Derby’s grassroots music scene continues to deliver, and few artists are pushing themselves quite like Isaac Neilson right now. Fresh…
By K Futur MUSICIn a city often overlooked in the wider narrative of UK dance music, Derby has quietly built a reputation as a breeding ground for authentic, community-driven culture. At the centre of that movement stands Jordan Diston-a DJ, promoter and label owner whose Discotech brand has grown from house parties among friends into an internationally recognised underground platform.
For over 14 years, Diston has been shaping dancefloors not just in Derby, but across the UK and beyond. Yet, despite global showcases and bucket-list gigs, everything about his story begins-and continues-in the city that raised him.
“I’m Derby born and bred,” he says. “This city has had a massive influence on me and how I’ve progressed as an artist and promoter.”
That influence runs deep. For Diston, music has never been static-it’s a journey shaped by moments, people and places. He describes it as a constant evolution-one experience leading to another, each shaping taste, direction and identity.
“I see your music tastes as a journey-one experience or moment in time can influence you massively and take you down another rabbit hole.”
Growing up, that journey began with the raw energy of drum and bass, dubstep and UK garage. It wasn’t just casual listening-it became an obsession.
“When I was 15, I really started to bug for electronic music, and by the time I started going out at 17, I was massively into my drum and bass / dubstep / garage.”
Artists like Skream, Logistics, Lenzman, Andy C, Benga, Mala and DJ EZ became foundational influences. But it was Derby’s own nightlife that brought those sounds to life. Interface, in particular, played a pivotal role-hosting heavyweight names like Sub Focus, Original Sin and Skream.
“I was a regular at Interface in Derby… they brought some amazing artists to the city at the time.”
Those early nights weren’t just about music-they were about discovery. About stepping into a space where sound, people and atmosphere collided in a way that left a lasting imprint.
Then came the turning point.
“Then I found a night called FREQ-that’s when I caught the house and techno bug.”
With that shift came a deeper immersion into the underground. Nights like Wireless, Smokescreen and the legendary DiY collective opened the door to something bigger than just clubbing-they revealed a culture.
“There are some unbelievable underground nights in and around Derby… little did I know at the time, but they were massive in the acid house free party movement in the early 90s-without them, we simply wouldn’t be doing what we do today.”
For Diston, these spaces were transformative-not just musically, but personally.
“I really found myself and who I was as a person-those dancefloors were such a unique mix of people of all ages, all backgrounds, all there for one reason-to enjoy music.”
It was here that the foundations of Discotech were quietly forming-not as a brand, but as a philosophy.
By 17, Diston was already learning to DJ, absorbing everything around him. The connection between dancefloor and decks became inseparable.
“Going to all these nights was such an inspiration to my sound and developing as a DJ… if we had decks, an afters, and each other, we were happy.”
Out of that environment, Discotech was born.
“discotech started as a party for friends-without this city, there simply would be no discotech.”
What began as something small and personal has since evolved into a globally recognised underground platform. But crucially, its purpose hasn’t changed.
“We’ve always been about community and bringing people together.”
That ethos is what has allowed Discotech to stand the test of time. It isn’t driven by hype or headliners-it’s driven by connection.
“I’ve met some of my closest friends on the Discotech dancefloor. We’ve seen friendships form, people get engaged, even tie the knot-it’s mad when you think about it.”
In an industry often focused on scale and status, Discotech has built its reputation on trust. People don’t just attend-they believe in it.
“What I love most is that people come to Discotech for the party, not just the names on the lineup-they trust us.”
That trust has given Diston the freedom to curate line-ups that reflect his taste and values. Over the years, artists like Archie Hamilton, Rossko, Dr Banana, Subb-an, Lauren Lo Sung, Kepler, Burnski and Adam Shelton have all passed through Discotech line-ups. There are stories behind many of those bookings-none more memorable than hosting Sonny Fodera in an unlikely setting.
“Sonny Fodera played at the back of the Shakespeare pub-that one always makes me smile.”
But Discotech has never been confined to traditional club spaces. One of its defining characteristics is its relationship with location-transforming unexpected environments into immersive dancefloors.
“We’ve always tried to do things a bit differently-parks, churches, burger restaurants, warehouses, 17th-century jails, country houses, boats, farms, abandoned casinos…”
Even spaces like Cromford Mills, a UNESCO World Heritage Site, have been reimagined through Discotech’s lens. Each venue becomes part of the story, adding a unique atmosphere that shapes the experience.
“Every space brings a different energy… it keeps things fresh and means we’re always evolving.”
That willingness to evolve has taken Discotech far beyond Derby. International showcases have seen the brand land in New York, Ibiza, Prague, Albania and Bulgaria, alongside a strong presence across UK cities including London, Manchester, Leeds, Nottingham and Brighton.
Yet even with that global reach, Derby remains the foundation.
“I’m passionate about this city. There is so much talent in it-from creatives, DJs, producers, bands, promoters, venue owners…”
He namechecks a long list of people and spaces that continue to shape the scene-Bunker, Ultra Warehouse, Hairy Dog, and a network of artists and promoters who keep the city’s culture moving forward.
It’s a reminder that Discotech isn’t an isolated success-it’s part of a wider ecosystem.
Of course, longevity in this space doesn’t come without challenges. Over 14 years, Diston has witnessed significant shifts in nightlife culture.
“Big-room shows, major promoters and social media have all had a huge impact on how people consume dance music.”
The grassroots landscape, in particular, has faced increasing pressure.
“Grassroots venues and promoters have been throwing in the towel a lot in recent years… competition is fierce, and the cost of living has had an impact.”
Where once there was a culture of going out every weekend, today’s audiences are more selective. Expectations are higher, and attention is harder to capture.
“People know what they want these days, so you have to be really conscious of the quality you’re putting out.”
Rather than chasing trends or competing with larger promoters, Diston has chosen to refine his approach.
“Quality over quantity… you’ve got to be authentic and stick to what you believe in.”
That mindset extends beyond events into his broader creative direction. There’s now a stronger focus on the Discotech label-digging into the past while nurturing the future.
“I’ve been busy digging for tunes to re-release from the ’90s and early 2000s that sound just as good today… bringing these tracks back to a new audience is ace.”
Alongside that, a new digital series is set to spotlight emerging Midlands talent-continuing the cycle of community support that defined his own journey.
At the same time, Diston is returning to the studio himself, pushing his own sound forward while working towards long-held goals.
“I’ve got a bucket list of gigs and I’m determined to get them ticked off.”
Despite the global shows and career milestones, some of the most meaningful moments remain deeply personal. Playing Fabric-a venue he dreamed of long before owning decks—stands out as a defining achievement.
“Playing Fabric Room 2 and Room 3 has been a real bucket list moment.”
Equally unforgettable were the years spent at Zoo Project in Ibiza-a chapter filled with moments that, in his own words, are best left off the record.
“The memories I’ve made on that island will always be special… it was just magic.”
Back home, landmark events like Discotech on the Farm-held in the Derbyshire hills just after lockdown-captured something unique.
“The vibe… was unmatched. It was the biggest event we’d put on at that point.”
And then there’s Discotech in the Park at Markeaton-a full-circle moment that connects childhood memory with present-day reality.
“It’s a place where I spent my childhood… now I’m putting on day festivals in that same space. It still feels surreal.”
Looking ahead, the momentum shows no signs of slowing. With a 14-year anniversary event at Baby People, a return to Markeaton Park with Smokescreen Soundsystem, and an international tour spanning Berlin, Prague, the USA and beyond, Discotech continues to expand while staying rooted in its core values.
There are even plans for a two-day festival near Matlock in 2027-another step forward in an already remarkable journey.
But for Diston, success isn’t measured in scale-it’s measured in feeling.
“When our dancefloor is popping, there is no place like it.”
That belief underpins everything. It’s not about trends, algorithms or big names-it’s about creating spaces where people can be themselves.
“Keep it underground. Keep pushing. Do what you love. Focus on community, not trends.”
It’s advice shaped by years of persistence, setbacks and growth.
“I’ve had many more failures than wins over the years… this is a game that takes persistence and a slightly deluded determination.”
And yet, that determination is exactly what has allowed Discotech to thrive.
“Do it for you and no one else… live and breathe your passion. But most importantly enjoy it.”
In an era where dance music can often feel increasingly commercial, Jordan Diston represents something different-a return to the roots of what the culture was built on.
Not just music, but connection. Not just events, but experiences. Not just a scene, but a community.
And in Derby, that spirit is still very much alive.
