Cue Points: Oscar Farrell
This is Cue Points, a series where DJs get granular with current tracks in their sets, giving us the low-down on what makes them work.
Since his debut EP I’ve Already Called landed last April, London-based producer and DJ Oscar Farrell has been steadily developing his craft, making electronic music that is rooted in emotional moments for both dance floor escapism and the after-hours comedown.
A second EP, So Far South, followed in September, featuring the breakout collaboration Dream Therapy with Sampha – an artist the dh2 signee has spent significant time touring alongside.
With co-signs from peers like Wisdom Teeth’s Facta and K-LONE, plus link-ups with Seoul-based producer Mount XLR and his label founder George Daniel, Farrell has spent the past six months leaning further into collaborative experimentation, cementing himself as a key figure shaping dh2’s evolving sound.
After opening the year with a dh2 show at Village Underground last Friday, Farrell is stepping into a busy new chapter for 2026. Here, he picks out his current go-tos on the decks.
Killer Loop – Blue Hour [End Recordings]
“This feels like a track for any situation. The arrangement of it builds so much tension that wherever you choose to go after playing it feels like the right direction. It also feels moody and uplifting at the same time, and it’s become a bit of a staple for shining some light into a bass-driven set.”
Kassian – Overtone B 4×4 Mix [Unknown To The Unknown]
“I could choose any Kassian track, to be honest. They make some of my favourite club music, and their approach to production always keeps this rawness in tracks that are so well produced. This one is a favourite of mine, and is a track I turn to when I want to pick up the pace. Those synths feel like they’re sending you into light speed, and there’s nothing you can do about it.”
"Those synths feel like they’re sending you into light speed, and there’s nothing you can do about it"
Broke Brotherhood – Wealth (Risk Mix) [Swap Shop]
“It feels like a statement of intent when you play this in the middle of a set. The bass feels like a warning that you’re about to get carried away. It’s a track that I listen to in awe; every element of it feels intentional and adds so much to the way the groove feels. The arrangement of it is pretty weird and free feeling. I find it a good moment to take my time with, let it play out and work out what I want to do next. There’s always something so interesting going on – whether it’s a crazy sound coming in only to disappear again, or a snare echo that overwhelms you – so taking a minute to listen and not rush feels natural.”
.g – Chicken Coma [Yellow Productions]
“A perfect late-90s club tool from the French pioneer DJ Grégory. It’s so minimal. I’ve used it a few times to get in and out of more chord-heavy tracks, but the groove is so good that it’s been the track that got the dance floor going more than what I was using it to mix into. I’ve learned my lesson since then, and now I just let it run. The snare sound is so good that it really stops you rushing.”
Speakers Corner Quartet & Tirzah – This Is How We Walk On The Moon – Walk On The Moon (Version) [OTIH]
“This is such a beautiful piece of music. The few longer sets I’ve played have all started with this track, and it feels like it does something special to the space it’s played in. The dub mix is spacious, but still has a weight to it, which gives you the freedom to go into more ambient stuff or set off straight into something rhythmic. As well as all of this, starting a club night with a piece of Arthur Russell’s music makes for a perfect setting off point.”
Walk On The Moon (Version): Vinyl exclusive
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