Area 3000 Radio founder Sindy speaks to local DJ and producer Bertie ahead of her upcoming performance at Pitch Music and Arts Festival, which will take place from Friday, 8 March to Monday, 12 March, in the foothills of the Grampians.
Bertie is a talented DJ, producer, radio host, and event curator based in Melbourne. She is known for her eclectic mix of disco, soul, boogie, high-energy house, percussive beats, and deeper and darker dance music. Bertie has played at some of Melbourne’s most iconic venues and festivals, such as Pitch, Beyond the Valley, and Gaytimes. She has supported several renowned artists such as Denis Sulta, Bradley Zero, CC:Disco!, Kornél Kovács, Leon Vynehall, and DJ Koze, among others. Her musical journeys are a fusion of percussive beats, acidic motifs, euphoric highlights, groovy undertakings, and, when the mood is right, something a little deeper and darker. Her sets will get you up and grooving and leave you wanting more.
Bertie has also ventured into music production, releasing her debut track ‘Pillow Queen’ on the ‘Phenomenal Vol 2.’ Compilation via Phenomena Records in 2022. She later released her debut single ‘Carabiner’ on the same label in 2023. Her music is inspired by her queer identity, and she draws her inspiration from classic disco percussion, 90s house, thumping basslines, and euphoric soundscapes. Bertie co-runs Club Aqueous, an event series prioritising underrepresented local and international artists. She shares her ever-expanding collection of laid-back groovers via her show ‘Cup of Bertea’ on Skylab Radio.
Listen to the whole Interview on Soundcloud.
Follow Bertie for updates on her upcoming gigs and releases.
Interview Transcript
Sindy: Let's start with your journey as a DJ producer, radio host and event curator. How did it all begin, and how has it shaped your identity as an artist?
Bertie: How did it all begin? It definitely began with the classic case of doing music in high school, humble beginnings. I reached this point where I kind of gave up music. I thought that was it for me. I didn't see a pathway for myself in the traditional sense, and I became a DJ when I fell in love with the art form of DJing and sharing music when I went clubbing. It's a pretty classic case, that story. It was very much seeing people behind the decks, mainly dudes. I'm going to say all dudes, and being like, I want to do that. Why can't I do that? And it just went from there. I navigated my way into DJing, forcing anyone I knew to teach me and going anywhere I could get equipment to play or practice on, I probably started playing out way too early. I was an awful DJ at the start but honed it, and hopefully, it's not so bad now. And then all the other thingscame naturally from that. I was DJing for a long time.
I wanted somewhere to share chilled selections. I love super Downtempo, Disco Soul, and even more chilled-out house, and that's why started Cup of Bertea - music to drink tea to. It became an avenue where I could share a whole heap of different music that I wasn't sharing in the club or at warehouse parties or all of those sorts of amazing events, but there wasn't as much space for that music, and I loved and wanted to share it.
The events stuff came from wanting to create a space that was prioritising all the amazing artists that we saw around the local scene. And it was around the time that a lot of parties popped up, which was amazing. There was a need that people started feeling, which was creating curated spaces that prioritised LGBT and people from different backgrounds and genders. And it's not an intentional push for us to make that space for a certain type of person, but you have to abide by the rules and be respectful. It's a space where people from minority groups come first. Being femme and queer led by both me and Georgia, that part's really important to us. And we also wanted to be providing another party for huge artists to play. That wasn't all the big ones. That wasn't all the mainstays, I don't know how to say this, but just all the bigger corporations in our industry. Not that they're corporations, but you know what I mean. It's nice to have variety in our scene. I think every party and every group is important and creates the landscape we have now.
The production stuff fell out of Covid. But I've always wanted to produce; I remember doing it when I was younger, I would make songs for my friends on garage band for their birthdays. There was always a desire. It's just one of those things that I told myself I couldn't do and needed to lock away. But I've lived with really inspiring people like Georgia Bird from In2stellar, who really dived into it during lockdown, and I was sort of watching that every day and also wanting to dive in. And she brought me along in that process and she got quite good really quickly, and it was really inspiring to see somebody doing what they wanted to do. And all the songs I've released, it's a credit to her knowing me so well and pushing me to release stuff that she knows that I'm working on, and she made me think I'm ready to release stuff. Big credit to her. And then also people like Moktar and Cassettes For Kids and Morgan Wright and so many other people that have encouraged me and taught me things over the years to finally get here and be releasing music that I want to release.
Sindy: Going back to the start a little bit, was there a specific moment in time where you knew you wanted to be a DJ? You said it happened kind of organically in going out and everything that went along with it. Was there a specific event or something that triggered that desire to actually go out, and do it?
Bertie: I was going out a lot during this period after school. I was going to a night called Oasis every Tuesday at Tramp. I was going out to places where it was just a lot of party tunes and a lot of light touch, go with the flow, have fun music, throwbacks classics. I think what I fell in love with first was seeing DJing as almost this instrument and seeing somebody in command of sharing their tracks, it was like being in control of the playlist at a party. And I actually hate being in control of a playlist at a party. So, I don't know why, but something in me was like, why can't I do that?
I think there's always been, if guys are doing something, I'm like, why can't I do that? It started for me as wanting to have fun, about wanting to experience clubbing to its fullest, but also wanting to be on the other end of that. It didn't get serious for me for a while there. I was playing to briefs, and I was really enjoying that. But at some point, I also started to really work out who I was. And I think that came through in music realisations as well. And so then at some point DJing became a lot more curated for me, not just about playing an instrument or making some extra money that I really needed at the time or anything like that.
It became about the journey and an expression of myself. Through DJing, I really found authenticity. Eventually. I went on the journey of figuring out who I was, and I was DJing the whole time. So it came through eventually in my sets, and there was kind of a clicking moment where I was like, oh, wow, this is what I want to be playing, and this is who I am, and I actually don't enjoy playing sets for money that's not in this world. That is such an expression of me now. Yes.
Sindy: You named several people that you're close with Georgia Bird, Moktar, Cassettes For Kids, as being influential in your journey. Who or what have been your biggest inspirations to date?
Bertie: Ooh, that's hard. Definitely Georgia Bird for all the reasons I mentioned before. Moktar is amazing. Living with him was so inspiring. I mentioned Zak, Cassettes For Kids. He has been so generous with his time and has the best studio with cats. I've spent a lot of time in it trying to upskill, and that's been so good. And then people like CC: Disco!, who have really supported me and given me opportunities from early on. It’s people like that that really stick with me in terms of being really inspiring. And, of course, there are amazing DJs overseas where I've seen a set like Honey Dijon and been like, wow. That stuff's really inspiring, and no discredit to that, but I think the people who really pull you up in your local scene stay with you. I should also mention Morgan Wright, who is also extremely generous with time and upskilling and teaching, and also has an amazing studio with great cats. I actually don't want to go to a studio without cats.
Sindy: I wonder if there's a correlation between having cats and DJs.
Bertie: Production equals having cats in the studio?
Sindy: Yes. Maybe they have a relaxing presence.
So, Melbourne is known for its vibrant music scene. How has the city influenced your sound, and what do you think makes a different environment for artists like yourself?
Bertie: That's a good one. Yeah, it's really vibrant. Trends naturally emerge, and events pop up that have catered to my sound over the years or what it is at the time. And I think inherently, as audiences are enjoying things or what they're enjoying shifts, there's this natural influence that happens. It's like a journey of you constantly exploring sounds and tracks and digging and finding, and then also the landscape of what people are dancing to changing. And it is interesting to be involved in a scene where both things are shaping you a little bit, even if maybe you think they're not. I think with the home of Prog, as we like to say, even though it's definitely global now, and I'm sure there were other pockets, but there's definitely scenes that have maybe come into my sound as well. There's an intersection between Italo Disco that I was listening to and the way that Prog sort of gradually transcends.
There’s a lot of dark stuff and almost a cross-section with disco, and a lot of edits that have opened up the way I think about mixing things or the genres that I think about blending as transitional tracks for the journeys I'm creating. And that has a lot to do with the local scene, what people are putting out, what I'm hearing out, even if it's not that exact track, it'll make me start thinking about things and, and being out and seeing so many different techniques and styles and ways of playing, but also taking people on a journey or storytelling, which is what I think it is. I think that's ultimately what people are trying to do. It's all had a massive influence on me, but at the same time, one of the things I really like to do is bring it back to the core of what I'm about, which is all things groovy and having a groove at the heart of it. It definitely all washes over me, but then it carries my sound. You find your own version of what's going on, and that's a really cool journey.
Sindy: Playing at iconic venues and festivals like Pitch, Beyond the Valley and Gay Times must have been really incredible experiences. What performance are you most proud of, and what gig is on your bucket list?
Bertie: There's a memory that always sticks out to me, and it's actually a really good one to talk about because it was the first time that I played at Pitch on the big stage. I had quite a journey with Pitch. I went to the first two, and it was the third or the second I was playing at the market, like a little market disco ring. And then the year after that, I think it was 2017, when I got the opportunity to play on the Resident Advisor Stage. So it felt like I'd been almost working up to that moment. I felt so lucky to be able to do that, and I didn't have much expectation.
I remember my now business partner for Club Aqueous was playing before me, Baby G, Georgia Farry. I remember she had an amazing crowd going, and then I got up on stage, and there were so many people there, and so many people who stayed. And I played a really authentic set to me, and I was so nervous, I was so nervous, but I stuck to exactly what I wanted to do. Obviously, a little bit of variation, but I think the most important thing to remember about that set is I was so nervous and didn't adjust to the sound. It was probably my first festival with the kind of intensity of the sound setup. I get distracted easily, and that's a classic ADHD thing. And the first couple of tracks, I couldn't tune into the sound, and I was second guessing myself.
I was like, no, you're not hearing what you hear. I couldn't work out how I needed to hear the sound, whether it was out there [in the booth], whether it was in there [in the headphones]. I had been practising. I was acutely aware of how well I wanted to do in this. And the first two mixes were really bad, but not just bad, really bad. It was what you would call a train wreck. But I think the most important thing about that is even though I was like, oh, the recording's ruined, and everyone's going to remember that, I just played out the rest of my set, and the rest of the set was really good. I have all these iconic moments and videos that people sent me, and no one was talking about those first two mixes. Nobody has ever brought them up, no one remembers.
But what they do remember is the banger I played in the middle and the Morales remix of Crying that I closed with. And there are amazing videos that people I know have sent me from the crowd. And that's why it was such a nice moment. It was a turning point, and I had never DJed to that many people. I was super hard on myself about how it had gone, but when I waited a few weeks and reflected, it was really good. And I think that is an important lesson for all DJs, that everyone messes up, especially when you are playing quantized songs and you're overwhelmed by sound systems and all of that, these things, you can't practice for. You’ve just got to get used to it and work out that inner composure and dialogue. That's a memory that sticks out to me because it was awesome, the crowd were amazing, and it was a milestone and a turning point both career-wise and mentally.
Sindy: You've had the opportunity to support big acts like Denis Sulta, Bradley Zero, DJ Koze, and you will support, well not support, you're actually one of those big acts at Pitch next weekend. How has sharing the stage with artists from all over the world impacted your own journey?
Bertie: All of them have been influential. Every time I support someone, I get better at DJing better under pressure, put a lot of pressure on myself when I'm DJing before someone. And I think the art of a good warmup set is so important and should never be lost or undervalued. But like I said earlier, one of the biggest moments was when CC asked me to support her at her Melbourne show. I was before JNETT, and then she [CC] was playing after. So I was before two iconic people who play amazing music in the world that I love to play music in. I was really nervous, but it also put me on a stage playing to a huge crowd and uplifted me into the minds of all these people who may not have heard of me. And I think that's invaluable, especially having people be like, that was such a good set afterwards. And having people come up to you like, okay, I swear this never actually happens. It's only happened once, but someone did come up to me randomly in the street when I was passing them and was like, are you Bertie? I saw your CC:Disco! set. That was great. And that never happens. That's a one-off, but that sort of stuff, it was a turning point in your career, and that's thanks to bigger artists.
Sindy: Let's talk about your music production. Your debut Track Pillow Queen released on the Phenomenal Volume 2 compilation in 2022. Can you tell us about the inspiration behind this track and your experience in releasing it through Phenomena Records?
Bertie: I wanted to create a sic-inspired song. I was really new to producing. I definitely had moments of being like, no, Georgia, it's not ready. I don't want to release it. But I think it was really good for me to get on a compilation as my first track, start to create a sound that I wanted to, that was naturally coming to me, and start the journey of production. There are so many things that I listened to, and for a long time I was like, oh, should have done this. This is wrong. The mixing needed to be mixed. It's just me doing it, not having any idea what I'm doing. But it's just really nice to start that journey, not be too precious about it. And if I hadn't have done that, then I wouldn't have put out an EP and put out new music and got even further into working out the sound that I want to be making or that comes to me naturally. It's been a lovely journey to do it like that. Phenomena is where I released my EP as well. They've been a very supportive label, obviously run by Georgia, my housemate, and then also the other Georgia Madden and Suz, who also DJs over in London.
Sindy: So, on your debut single and debut EP, which have recently come out and the EP being released in Feb this year, can you describe what a carabiner is to those who may not know? Because admittedly, I didn't know what it was called when I first looked it up.
Bertie: A carabiner, I wish I had one on me. See, that's really bad. You've got to be the brand. A carabiner is one of those clippy things that you use while climbing. That's how a lot of people might know about it. It stops you from falling, it means that the ropes will catch you or the person on the ground will catch you. People use them on their keys these days to clip them to your belt. My inspiration is taken from the fact that during World War II, women were actually allowed to get manual labor jobs because all the men were off fighting war. So, they were desperate enough to let women pick up a hammer or whatever. And it [a carabiner] became this secret signal because a lot of women who were in those industries and were finally getting that chance, were queer, were lesbians, SIC icons.
The carabiner actually became this secret symbol for identity. And it's not just about hooking up, it wasn't just about that. It was this way of finding community. And I've always found it so interesting that this thing that is now like a fashion accessory that we use flippantly, they make them, and you can't use them for rock climbing because they're not strong enough. There are fashionable ones now, but it's actually like an iconic fic symbol. There's this documentary that someone made about it, the link is in my bio, it's definitely worth checking out. Left means you're a top, right means you're a bottom, where you wear it is all this lingo. I don't know if people actually use it like that these days, but there's a lot of interesting history behind it.
And I was thinking about it. I think it's an amazing story and symbol, and I guess as someone who identifies as a lesbian, as queer, it was something that was really interesting to me. And I knew at the start of the EP, I wanted to make something out of carabiner sounds. So that first beat that I created was the jingling of a carabiner and keys and the clicking of the carabiner. And that was the first beat that was created, and then everything was built up over that, and then three more tracks inspired off of that one.
Sindy: I love that. I love that it's not just about the meaning, but there's also a bit of the sound in it. That's so cool. Thank you for telling us the name of it. I was googling, what does Carabiner mean in terms of the, I just didn't know what that word meant When I saw the photo, I was like, oh, I just didn't ever know that had name. I did watch that documentary today, with Jennifer Loveless.
Bertie: Jennifer Loveless did the sounds, she scored that whole thing, and Carabiner she used in the middle of it. It was really cool to have the timing work and be a part of that. That was really cool.
Sindy: Australia's Workplace Gender Equality Agency recently released data on the gender pay gap, showing that Australia's total remuneration average gender pay gap is 22%, meaning that every $1 on average, that a man makes women earn 78 cents. This data, I don’t know if you're familiar with it, but it was reported based on annual salaries for full-time workers, not gig economy workers, like DJs and other musicians. But the gender pay gap is still prevalent across many industries, including music. Have you personally encountered any challenges related to this issue?
Bertie: It's a hard one because I don't think there's a lot of transparency in terms of pay for DJs and musicians. When I first started, I played a lot for free. I remember being like, oh, I can get paid for this. I was part of the problem essentially, but I do think at the time it was normal, even getting a free ticket to a festival in exchange for playing. But I was stoked. I think that especially as someone who actively did not have an agent for such a long time and really didn't think that was for me, I have no idea whether I was constantly undervaluing myself.
I think a lot of things have changed now for the better. For example, I think that set pay is a little bit higher, more than norm. I'm really generalising though because I know deals are different everywhere. It's really about fees and when you don't have visibility on fees, how could you possibly know what the gap is like? I feel like the problem maybe in music, well and everywhere, is not so much about the gap, although of course that's an issue.
The inherent problem is people who are not white, straight males, not getting the opportunities, not getting the exposure, not getting the affirmation, not getting so many different things. Especially when I first started not being booked, not even being DJs, not even thinking it was a pathway. And so the real issue was like, of course there's been a pay gap because we're so behind. We are only just seeing even in the mainstream, the commercial Aria charts, you're only just starting to see that be dominated with femmes. It's taken so long. I remember when I first started DJing and there were only a few DJs who were female around Penny and Millie, Kitty, JNETT, CC:Disco! I don't remember any others. Of course, there are probably women out there who getting paid less than their male counterparts, but it's really hard to judge what level people are at.
Music's wild like that because it's always changing how people value what you do. Right now, it's about how many tickets can you sell to a festival, you personally. So that's interesting in itself. I guess it makes a lot of sense. X equals Y. I think there's a lot of transformation still to come in the industry, even the way we make money off music or lack thereof on streams. I think that there is a need for a new way of doing things or sharing things. It's a really hard question to answer because there's no visibility. And it'd be pretty interesting to do a survey on how many years you've been DJing, what your average paycheck is, and I don't know, maybe streams, maybe social following. I feel like that comes into play, and I don't even think that it should be about that. So the answer is yes, yes, there is a pay gap. Will we ever know what it is in music? Probably not. But hey, visibility would be great. Maybe we all just need to be hyper visible. Maybe that's the next step, being super honest about what you are getting paid.
Sindy: It's interesting, your point about measuring it [pay]. We don't even know really how many people at a festival are going to see you. It's not like when you buy a ticket you write down who you are going to see.
Bertie: It's also hard because you're going to write one of the top seven acts, right? A festival lineup is a culmination of all these different people on that lineup. There's one that really sells you, but then there's all these others where you're like, okay, it's going to be really good. We definitely have to go. So yeah, pay, that's a hard question. I wish I was wiser on that one. Something to think about though.
Sindy: I think that was a great answer. And I agree with everything you said. It's more about transparency and openness, and I don't know if it will ever or can ever really be the same for every single person.
Bertie: Well, it's hard to know what to measure because you've got people who are as they should in the industry, super talented, things just fall in alignment. They are obviously working really hard and they release something and blow up and it's like, whoa, it shouldn't be on years of experience because there's 2000 people who want to see them. I think there's a lot of thinking to do on it, really. And there's definitely something to be said about not honouring where people are at in terms of their worth. There's a lot to unpack.
Sindy: You’ll be performing at the upcoming Pitch Music and Arts Festival, which is known for its diverse lineup and cutting-edge performances from local and international acts. This year's program includes 999999999, VTSS, Patrick Mason, Mama Snake, XCL, CC:Disco!, Rona, jamesjamesjames, and plenty more. How are you preparing for your set at the festival? Can you give us a sneak peek into anything we can expect to hear from you?
Bertie: I wish I could, but I am a classic week by week person. I'd love to be more organised. It'd be amazing. I've got Mardi Gras this weekend going up for that. That's where my mind's at. I am playing at 7:00 PM I believe, I really hope I haven't got that wrong on the Friday night at Pitch Black. It's the first time I'm playing at Pitch Black. I think that in itself will make me think about what I'm going to play there. It's 7:00 PM that's like sunny vibes. It's kind of the dream set. The more I think about it. I think you're witnessing me unpacking what I'm going to play right in this moment here. I think it's definitely going to come back to the heart of what I love. It's going to be groovy. It's going to have some disco infused in there. It's going to be housey, but it's also hopefully going to be surprising. I like taking people on a little journey, I'm really excited. It's going to be high energy. It's going to be good playing before Rona, so I’ve obviously got to punch things up before that amazing set. It's going to be a good night. So stay tuned. Stay tuned is my answer to that one. What will I play? I'm also asking.
Sindy: Playing at a festival like Pitch, which is set amongst the beautiful foothills of the Grampians over four days, comes with its own energy and atmosphere. I know that you're yet to figure out what you're going to play, but how do you typically tailor a set for a festival crowd compared to a club night?
Bertie: I love thinking about it. I love festival sets. I love daytime festival sets. Sunset is my dream festival set. I'll definitely be thinking about those things, even the positioning of the stage. I'll be looking out on the Grampians as long as they haven't changed the setup again this year. But that would be amazing. And it definitely comes into play when I'm putting together a playlist. I like to go in with a plan, but little variations are going to happen, and I do want to go with the moment as well. It won't be a hundred percent spontaneous, but I'm definitely going to go with the vibe and keep everyone having fun on that first night. It's going to be awesome. There's a lot of heavier clubby sounds or even purposely lighter that I'll play in the club for a really specific reason, because that's the sort of journey I want to create or the vibe I want to set in that room. But you've got a beautiful landscape, you've got a sun setting. It's got to be the perfect set for that. So yeah, again, can't wait to see what I'll play.
Sindy: You might've heard that Australia is banning vaping.
Bertie: I have heard this, but I don't understand. Are they banned? Is it coming?
Sindy: From 1st of January this year, the Australian Government banned the importation, I guess is the key word of disposable vapes in Australia, including vapes with and without nicotine. I googled it today to see if they are banning people from actually using vapes or is just importing them. My question for you is, since vaping has become increasingly prevalent among young people, especially in the music scene, and as someone deeply connected to the scene, are you concerned about the rising trend of people vaping or becoming addicted to vaping?
Bertie: It's actually something me and my friends talk about all the time, because I'm someone that never really got into smoking, not from lack of trying. I tried to do that back when I thought it was cool. It's just never been something that's been part of my life on a regular basis. So when vapes came along, I was like, no, no, no. But I definitely at some point started having a little puff with my friends. It almost, as someone with ADHD, it became almost like a fidget spinner on the dance floor. It was amazing. I loved it. And I had all these moments where I was feeling really calm on the dance floor and having a really good night. But for me, it's the same way that I sip water.
I do it way too much. I don't even notice I'm doing it again. I'm treating it like a fidget spinner that isn't a whole heap of nicotine. And so pretty quickly I found myself doing way too much, making myself feel not so great after a night as well. The fact that they taste the way they do and that I don't get the ick from the smell of them or anything, it is dangerous. The fact I wasn't smoking and then I was, the fact that if there's one at home, me and Georgia are like, ah. It’s actually been something that I consciously have had to be like, okay, enough is enough for myself. And I know that when I talk to all my friends who are also in music, we want them banned. It's like, take them away from us. We don't need them. Take them away. Until someone's in the group's got one, someone's still buying one. It's going to be for the best if we don't have access to them. I think life's also short and I've been privy to stuff lately that's reminded me of that. I think as much as having a little puff on the D floor is great fun, if you can not do it, that's great.
But I am also a big believer in making your own choices. I think the main issue I've seen is not the people who are 18 and making choices on the dance floor and exploring whatever vices they want while listening to music. I'm on board with all of that. I think it's more the really young kids that are getting access to it, and that's really scary because that's a whole heap of nicotine. And it's the reason that it's [the ban] even come in, I imagine, trying to ban them. Get 'em away, honestly. We'll be fine without them. But until we do, I think people are going to be puffing on them.
Sindy: How do you think people in the music community could address the issue head on?
Bertie: Ooh, it's a hard one. I don't think I can sit there and preach to anyone about not doing this because on a whim you could find me having a puff next week at Pitch. But I do think more and more DJs are having them during sets and even I really enjoyed having one during a set. It was, like I said, a good little thing to be picking up. It's really good for my sensory experience for some reason. But that's probably influencing people. I think if we really started to see it as a problem in our scene, especially if it was someone who wasn't 18, I guess that's going to have a bigger impact on them.
If we wanted to address it, doing it on stage, you could stop doing it and start actively talking about it. But I think it would definitely be great working on restrictions for people who are under 18. I also just think that people are allowed to make their own decisions about these things, and I don't have enough experience with people who have seen how bad this epidemic is. And we’re not going to see how it's affected our health for so long. So there's no doubt it is, and the fact we're sitting here talking about, there's no doubt that the trend needs to be curved. But I don't have all the answers on that one. I'm really focusing on just me not having another vape right now, and I think that is possible. So if it's possible, that's a great start.
Sindy: Is there anything that you're working on at the moment, like looking ahead, what can we expect from you in terms of releases, projects or events? Besides Pitch, of course.
Bertie: Besides Pitch I, I'm finishing up or rather just in the middle of a tour based off the Carabiner EP. I'm going to Sydney this weekend for Mardi Gras. Then we've got Pitch, then I'm going to be up in Northern Territory for two shows at Peachy party, peachy queer parties, one in Alice Springs, one in Darwin. So if you live in those areas, definitely look that up. It's a great party. I'm really excited for that one. And then TBC, not announced yet, but I think I'll be back in Sydney. I'm looking forward to a busy few weekends. Definitely trying to work on a next EP in between that. As for events, we [Club Aqueous] have one that will probably pass by the time this airs. We've got nothing else in the works right now, but lots of people that we want to book and bring over and lots of locals who're really excited to have and have been talking about. So stay tuned. That's the inside scoop.
Sindy: Thank you so much. Thank you for your time. I've enjoyed getting to know you and seeing how passionate you are about the scene and your music in the flesh, so thank you.
Bertie: Thanks for having me. It's been a pleasure.
Sindy: Good luck at Pitch.
Bertie: I'll see everyone on the D floor.
