Chloe MooreKnown for her electrifying hybrid sets and genre-blending sound, NANCY Live (Lauren Rusowicz) is one of the most exciting forces emerging from the UK’s electronic music scene.
Based in Manchester, she’s carved out a name for herself by fusing live synthesiser performance with the energy of a DJ set, creating a high-octane experience that’s as unforgettable as it is unique. From the Warehouse Project to DC10 and Terminal V, her performances have lit up some of the world’s most iconic dancefloors.
But NANCY Live’s impact goes beyond the stage. With releases on major labels like We Are The Brave, Arcane, and Tronic, her productions, known for their fast-paced rhythms and rich, melodic textures, cut across techno, hard groove, trance, acid, and classic 90s rave sounds. Her sound is both a nod to the past and a push toward the future, drawing on influences like The Prodigy, Daft Punk, and KINK while forging her sonic identity.
In this conversation, we talk to NANCY Live about her creative process, her approach to performance, and how she’s helping to reimagine what live electronic music can be.
How do you maintain a cohesive vibe when curating playlists with such diverse genres, as shown in your recent posts?
I try not to overthink it too much. It’s more about energy and flow than sticking to one genre. If something makes you move or feel something, it has a place. I grew up loving loads of different sounds, so I’ve never really been about staying in a single lane. It’s all about connecting the dots in a way that still feels like me.
You’ve been sharing snippets of your original mixes. Can you walk us through your creative process when producing a new track?
Usually, it starts with a sound or a sample that sparks something. That might be like a weird synth patch I’ve made or a vocal that hits a certain emotion. From there, it’s basically trial and error. I build up drums and groove early on, then I shape the rest around that. I’m quite visual in how I hear things, so I always think about how it would hit live. Then it’s just refining, adding textures and getting the mix right. It’s rarely linear and usually very messy, but in the best kind of way.
Collaborations seem to be a highlight in your recent content. How do these partnerships influence your musical style and growth as a DJ?
Collaborating pushes me out of my own habits, which is class. Everyone approaches music differently and I love that. You end up learning new workflows, sharing sounds you’d never normally touch and finding a middle ground that’s exciting. I’ve also made some proper good mates through it. It keeps things fresh.
You’ve performed at various venues lately, such as The Soundhouse in Dublin, Ireland. How do you tailor your sets to suit different audiences and settings?
I always try to read the room rather than stick to a fixed plan. I’ll usually have a loose idea of a direction, but loads of backups too. If the crowd’s giving energy, I’ll go heavier. If it’s more of a head down vibe, I might build it more slowly or lean into deeper stuff. It’s about making people feel something in that moment, not just playing bangers for the sake of it.
Do you have a preferred instrument among the various ones you use to create your tracks?
It’s got to be my Virus TI synth. I love creating sounds from scratch. Hardware or software, I’m obsessed with messing around until something unexpected pops out. It’s like sonic sculpting. Very nerdy. Very fun.
Section 63, your record label, has been gaining momentum with releases like your track “Guestlist,” which blends nostalgic ‘90s vibes with modern dance rhythms. What inspired the creation of this track, and how do you see it representing the label’s sound?
“Guestlist” came from a place of wanting to celebrate the fun and cheekiness of old school rave culture, but with a sound that still works today. The ’90s were full of freedom and raw energy, and I wanted to capture that kinda buzz without sounding dated. It represents the label because Section 63 is all about cutting through the noise and keeping the focus on good music that doesn’t rely on algorithms or clout.
How do you envision Section 63 contributing to the evolution of the electronic music landscape in the coming years?
We want to keep championing artists who are doing something genuine. Not just chasing trends but making music that comes from a real place. We give feedback on every submission, too, which feels important right now to keep the door open and not gatekeep. Long term, I’d love to expand into live showcases and maybe even workshops. Build a proper community around it.
How do you select artists and tracks for Section 63? Are there specific sounds or themes you’re aiming to promote through the label?
It always comes back to feeling. Does it move me? Does it stand out in some way? We’re not locked into any one genre, but I do lean toward stuff with a bit of grit or soul to it. And I want to hear the artist’s fingerprint on it, not just a copy of what’s trending. We’ve a whopper artist up next, Keir Caithness, his release is going to be massive! He’s one to watch
With the label’s growth, how do you balance your roles as both an artist and a label head?
It’s a juggle for sure, especially alongside live gigs and freelance stuff. I’ve had to get better at carving out time for each part. One day I’m deep in a mixdown, the next I’m reviewing demos or planning releases. But I love it. It’s all connected, and being an artist myself helps me understand what others need from a label.
Can you share a memorable moment from one of your recent gigs that had a significant impact on you?
Playing my Silence Delirium Rework to a packed crowd at the Warehouse Project and watching the place go off was wild. Especially knowing how much work went into remaking it from scratch and putting my own spin on it. That was a moment where I really felt the connection between studio time and live energy come full circle.
Looking ahead, are there any upcoming projects or goals you’re excited about that you’d like to share with your followers?
I’ve got more original music on the way, a few remixes lined up, and some very exciting gigs I can’t announce all yet, but just announced was a really exciting one… myself, Hannah Laing and Fish Octagon at Hi Ibiza, that’s going to be unreal. 21st July. I’m also planning to do more behind-the-scenes content with the live setup in my newly built studio. Loads of people have been asking about the gear and how I use it. And of course, more releases on Section 63. Plus, an unreal acid techno collab called “Let The Freaks In” with the amazing Meg Ward out on her label, “Mega Wavy” in May!
