BBY GOOSE on Hyperrave, Dancefloor Freedom and Closing for Eric Prydz in Bristol
For BBY GOOSE, the dancefloor should be somewhere people can escape the seriousness of everyday life. The UK-based DJ and producer, whose real name is Emily, has built her musical identity around that belief, pulling together trance, hard house, techno, eurodance and pop influences into something she calls ‘hyperrave’.
It is fast, euphoric and deliberately unpredictable, with catchy vocals, oversized synths and enough energy to keep a room moving long after the night should reasonably have slowed down.
Now, that approach is taking her to one of her biggest bookings yet.
On Friday 9th October, BBY GOOSE joins Eric Prydz, Aaron Hibell and Stuart Wilkinson at Bristol’s The Prospect Building for the opening night of PROSPECTIVE, the venue’s new electronic music series curated alongside Team Love and Undivide. The show also marks Prydz’s first Bristol appearance in a decade.
For Emily, the invitation came as a complete surprise.
“My manager actually messaged me completely out of the blue and said they had a potential gig lined up for me. When I found out it was Eric Prydz, I genuinely screamed out loud!”
Sharing a line-up with such an established name still feels surreal, but she is equally excited about the opportunity to introduce her own musical world to a potentially unfamiliar audience.
That world has become increasingly clear over the past few years, even if it refuses to sit comfortably inside one genre.
“I’d describe the amalgamation of genres I play as ‘HYPERRAVE’,” she explains. The term originally appeared in a Spotify playlist she created several years ago, before she realised it captured the different strands of her sound.
There is a strong pop sensibility underneath the harder electronic influences. Growing up immersed in pop music left her with an enduring love of memorable hooks and melodies, something that also carries into her productions, where she performs her own vocals.
“I like my music to be euphoric, fun and not to be taken too seriously.”
It is an attitude that feels particularly intentional given the wider world outside the club.
“I feel like we with all the serious and scary things happening in the world, we need more fun on dancefloors right now.”
That desire to create an atmosphere rather than simply participate in one stretches back to her university years.
While attending and helping with rave events, Emily became increasingly aware of how rarely she saw women behind the decks. The imbalance eventually helped turn her love of electronic music into a determination to DJ herself.
“A lot of the nights I went to and was involved with were run by men, and I barely ever saw DJs that were women behind the decks.”
Rather than identifying one particular artist or record as the turning point, she remembers a gradual realisation.
“If all these men can do it, then so can I.”
That determination has since developed into a recognisable artistic identity, but the experience also informs how she views the industry today.
Although she welcomes the growing appetite for experimental electronic music and artists building their own creative worlds, she remains frustrated by the persistence of male-dominated line-ups.
“It’s 2026 and it’s honestly just boring. There are SO many incredibly talented artists who aren’t men, so seeing line-up after line-up that is overwhelmingly male is ridiculous and frustrating at this point.”
For Emily, the responsibility for addressing that imbalance should not fall exclusively on the artists being overlooked.
“I’d love to see more men questioning why there aren’t women or other underrepresented artists on the line-ups they’re part of, rather than leaving it entirely to the people being excluded to point it out.”
Her own relationship with Bristol provides another important part of the story.
Long before this weekend’s booking, she attended The Blast at Motion to see My Nu Leng, an experience she remembers from around 12 or 13 years ago.
“I remember being completely blown away by the atmosphere and the sheer enormity of it.”
The night left a lasting impression, reinforcing her desire to become part of the culture she was experiencing from the crowd.
Today, she sees Bristol as a city with an unusually broad and active electronic music community, from grassroots spaces to larger warehouses.
“There are so many people doing really interesting and exciting things there, and I love the fact that the city genuinely seems to care about its nightlife and the culture around it.”
Returning to the city for the opening of PROSPECTIVE therefore carries a personal significance alongside the scale of the booking.
The Prospect Building itself occupies a former Ministry of Defence torpedo warehouse, now transformed into a large-scale cultural venue with a custom L-Acoustics sound system and extensive audiovisual production. Its new programme brings together major international names and emerging artists across several strands of electronic music.
For BBY GOOSE, the immediate challenge is translating her own identity into a closing set for an Eric Prydz audience.
She acknowledges that the crowd may differ from those she typically plays to, and has considered which records will connect most effectively. However, adapting does not mean abandoning the qualities that make her sets distinctive.
“I don’t want to play a set that could have been played by anyone else.”
The closing slot also offers a particular kind of freedom.
“I also love playing a closing set because it gives me the freedom to keep things really high-energy and fun. So I’m definitely planning to make the most of that!”
Her selections are guided primarily by instinct. Euphoric melodies, huge sawtooth synths and powerful basslines are reliable ways to catch her attention, but the most important test is whether a record creates an immediate physical reaction.
“If I hear a song and think that I’d love to stick my head between 2 speakers and listen to it really loudly then I know it’s a winner.”
Experience has also taught her not to become overly attached to a predetermined running order.
“You can prepare as much as you want, but ultimately you’re having a conversation with the crowd, and you have to listen to what they’re giving back to you.”
Sometimes the most memorable moments arrive when a record receives an entirely unexpected response, forcing the DJ to reconsider what should happen next.
That openness extends to her wider ambitions.
Rather than measuring success solely through larger stages or high-profile bookings, Emily is currently focused on finding the audience that genuinely connects with her music.
“My music is quite niche, so it feels really special when you find people who genuinely connect with it and want to be part of that world with you.”
Behind the scenes, the operation remains small. She and her manager currently handle most aspects of the project themselves, and bringing an agent into the team is one of her priorities for the coming year.
For now, though, the focus is firmly on Bristol.
Asked what would make Friday’s show a success beyond delivering a strong performance, her answer returns to the connection that first drew her towards DJing.
“Sharing music with people feels like such an intimate and beautiful thing to me.”
After the solitary hours spent making records and preparing sets, watching a crowd respond in real time remains one of the most rewarding parts of the process.
“Seeing people connect with it feels incredibly special and personal, so if I can look out and see people having the best time, I’ll be very happy.”
For an artist whose entire musical philosophy revolves around euphoria, that feels like the most appropriate measure of success.
BBY GOOSE joins Eric Prydz, Aaron Hibell and Stuart Wilkinson at The Prospect Building, Bristol, on Friday 9th October, opening the new PROSPECTIVE series. Tickets and further information are available at theprospectbuilding.com.
