Artist Background – Sequo

Some artistic paths reveal themselves quietly.

Not through sudden breakthroughs, but through time, repetition, and attention.

For Sequo, that path began in 1993 at the Ministry of Sound. Years behind the decks shaped an understanding of the dance floor—how energy moves, how emotion gathers. In 2018, the focus shifted from selection to creation, marking the transition from DJ to producer.

Influenced by the emotional clarity of artists like Luttrell and Cri, Sequo is drawn to chord progressions that linger—music designed to resonate beyond the moment. The goal isn’t complexity, but feeling.

Collaborations with producers such as Dowden continue to refine a sound rooted in exploration rather than perfection, where creative convergence reveals something new.

In welcoming Sequo, we recognize an artist focused on lasting connection—music made for dance floors, and for what remains after the lights go down.

Let’s dive in!

Artist Background

I fell in love with house music in 1993 when I saw Tony Humphries play at the Ministry of Sound. I absolutely loved the vibe and the way he took the dance floor on a journey.

I scraped together the money for a pair of SL1200s soon after and started playing parties and a few small clubs. I was busy with my career and family, so I didn’t start making music until 2018.

I’ll be honest and say I had a false start.

Opening my DAW and seeing the complexity of what I had to learn completely overwhelmed me at first. I left it alone for a few months and then came back, deciding to give it a go anyway. I soon found that it wasn’t quite as daunting as I thought, once I had got into it, although my first tunes will have been pretty awful, I am sure.

I’ve recently been working with the awesome progressive house producer and DJ Dowden, who has coached me and really helped me improve technically and move towards finding a signature sound. I find that making music is a real rollercoaster.

There are times when everything I make just sounds awful, but there are also amazing times when everything comes together, and I get into the flow, and life is beautiful! I’ve also learned that even the so-so tracks that I make are a step towards making something cool, so I try to remember that, but it’s hard at times.

There are an awful lot of amazing producers out there, and it’s hard to stand out from the crowd. I try to just stay focused on making the best music I can, and we will see where it takes me.

Artist Profile

Sequo – The Creative Process & Personal Sound

1 Which artists or sounds had the biggest influence on your style early in your career?

I’m a huge fan of Luttrell – he has such a unique sound and his tracks are always incredibly euphoric; his use of pads is second to none. I really like Cri and Rezident at the moment. Cri’s tunes are also very euphoric and melodic, and Rezident makes real songs into club classics.

2 Is there a sound or technique that you feel best defines your signature style?

I almost always start by trying to make an interesting and emotive chord progression. I am to make music that has an emotional impact, and having a good progression is so important for this. I love how just making small tweaks to voicing can really change the feel of a progression.

3 What’s the most common mistake you see other producers making in their creative workflows?

I think the biggest mistake beginner producers make is getting stuck in an eight or sixteen-bar loop. I start with a loop myself, but when I’ve got the basic ideas down, I move as quickly as possible to the arrangement. For me, getting bored is my greatest enemy, and if I spend days working on a loop, it all just starts to sound terrible. If I need to write another melody because the arrangement isn’t working, then that’s fine. It’s better than getting bored with the loop.

4 How do you keep pushing your creative limits?

I try to use a different technique in every track I make. That might be using a different instrument, or effect, or even doing something different with the harmony. That way, the process always feels fresh, and I learn something new with every track.

5 What is the best piece of advice you’ve received from another artist or producer?

Keep it simple. When you are in a club and listening to music on a big system, you hardly hear all of the minor details. A track has to have a solid groove and at least one decent hook. The details are nice and help make the track sound interesting for people listening on headphones, but they are not the most important thing by a long way.