Breaking Boundaries In Drum & Bass: An Interview With Mollie Collins
From jump-up tracks to leading the scene.
In the ever-evolving world of Drum & Bass, few artists manage to capture the full spectrum of the genre while continuously pushing creative boundaries. Mollie Collins exemplifies this versatility. From spinning jump-up tracks to launching her label and collaborating with big names in the industry, she has navigated a path marked by both challenges and triumphs.
In this exclusive interview, we delve into her journey, exploring the influences, pivotal moments, and future aspirations that define her illustrious career:
From your initial forays into DJing to becoming a celebrated Drum & Bass artist, how have your influences shaped your music style? Can you share any pivotal moments that significantly influenced your career path?
When I first started DJing, I was really into playing a lot of jump-up DnB. Over the years, as the genre has grown, I’ve expanded my style to enjoy and incorporate the full 360 of DnB. Since learning how to produce music, I tend to use a lot of instruments rather than synths, and a lot of radio music influences the way I produce. I still play the full 360 DnB spectrum in my DJ sets. Mixing commercial DnB with the heavier stuff in the earlier stages of my career helped me push forward, and the crowds enjoyed it.
You've previously discussed overcoming challenges as a female artist in a male-dominated scene. How do you navigate these challenges, and what advice would you offer emerging female artists aiming to break into the Drum & Bass genre?
It’s always a tricky one because in some ways, being a female artist can help you, and in others, it can be difficult. Nowadays, it’s more accepted to be a female artist and figure in any job. Since I came through, there have been many more female artists in DnB, which is great to see. The best advice I would give is to not focus on being a woman so much and just focus on your skills and how you want to progress, whether that’s as a producer or DJ. You don’t need to be seen as a good woman DJ; you just need to be seen as a good DJ. Nothing else really matters.
Regarding your recent single 'Liquor By The Litre' featuring P Money and Laurena Volanté, how did this collaboration originate, and what was the inspiration behind the track?
I always wanted to make a Latin-inspired DnB song. I love to experiment with worldwide sounds and musical elements. I had tried different Latin styles, but nothing worked until I finally got a cool idea. I found a wicked vocalist called Laurena through her manager reaching out, and she had the perfect voice for it. We decided we needed an MC to bring another element to the track, and P Money was the perfect man for the job.
Launching Right Good Records marks a significant milestone in your career. What motivated you to start your label, and how do you plan to support and develop emerging talent through this platform?
Launching my record label was always something I knew I had to do for myself if I ever needed a home for my music. Sometimes you might not find a label that shares your vision, so having your own home for music is always good. When we first launched, we put out regular releases, but we have slowed down. However, we have plans to reopen the label to emerging talent and push it further than ever before. You can submit demos to rightgooddemos@hotmail.com.
Having performed at major festivals and venues worldwide, such as Let It Roll in the Czech Republic, Tomorrowland in Belgium, and headlining at Fabric in London, how do you prepare for your live sets?
I spend a lot of time preparing for my DJ sets. I take a couple of days to do this. First, I prepare about 60+ tracks in an order that I think will go well together. I then get on the decks and mix them all to double-check that all the double drops can work, and I have enough time to mix them on three decks. I set cue points if needed. Once I’m happy with all that, I ensure the order of tracks flows well. Finally, I do the set over and over, maybe around two or three times, to cement the cue points and play points of each track in my head.
Drum & Bass is a genre that continuously evolves. How do you stay innovative and fresh in your music production, and are there any current trends in Drum & Bass that you find particularly exciting?
That’s true. Drum & Bass constantly evolves, and the popular sounds change all the time. I’m finally at a place with my music production where I’m happy with the music I’m writing. When I first started, I was writing more liquid Drum & Bass as it came more naturally to me. Now, I have found a great crossover of liquid and commercial dance DnB, and I love it. My DJ sets are still 360 DnB, so they will always have a bit of everything for everyone, and I’m happy with that!
Looking ahead, can you share any upcoming projects or collaborations you're excited about? What future goals do you have for your career and your label, Right Good Records?
The focus for this year is my brand-new album. I’m so excited about this album as it’s my second one. The first album was to show I can make music, and this album is to show how far I’ve progressed in making music. I’m proud of all the work on it, and it took a lot of time to get it right. It’s got some great vocalists, and I think people will hear how far I’ve come since the first album and enjoy all the music. It’s an album where any track could be a single.
As for Right Good Records, we will be relaunching the label at the end of the year or maybe early 2025, which is exciting. I just completed an official remix for Jonas Blue & Galantis, who are probably the biggest artists I’ve ever had the opportunity to remix for. It’s out very soon on June 21st for their track “Mountains” featuring Zoe Wees. Can’t wait for that too!
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