparing for a set, I like to dig for some tracks that could create a particular “moment”, maybe if it’s a hypnotic break that you get lost in or groovy drums & bassline that locks you in. I make a good few edits for my sets, and if I think they’d suit on the night, I’ll test them out. You never know what could go off and whose ear it could catch.
For opening/support slots, I feel doing your homework on the type of crowd/expected mood on the night, and the artist you’re supporting, is very important. I love digging for lesser-known tracks that maybe not a lot of people have heard before, again – you never know who you could inspire with just one track.
There’s been a lot of conversation around the decline of Dublin’s nightlife. From your perspective as a DJ working across clubs and large venues, what are the biggest obstacles right now?
I feel Ireland is facing numerous obstacles in the nightlife scene & it’s declined at an alarming rate. I read recently that there are only 23 nightclubs in Dublin, and the majority of them are struggling. We can all see that the 2:30 close for nightclubs isn’t late enough. There should be an option for club goers to stay late in the night & experience a club/later sets if they wish to.
Are there particular events, festivals or collaborations you’re most excited about in the next year?
There’s a lot to look forward to in 2026, already some very exciting support shows lined up with some quality artists. I’ve been branching out & collaborating with some sick international talent too – looking forward to putting it all out there.
So, what’s your top piece of advice for new DJs trying to break into the scene and really get going, especially when it comes to staying motivated and keeping that progress moving?
For new DJs trying to break into the scene, my biggest advice would be – get yourself out there & network at events. If you haven’t begun your music production journey, start now & fall in love with the creative process. It isn’t easy to pick up something completely alien to you straight away, but over time you will grow & this will make you stand out as an artist.
Comparison is the thief of joy. Don’t compare your progress to others, everyone is in their own lane & your time will come when it’s meant to. Enjoy yourself & trust the process.
Reflecting on your beginnings and current position, is there any advice you would give your past self, and what goals are you setting for the future?
A big piece of advice I’d give to my younger self would probably be to not be so self-critical of myself; it’s something I struggled with a lot. To be honest, only over the last year, I’ve grown & learned to appreciate/be grateful for the position that I’m in. My goals as a whole for the future, in the most humble way possible, are limitless. I want to be on the big stages, all around the world, & showcase what I can do. I know it’ll take time & it will not come easy, but I’m hungry for it & ready to work relentlessly until I get there. I am confident that 2026 will be a year where I really begin my journey as an artist, & I’m ready for it.
