Photo: Steam Lizard
Interview: Steam Lizard on “Music Is My Medicine”
In a world where dance culture has often shifted toward performance and documentation, Steam Lizard brings the focus back to something far more human—movement, connection, and release. With the latest track, “Music Is My Medicine,” the project taps into the raw, unfiltered joy that first made dance music so powerful. Blending 90s rave energy with modern trance elements, the release is both nostalgic and forward-thinking, designed as much for the dancefloor as for personal escape.
Drawing from real-life moments and years of experience across genres—from classical to club culture—Steam Lizard creates without boundaries, guided by instinct rather than expectation. In this interview, we dive into the inspiration behind the track, the evolving energy of dancefloors, and why, in an increasingly digital world, music still remains one of the most powerful forms of human connection.
Music Is My Medicine was inspired by watching a room full of kids dancing freely — no phones, no pressure. What was it about that moment that stayed with you enough to turn it into a track?
I’ve always been one for dancing — not professionally, not with any real skill, just for the joy of it. As a kid, I was the one who never left the dancefloor at parties, and that carried on into the Blackpool clubs and Ibiza. Over the years, I watched the scene shift. Clubs that were once about movement and connection slowly became places where people filmed more than they danced. DJs became the show instead of the guide, and rooms were redesigned so everyone faced forward instead of each other. It made me think a lot about how hard it’s become for people to truly let go.
Then I visited a primary school assembly. The kids were singing a hymn and doing a warm-up dance, and the whole room was just… alive. Loud, messy, pure, completely in the moment. No phones, no audience, no performance — just movement for the sake of it. It reminded me of the rawest club nights I’ve been to, the ones where the energy comes from the crowd, not the stage. That feeling stuck with me, and it became the spark for “Music Is My Medicine.”
There’s a strong theme of music as release running through this record. What does that idea mean to you personally, beyond the dancefloor?
That moment made me think about why dancing has always been my way of dealing with stress, depression, and the heavier parts of life. Long before clubs existed, humans danced to bond, to celebrate, to mourn, to mark transitions. It’s something built into us — a physical release that lets the mind breathe. For me, music has always been a way to reset, reconnect, and feel human again, and that idea sits at the heart of this track.
You mention the shift back toward people being more present at events. From your perspective, what’s changed — and why do you think that connection is returning now?
I think we’re seeing a shift back toward presence because the pendulum swung too far the other way. There have always been dance-focused clubs, but the underground energy is definitely returning — crowds bouncing instead of watching. For a while, everything was documented, and the majority of people stopped dancing like no one was watching because, well, everyone was watching. But content has become so saturated that even when something is filmed, nobody cares. Add in the rise of no-phone policies, and suddenly, people are rediscovering what it feels like to actually be in the room again. It feels like we’re going full circle.
The track blends 90s rave energy with modern trance elements. What drew you back to that sound, and what did you want to capture from that era specifically?
The 90s era is tied to some of the biggest moments in dance culture. It was slightly before my time, but the sound of that music has always resonated with me. I wasn’t trying to recreate the nostalgia — it was more about tapping into that raw, euphoric spirit and using it as fuel for something new. That era had a kind of honesty and intensity that still feels powerful today.
There’s a clear intention behind this being a DJ-focused record. When you were building the Club Mix, what did you want DJs to feel when they dropped it into a set?
For the Club Mix, I wanted something that was driven more by energy than by vocals or emotion — something DJs could use as a proper tool in their sets. I wanted it to feel like its own version while keeping the heart of the song intact. I didn’t set out with a specific reaction in mind for DJs, but what surprised me was how many of them connected with it on the same level I did. The “music as medicine” idea seemed to resonate across the board.
With three versions of the track (Club, Original, Extended), how do you see each one fitting into different listening or performance environments?
The Original Mix has more of a commercial edge — it’s direct, simple, and evolved from the melody and lyrics, which were written together as one. It’s meant to get you moving, whether you’re hearing it on the radio or through your headphones. The Extended Mix is essentially the same track but structured for DJs, so it slots naturally into a mix.
The Club Mix came later and is all about atmosphere. It’s designed for peak-time moments, giving DJs something they can drop exactly when they need that lift in the room.
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Steam Lizard is described as a multi-genre project, and you’ve mentioned it can feel “chaotic” from the outside. How would you define the thread that ties everything together?
Steam Lizard actually started as a favour for my wife — she needed background music for product test videos. I’d already had a whole life in music before that, so I thought it would be a small side project. But it ended up giving me something I didn’t realise I needed: a space where I could release anything I wanted, unapologetically. Raw, polished, fun, cheesy, serious — whatever felt right in the moment.
The thread that ties it all together is simple: it’s all written by me. No matter the genre, the songwriting process starts the same way — a melody or a vocal line that feels honest. There’s often a sense of hopefulness, a bit of cheekiness, and a focus on connection that runs through everything.
You’ve had previous support from BBC Radio 1 and performed in club environments like Gatecrasher. How has that past experience shaped the way you approach releases like this now?
Getting played on Radio 1 was always the dream, but it happened in the most unexpected way. That experience, along with performing in major club environments, reinforced one key lesson: the music has to come naturally first, and the right place for it will reveal itself afterwards. That’s still how I approach releases now.
The early DJ response has been strong, with comments like “absolutely massive” and “perfect for the dancefloor.” How does it feel hearing your track being received in that context?
It’s always great to get positive feedback, and this track has had a lot of it — but honestly, all feedback is valuable. What makes it extra special is when it comes from DJs or artists I admire, people who are operating at a really high level. Hearing that it works on a dancefloor in the way I hoped is a really good feeling.
If someone discovers Steam Lizard through “Music Is My Medicine,” what do you hope they understand about you as an artist — beyond just this one release?
I’d hope they realise not to expect one consistent sound. If they connect with the dance side, great — but if they explore further, they’ll be on a bit of an audio adventure. They might have to skip a few along the way, but they’ll find something that resonates. That variety is part of what makes Steam Lizard what it is.
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FVMusicBlog April 2026
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