Faranoe Bros. – Brotherly Energy, Groove, and UK Roots on the Virtual Sessions 10/15/25

The UK-based duo Faranoe Bros., made up of Tom and P-Po, join to share their infectious energy and story of perseverance in the underground electronic music scene. Raised in a family surrounded by diverse sounds—from Italian pop to Motown and Dire Straits—the brothers built their musical foundation by exploring different styles and teaching themselves production from scratch. With no formal training, their journey began in shared bedrooms, evolving from bedroom DJ sets to packed events across the country.

 

Their sound blends groove, bass, and high energy, reflecting influences from early UK dubstep, drum and bass, and house. The brothers stress the importance of DJ etiquette, particularly the lost art of the warm-up set—building a night rather than blowing it up too early. Through their performances at festivals like Fundamental, they’ve gained a reputation for crafting immersive, rhythmic journeys that keep dance floors moving organically. The support and belief from their peers at Fundamental became the spark that propelled them toward taking their music career seriously.

 

Armed with FL Studio, they’ve honed their craft, producing tracks like Burn This City Down and remixes that have garnered praise from both fans and industry insiders. Working with mentors such as engineer Lee Howe and now collaborating with MN2S, the duo are refining their sound and preparing for global recognition.

 

Whether performing at small intimate venues or outdoor festivals, the Faranoe Bros. focus on connection, groove, and creating a shared experience. Their chemistry, humor, and commitment to authenticity make every set a celebration of their love for music—and for each other as brothers in rhythm.

 

Topics

0:12 – Introducing Tom and P-Po and their brotherly dynamic
3:12 – Growing up with eclectic musical influences
5:23 – Teaching themselves production and mixing from scratch
6:48 – Defining their sound: groovy, bassy, and high-energy
9:00 – The art of the warm-up DJ and crowd awareness
11:27 – The birth of Fundamental and their first major break
15:13 – Recognizing the turning point in their artist journey
17:18 – Using FL Studio and refining production techniques
27:05 – Working remotely during lockdown and creative evolution
47:58 – Touring the UK and building an authentic fan community

Connect with Faranoe Bros.

• Website:faraonebros.co.uk
• Instagram: @faraonebros.music

[Darran]
Hey everyone, welcome back to another episode of the DJ Sessions Presents the Virtual Sessions. I’m your host Darran and right now I’m sitting in the virtual studios as you can tell by this wonderful new blue screen that’s behind me and we’re coming in all the way from, you know what, the Faranoe Bros. are coming in from, I forgot with all those pre-show notes, where are y’all coming in from today?

[Faranoe Bros.]
UK. Absolutely nowhere but everyone knows the train station for some odd reason.

[Darran]
Probably should have figured that out with the accents beforehand and seeing that wonderful, wonderful Instagram post that you put out there about being on the show today. It’s going to be a pleasure having you here. Got a lot to go through today so super excited.

Already got some fans of yours in the chat room over on IG. Dave Smith 1986 says, hey looking forward to this. Come on Dave.

It’s always awesome having fans out there, love giving shout outs to them. So we have Tom and P-Po. For those of you who don’t know who’s Tom, who’s P-Po from the Faranoe Bros..

[Faranoe Bros.]
So I’m Tom, the older one, the shorter one, the big brother and then I’m P-Po, the little big brother. Yeah.

[Darran]
And you guys aren’t related, correct?

[Faranoe Bros.]
No, no. Oh yeah, we’re definitely, we’re five years, five months and five hours apart. Exactly.

Wait, wait, wait, five months, five what? Five years, five months, five hours apart, born apart from each other. Yeah, we, everyone’s kind of, we always have this, when we’re meeting new people we always have this sort of brief two minutes where we’re, they’re not sure if we’re, if we are brothers or we are partners and it’s just watching their faces trying to figure out which it is.

So that’s why actually one of the first things we say is no, no, we’re brothers. And we say the five hours, five months is not as strange, but yeah.

[Darran]
No, I have a friend of mine that I’ve known for, oh gosh, since I was 18 years old. So about 33 years. And when we’d go out all the time, people would think that I was his little brother and we’re only two years apart, you know, and we’d pass off for it.

And let’s just say I could use his fake ID. I’ve gotten a lot of nightclubs over the years when I was younger using that. I don’t know how I passed.

I don’t really, I mean, I guess if you put us two side by side, you might be like, all right, all right. But I mean, a bouncer, come on, it’s their job to recognize fake IDs. They had to look and go, there’s no way this kid’s 21.

There’s, okay, get in. If you have enough balls to try it out, they let you in. That’s kind of the confidence.

Hey kids, you didn’t hear how to get into nightclubs underage from me. Anyways, that being said, we’re not here to talk about my antics growing up. We’re here to talk about the Faranoe Bros. here.

You know, how did you get started in wanting to be in electronic music? Did you come from a family, a musical family, a background?

[Faranoe Bros.]
Not at all, really. I mean, we’ve always had a massive love for music. It stems from our parents.

I mean, and it was very different. Our father had been Italian. There’s obviously a lot of Italian pop and stuff that was flying around then.

And our mum was very much into everything from Frank Sinatra to Dire Straits to Enya. Yeah, our stepdad was a big Motown fan. So it’s always, music’s always been in the household.

Like, you know, Saturday mornings in every car journey, the radio would always be on. So yeah, ever since day dot, we’ve always been surrounded by music. But we used to share a bedroom when we were kids.

And like, Tom being five years older, it’s sort of, I had all of that music seeped down to me. So yeah, for as long as I can remember, we’ve had electronic music being played. Like the early Dubstep albums, the early UKF albums, the mini mix on that.

Something that’s burnt into the memory bank. In terms of actual production, neither of us had any, have ever actually had any sort of instrument or like gone to lessons. Everything we, I mean, in terms of where we are now, we’re like, everything we’ve done is solely on just on the fact of like, listening to great DJs, listening to great music, regardless of the genre.

I personally, I mean, once we come into sort of the actually playing music out, I’ve had my best mates basically teaching me how to mix. And it’s then obviously percolated its way down to my brother. And then that’s kind of where we are.

But in, yeah, the music side of things, it’s kind of been very, very modest. Always been in the family. Yeah.

Just felt like really simple pleasures.

[Darran]
Now you’re basically just self-taught or did you go to school for any of this or take any classes, courses, any meetup groups or anything like that? Just out of the scene, we like this, we’re going to do this, let’s go.

[Faranoe Bros.]
Yeah, literally that’s, I mean, I got a lot more into the production side. I think I probably, everyone in the UK sort of does recorder at school. When you get to like six or seven, everyone does recorder.

For some reason, oh yeah, we did violin. And I think that was probably the first time sort of playing an instrument or learning music. But that was about, yeah, that kind of year of music was about all that was done before me and my cousin decided to go halves on a producer pack.

And then that was it. That was sort of, the nerd was let out and was just like, oh, new software to learn. But that’s kind of beyond that, the musical, yeah, no real musical kind of lessons on real music theory or anything.

It is very much just being, yeah, self-taught. So it’s always quite interesting when we get into conversations with people and they’ll start using musical jargon and they’re like, yeah, yeah, yeah. And then when they just say what, yeah, Google it or when they say what it does or they make the noise that it does, it’s like, I know exactly what you’re talking about now.

[Darran]
So what programs do you start first using or do you still use to this day for your music production? And before we actually, before we answer that question, I’m going to ask a big question here. If you could describe your music in three words, how would you describe it?

[Faranoe Bros.]
Go on, I’ll start. Groovy. Yeah.

It’s got to be like, it’s got to be bassy, but I feel that’s too much of a basic word. High energy. Stick a hyphen in it and then it’s one.

So groovy, high energy and encapsulated.

[Darran]
All right. Where would you say your beat range, where do you like to fall into in a BPM range? Oh, that’s a good one.

[Faranoe Bros.]
We, I mean, it massively depends on where we’re playing and like the time we’re playing. One of my, so the guy who I have to thank so much of my, basically all of my DJing experiences, my best mate, he’s also a huge DJ, he’s out in Dubai under Quilliam, James Quilliam. He essentially taught me everything he knew.

One of the things he imparted on me is how to be like, how to be a good DJ at night in all, in all aspects. And one of them being a warmup to main hour to, so like if we were playing, depending on when we’re playing, we can start, we can start relatively slowly so we can start even sort of like 120, like low 120s. And then again, we can go all the way up to sort of, yeah, 145 and then potentially spill into B and B depending on the event, depending what the time is and depending on like the, on like the energy.

A lot of, a lot of what we do is, is semi dependent on obviously the crowd and what was going on, but yeah, it’s quite, quite a large range. So yeah, 120 to 180 is our, is our BPM range basically, which is yeah, quite big, quite big. It leaves a lot of, there’s a lot of room in there to, to experiment and play around.

[Darran]
Exactly. You know, and they say that the, kind of the art of the opening DJ is being lost now. I don’t know if you’ve heard that or followed that, you know, knowing how to, hey, you may not get those gigs, but you spend a lot of time opening and learning why it’s so important.

You don’t play your bangers before the headliner goes on.

[Faranoe Bros.]
You know, it completely, it can really kill it because, I mean, we’re all, we’re all susceptible to, to actually just like, fuck it, I’m going to do what I want and play all the, play all the big tracks straight away and just sort of, it’s easy to play all the heavy hitters because they’re big tunes. They get great, obviously they’re going to get a good, good reception. So like you can, it’s easy to go out and just play all of those big tracks, but then, yeah, like you say, it’s the, the art of it is then by the time the headline DJs are getting on, either half of their tracks have been played or the crowd’s already half tore up.

They’re all, you know, they’ve all gone to the smoking area because they need a breather from dancing. I think that’s it. Everyone’s trying to become so accessible.

There’s so many people trying to get those opening slots that now it is like, right, this is my chance to get on the, get on the stage and get really good videos and play all the really big tunes. But actually when you’re, yeah, there is a real art to warming, warming up and kind of how to get a room kind of steadily creeping, but without like actually getting sort of, you want to get them going, but not too much. It’s like have fun, but don’t have a great time.

Yeah. That’s why the groove element is so in, I mean, for us it’s, it’s a couple of friends that basically turn around and like, it’s one of the main things they love about us because it’s, it is a sort of like a groove. It’s a journey.

You can, it doesn’t, you don’t, we don’t have to play the big bangers. People are kind of there. It’s actually quite interesting seeing people start on the side of the dance floors and you kind of see them with the drinking hand and gradually the shoulders and then the head, the flavor starts coming out and yeah, you see them on the dance floor and that’s like, I mean, that’s what a good DJ really is.

And that’s kind of what my friend was saying.

[Darran]
So two words that I’m curious about that, that you kind of, you highlighted in a pre-interview question stuff here is dub mantra and fundamental and how you link the both of those. For our DJ sessions fans who don’t know about this, what is dub mantra and, and it’s fundamental now a term. I mean, I should know these terms, but all the new kids are using all this stuff nowadays.

You know, I’ve been in this game for 30 plus years. I probably go, Oh, that’s what that is. But what is dub mantra and fundamental?

And then how do you link them both?

[Faranoe Bros.]
So we’ll start with fundamental and fundamental is, is, I mean, it’s one of the, I mean, Dave, he was, he was, he’s hopefully watching. He is. Fundamental is essentially what it is being fundamental to our success.

And they originally, it was a friend and got us down to, to play at one of his sort of as a festival. We were sort of unknowing, didn’t really know. We knew him from school actually.

And that’s how he, and cause I’ve, we, I’ve been playing in Ibiza and my brother, I mean, people had just started linking together because yeah, it was got a long time getting there, but yeah, once we just started getting some gigs, we got to his event and it was a fundamental sort of festival. And we were playing in this tree house kind of tucked away and no one knew who we were at all. And we sort of played this, it was meant to be, I think sort of half an hour, an hour, and then ended up being an hour.

And we kind of, cause we’re up in a tree, we can only see a couple of people in the distance. You’ve got a couple of people by fire there and we were having a good time. I nearly destroyed the entire festival by spilling the drink.

It wasn’t my fault. I still, to this day, it was the good speakers that pushed my drink on. Too much bass.

Yeah, too much bass. And yeah, cut all the power to the festival. But apart from that aside, the music is what stood out apparently.

And yeah, we then got a call, I think a few months after, regarding New Year’s and slowly we kept popping up on their, on their events. So Suffolk Fundamental is an, is an event brand and they’ve done festivals and other events in the sort of Kent area in England. And yeah, it’s just sort of, just sort of snowballed going to every, sort of becoming every one of their events until we did a New Year’s, the second New Year’s, where they asked us to, we actually previously met in a festival, we started showing them all of our music, all of our unreleased stuff that we’d been making, but we’d been too, for one reason or another, whether we’d been too nervous or we didn’t think it was good enough or the right vibe. And we just sat there probably two hours, two, three hours of, of this festival, everyone sort of in a circle, just listening to our music. And it was the praise we got from it, from him as well, and sort of saying, you need to do a set for us with this music.

And that really gave us the, really lit fire under our backsides to be like, okay, let’s get this done. Let’s get this finished. Let’s, let’s go.

And that was, and yeah, and it’s from then it’s, it’s, they’ve been, yeah, fundamental to our, to growth of where we are now, to having that belief to split, like Dave, especially, along with the other, the other members of the group, without them sort of giving us the confidence we needed to, to get to where we are now. It’s been astronomical. The first, first group of people to really like fully believe in us.

And it wasn’t just the sort of like the friends being like, oh yeah, that’s really music things, cool sort of thing. It was like, they, they really believed in us as artists, as well as being our friends as well. That, that whole collective of people.

So yeah, they’ve, they’ve, yeah, we’ve said it a lot, but yeah, they really were fundamental. It’s a great name.

[Darran]
It makes sense. You, would you consider that to be the biggest break that launched your DJ or your artist career? Was that kind of paradigm shift, like getting the praise or is there something that stands out that says, this, this one stood up for us?

[Faranoe Bros.]
It was a paradigm shift because it’s sort of up until we’ve, we’ve, we’ve done, we, we do this because we love music and it’s, and, and it’s like to be able to sit in a studio, like with family and just make music and, and, and have fun is like, that’s been the best journey of it all. But at the same time, that’s like to, to have, then have a group of people then be like, oh no, this is actually something that you guys should actually try and do something with this. That is, you know, it’s good enough to, you guys are good enough to go for it.

And it’s sort of that we, we, we had enough self-belief to continue doing it. You know, we’ve been doing it for four, nearly five years now, but, but that was to have, you know, we had known these people, we’d known these people for months and they, they, you know, they didn’t know us from, from anyone else. And, and so, yeah, to, to have them be like, yeah, go for it.

And, and then not only do that, but then also provide a platform for us to then showcase what we do and showcase who we are and play our music was like, yeah, it felt like we were dreaming.

[Darran]
It was, well, I sure, I’m sure some of them are watching on Instagram right now. We got Mama Kivush. I hope I said that right.

We got David Smith in there. We got Charlie Cott. We got Cadillac, Cadillac, Kaz Dallas.

And Tom Wrightson is in there. Those fans in there watching the show tonight, but you know, we’re, we’re talking about you, you have some upcoming tracks here before. Let me get that previous question.

You use music software. Have you evolved with your music software over time? And what do you use now?

Because I know playing with a lot of different things, you know, you got this platform, this platform, hardware, software, blah, blah, blah. Do you have one that’s kind of your go-to software right now that you produce all your tracks with?

[Faranoe Bros.]
Yeah. FL Studio is what, what, what we use. Like I say, when I was in my second year of uni, yeah, yeah.

Me and my, me and my cousin who, so that Dub Mantra you asked about earlier, that’s my sort of cousin and his, his sort of group of mates from uni, that’s their, their events company that they’ve, they’ve sort of started. But it was us at uni who kind of one Christmas was like, should we just go hard on it? And that was, that, that, that was the beginning of it.

And that was the rabbit hole that I got lost in for, well, I’m still kind of lost in it. You used to get lost in production. There’s so many different plugins.

There’s so many different, we, I mean, we, we only just recently got keyboards and it’s made things a lot easier. And we just, as I said, it’s so easy to get lost in it. So you don’t almost have to go elsewhere.

I think there’s always been a, I’ve been, I’ve always tried Badroom saying, Oh, what about Ableton? Lots of people are using Ableton, but now being, especially that was at the beginning, now being on using FL, because like we said, people is a hundred percent, we’re way more of the producer than, than I am. And so after a while, actually, like all doors kind of do the same thing anyway.

So it’s just about, it’s how about getting the most out of each software, whatever works with your creative flow. So that’s it was like, cause we were, like Tom said, there’s always, I always get a bit of like, Oh Ableton, I don’t know, it gets a bit, a bit of rivalry between, between the doors, but they all do the same thing just slightly differently.

[Darran]
So I started playing around with Fruity Loops three back in 2000. I had it on the laptop of mine. I thought that was so cool that I had a sequencer.

I could make some music. And I mean, I was not a musician by any means. I grew up in kind of a musical family.

I talk about this sometimes on the shows, you know, I grew up with eight track, four track, track mounts, all that stuff. My brothers were musicians and keyboards and all that fun stuff, you know, but never went into the music side. I went to video.

My brothers were in music. I went to video. So, but set the way clock for forward, you know, you know, I played around with Fruity Loops and then in my first year of college, I got an MC 505 and SP 808 by Roland.

I thought that was cool because even though those pieces of gear were in the, you know, I think I want to say 1200 to $1,500 price range, maybe even more than that. Those two right there, I had a sampler and I had basically a keyboard or a sequencer with a little keyboard built into it. It was cool.

And I could MIDI them both together and boom, I didn’t have to buy a $5,000 computer, you know, at that time, which, I mean, I guess I spent $3,000 on gear, but we just get over my friend’s house and I just put a beat on and I just manipulate the knobs and make some cool stuff. I mean, I was never looking at it. I mean, we had a zip drive on it.

You guys remember what a zip drive is? A zip drive was a disc. So you had a floppy disc.

This is a zip drive and a zip drive would hold a hundred megabytes on it. And you know, you put the zip drive into the SP 808 or the MC 505, you could record your tracks and have everything there. And then you couldn’t really take it anywhere and you’d have to bounce out from the board.

So all that fun stuff, but it was still fun to play and manipulate with music. I think that’s what I really liked about sequencers. And then later on, I went to work for Apple and down Logic and started playing with the sequencers and all that fun stuff on the back.

And again, I worked for Apple training people how to use the software, not how to make music, but just love the fluidity of Logic, just being working with the pro apps there. But of course, I’m a video guy, so I gravitated towards more Final Cut Pro and Motion, but you’re right, these programs like Final Cut and Adobe Premiere or any other editing software out there, they’re all going to pretty much do the same thing when you put them down and you can translate from them. But the mechanics of getting from point A to point B might be different, but that’s awesome.

Fruity Loops, yeah, it always brings back some memories. And you use those to produce your current tracks. I noticed, I believe it was on your SoundCloud just recently, you released something for Halloween.

Is that your latest track you released or was there something right before that?

[Faranoe Bros.]
No, that was, we’ve entered into a DJ competition.

[Darran]
Oh, okay.

[Faranoe Bros.]
That’s what it was. So yeah, we put a mix up. If anyone hasn’t listened to it, I’m just going to plug that there to go check it out on SoundCloud.

Hopefully we can get a set with Stanton Morris. But there is, yeah, there’s a track we released a couple of months ago on there, Burn This City Down, which was for a remix competition. All done on FL.

That’s the thing. So we’ve been doing it, using it for seven years now. So it’s kind of, we know it like the back of our hands.

It’s just, don’t have to think about translating. Because a lot of what we did to begin with was just on like a laptop and trackpad. And so having, you’re right, having the hardware, playing with knobs, honestly, game changer.

It’s amazing. But learning to do it on a laptop and keyboard is that you really have to understand the software and what you’re trying to do. Because otherwise, like, yeah, you can just spend hours just fiddling and playing and actually not really making any progress.

So it’s quite an interesting night. We wanted to, we kind of feel like we’ve done this not backwards because a lot, I mean, a lot of artists nowadays is all produced on a Mac, you know, but they go anywhere, produce music. And that’s like kind of the love of it, because you can get inspiration from anywhere and then instantly put that onto onto your computer.

But one of the things that we would love to kind of dive into, especially with some of the music we’re making now that isn’t, hasn’t been released yet, or is going to be released next year, is kind of feeding or to a sort of a live set potentially and actually working with more analogue is something that would really interest us. We just haven’t, it’s like you said, it’s about the availability. You know, we’ve already spent, I don’t even want to know how much money it’s like getting to where we are now with the setup we have, but like, and then you’re like, oh, that looks, we could use this, this MPC or this, or sequencer and you think, wow, it adds up massively.

And we kind of got to a stage now where we’ve, we’ve set up really nice in our studio, we’re really happy with it. And we need to start making a little bit more money before we spend it. So that’s, that’s the little sort of hurdle we’re getting over at the moment.

[Darran]
Yeah, you know, it’s always that I have, I have, I tell people that like, I can do what I do now anywhere I want in the world. I just found out last week, I was doing some play testing, I could be doing this interview and being in Tahiti right now for my phone. And be like, hey, I’m right here doing all the graphics, everything I need to do to turn my servers on and off, boom, boom, boom, right here and be like, hey, I’m in the beaches of Tahiti, or I have a green screen behind me and I’m in Tahiti.

You know, you wouldn’t know if my phone doesn’t move like this. I could even bring in this third camera if I want to right now and patch into this interview. I’m like, okay, well, that’s kind of really cool for portability and functionality.

But I have like $40,000 worth of gear sitting right over there, so I can do full broadcast 4k live streaming solutions. I guess you could say if Tomorrowland or Coachella called me up, I could go do one of their stages if I wanted to. That gear just sits there collecting dust because I’m not doing that level of production and people don’t understand that, yeah, a lot goes into that.

I once had somebody come to me and they’re like, oh, how much do you normally charge if you did a DJ show and all this stuff? I go, my normal rate is $3,500 to $5,000. And they’re like, oh, I’ve seen the cameras you use.

They’re not that much. I go, yeah, those cameras are about $1,000 a pop, but the gear that I’m using to run that is $20,000. And if you just did that for gear cost alone, okay, you go 10% of that, but then you take my time and broadcast television experience, live streaming experience, podcasting, everything I’m doing to output this footage and then let it distribute afterwards, I’m like, I’m usually anywhere between $2,500 to $3,000 for an eight hour day.

So yeah, but no nightclub, smaller DJ nightclub is going to be able to afford that. So a lot of my services are done kind of in kind to help facilitate the environment, the, well, what’s the word I’m looking for here? The growth of the environment distribution and what was wonderful and what I call pandy hit.

People thought I was crazy for what I was doing, thinking nobody’s ever going to want to watch a DJ live online. What are you talking about? What’s this Twitch thing?

I’ve never even heard of them before. I’m like, come on, it’s going to be the bees knees for 10 years. Racking my head around going, come on, come on, the people thought I was crazy because I told them QR codes were going to be the shit.

And I was like, what is it? No, no, they’re on. What is this thing?

It’s too weird. And lo and behold, they’re everywhere now. But now everyone in the world went live, live streaming DJ.

And so, so yeah, it was easy. It’s nice to see though. It always has gotten cheaper, smaller, faster, better, you know, over the years with technology as it goes.

So, you know, it’s nice. You can pick up a laptop, take it and produce music on the fly and then also bounce stuff up. If you two aren’t around each other, you can send the files.

Boom. Okay. I work on this.

Boom. Send it back.

[Faranoe Bros.]
So that was actually COVID when I was, uh, I was in my final year of university and, um, Tom was living, living at home with the parents. So we would literally get on, was it zoom? I think we would get on zoom and then he had, uh, we both had studio quality speakers and we would just sit for hours in the evening and just make music together.

So before, yeah, before we kind of came together as Vroni bros, it was a good like two years of still producing and making music. And cause it was a long time apart. I mean, that’s one of the, like the biggest things that even my, even our, even our parents were like, are you sure it’s going to work being like so close to each other?

Cause we were sort of inseparable as kids. Um, everything I did, he would do, he’d be then even that five years younger. And I think I was last living at home.

I was sort of like 17, 18 or whatever. And then, so he was still, I was still involved in everything I was doing. Then I suddenly went up and did my travels.

I sort of lived like the ether, which is where I kind of always had that love for music. But as I said, my mate James really gave me an insight, taught me how to actually mix two tracks together. Um, and by the time people, he was kind of doing exactly what I was doing at his age, kind of being the in charge of all the music at the house parties on the, big speakers plugged in, um, to his phone and then he’d be, he’d be sort of creating the atmosphere.

And then we didn’t. So in that time where I was learning how to DJ and people was coming, um, getting to the age of like 18, 20 and started going out and partying and, um, learning how to, how to produce, we had almost like 10 years apart. Well, maybe you’ve seen him five, five, six time in 10 years.

Um, and then fast forward to obviously the global catastrophe, then you say Panda, then Panda came along and, uh, we suddenly went from not living together or seeing each other for 10 years to being well, uh, it was the shack that was the width of a single bed and the length of a single bed plus a bit. So we had a bunk bed in there that the bottom bunk was one of the like fold out sofas and whoever, depending on our work, whoever was working, he sometimes worked nights or mornings. So it would, we would swap top and bottom bunk.

And the trick was to kind of get not fall onto the person below when you’re, when you’re going. But that’s it. It was sort of room for a computer.

We figured out there was a meter square or three space on the floor and that was it. Yeah. It was very much like computer and speaker set up the deck set up and then this bunk beds and then enough room that one of us could get changed at a time.

Um, and that, and that was it. That was like, yeah. So we, so we suddenly went from, like I say, not seeing each other to that for six months and after those six months, it was like, Oh, actually we should, we get, we, we still get on really well.

And, uh, then I got the job offer in Oxford and we were, Oh, do you want to just move in together? And, uh, and, and that was kind of, that was, that was it. That was when we decided, right, let’s go, let’s try Froney Bros.

Cause like I say, we’ve been doing it separately. We’ve been doing it separately beforehand and then, yeah, it’s sort of, it, it just made sense to kind of go, go as the duo as Froney Bros. And like I say, that was four years, nearly four years ago now and never looked back.

[Darran]
Now, um, you said you work for Oxford, uh, people. What did Tom, what do you do? Or do you still work for Oxford?

[Faranoe Bros.]
Oh no, we work in Oxford. So yeah, so we, Oh, you said up in Oxford. Up in Oxford, yeah, yeah, yeah.

So we do completely different jobs as well. So I mean, this is obviously our Zen space. Um, but I’m, I’m a, I’m a, I’m a, like a builder, kitchen fitter by trade.

Um, I used to be in hospitality, but then again, COVID changed everything and, and people. And then, yeah, I’m an ecologist. So I sort of work with protected species and habitats and, uh, yeah, kind of mitigate development, basically making sure when they go stick down a bunch of houses that they’re not squishing any newts or knocking down any trees with bats in them.

[Darran]
But you’re not, you both don’t have a career in music or working in music. I mean, not yet. Not yet.

[Faranoe Bros.]
Not yet. Not yet.

[Darran]
It’s coming. It’s coming. Yeah.

Um, and, and out of the productions that you’ve done, obviously, you know, um, uh, Dave Smith’s over there. He’s talking about burning city down as fire. Okay.

You know, you got that one. You know, you’re plugging that one right now. It just came out.

What, out of all your productions that you’ve done, which one really stands out to you the most? Or is there one? I know I always say this.

I ask this people because, and I know it’s not necessarily fair because they always ask me how to 2,700 plus episodes. What’s my favorite episode. I actually did break down.

I told my friend the other night she was over at my house. I don’t know if I should say this or not. I hope it doesn’t get me in trouble with anyone, but she comes on the other night.

We’re hanging out. She goes, I want to hear some Dr. Fresh. And I’m like, Oh, you want to hear some Dr. Fresh. Let me show you one of the coolest things. And don’t ever tell anyone. This is probably one of my most favorite episodes ever in the entire world.

When Dr. Fresh came by and played on our show in the back of our mobile studio, when it was in Seattle a few years back, I mean, I love every episode, every episode, every song I’m sure to YouTube is like a child. That’s how people have described it to me. When asking this question, you put them out in the world and you see how they’re going to grow and what they’re going to do and where they’re going to go.

But is there one that does stand out to you the most that says, I remember when I, when we released this and we got our first feedback on it, or we heard it here or something that was like, Whoa, that really transcended you into the, this, this industry.

[Faranoe Bros.]
It’s a really difficult question because it’s every track we’re making is better and better and better is, is more and more well-produced. So it’s kind of in terms of favorite, most like the, our favorite best produced song isn’t out yet.

[Darran]
Stuff is coming out.

[Faranoe Bros.]
Yeah.

[Darran]
That’s what I was going to say. You saving it for next year.

[Faranoe Bros.]
In terms of like favorites, you know, well, my, my, my, one of mine, it’s like, uh, uh, we, the New Year’s Eve that we played, uh, we asked, uh, some good friends of ours, if, if we said, give us some songs to remix and we’ll see what we can do. Um, one of them, I don’t know who the original was, but it was Saturday night. Um, uh, and it’s, it’s such a, the original, it shouldn’t work.

And the original was really cheesy, but we kind of added this kind of garagey bop vibe, breaky vibe to it. And it, it just, it just hits the sweet spot when, when everyone’s on a good level and everyone’s vibing and you pull out this Saturday night remix it, uh, yeah, just the kids, like I say, when it comes on, you kind of like when we, when we played it, my, uh, one of our good friend of mine looked me dead in the eyes and just shook his head. He just stopped dancing, heard it coming in.

No, but then after it dropped, he had his arms in the air. It was going well. So that’s, that’s probably one of my favorites.

Like sirens or warrior. Possibly. Yeah.

So I, we’ve done a couple of, again, a couple of people that we, that we love when we grew up, like dizzy rascal for both of us, but it was massive, especially like the grime scene then. Um, so when we made it into a remix, it again, like everyone was singing along and it just really made a great vibe. And I thought it was probably the funniest one because we were, we’re just making this song and like, I don’t know what, I don’t know what was like, it was in my brain.

I was like, Oh, I should find some shaggy, shaggy on this. It’d be great. Shaggy on this song.

And then lo and behold, it actually worked. Um, and it’s one of our favorite, again, one of our favorite tracks. It’s a really good response.

Again, nice high energy track with a good groove and a good tempo. And yeah, you just don’t expect shaggy to come in on a kind of dark bit underground. He breaks, breaks song.

So yeah, it’s a naughty little sweet spot.

[Darran]
When you talk about the song Saturday, it just popped in my head. Is that the one? S A T U R D A Y.

Yeah.

[Faranoe Bros.]
It was completely like, it’s all blasphemy in, in, in making it a remix, but, uh, it just, it just sort of worked and for this and the mixes out there, it’s on our soundcloud, but the, I would say like, I think out of the 20 something songs we played, I think, I think 80% of it was, was our own own tracks or, um, own remixes and, and yeah, some of them are a little bit silly. There’s a, one of our went down really, really well, which is like, we’d made a drum and bass, um, edit of hits hits from the bomb. Yeah.

Most people know and everyone’s sung along to. So it was like, it was, that’s what I mean that, that New Year’s Eve set was like very magical for us because it was, we had the festival, had this chat where we had been inspired, got back in the studio, banged out loads of music. Also, also I need me to thank is, uh, is, uh, our sort of producer Lee Howe.

Yeah. Lee Howe is huge. I mean like massive in, in, in music industry, like works very close with Sony chasing status, massive massive, massive, massive artists and labels.

Um, as a sound engineer, the EGA product, like produce sort of does everything. And, uh, we saw how we’ve managed to get in contact with them. Yeah.

One of my friends, he was helping him, gave us through the contact and we would sort of, I’m sure if he’s going to be that interested, he is the nicest man of what we’ve ever met is, is, is again, someone who’s similar to Dave, similar to my mate James, um, is, is someone who’s helped us on this journey. Incredibly. Um, it is basically took us from making some, some of our earlier stuff that we put out is, is might be a great concept, but the actual sound quality, the music, the music quality of it is was dreadful compared to what we were making.

Now it’s literally night and day and it’s through him a hundred percent through him just going like, this is the sound needs to be right. Get this, do this, do that. And like, and he’ll break down songs to like the frequencies.

And I mean, his ears are worth more than this whole row of houses. Yeah. I mean, it’s, it’s, uh, incredible.

And that’s kind of, he sets the bar. You really, you kind of, if we send him a track and he goes, like we sent him a track the other day and he said, that’s it, that’s the level, that’s what you need to be hitting. And it’s sort of like, like Tom said, to have someone at that level be like, there you go.

That’s it. That’s what you want to be doing is, is a, a, a nice kind of milestone along the, wherever this road goes, but it’s a lovely milestone to have, to have someone that’s in the industry go, what you’re making now is good enough is, is of industry standard quality.

[Darran]
And do you ever make music out of your own genre that never gets released? Or there’s like over here on the wayside that you like, you’re going a direction saying this is what we want to be known for, but this is what I’d like to play with. And this never gets out of the box or maybe, maybe one day live under a pseudonym or another name or a white label.

[Faranoe Bros.]
Yeah, we’ve, we’ve almost done it in reverse. For me, again, because like Tom, Tom with being in Ibiza and I had a, was a lot more kind of house and disco and tech, that side of things. And I was a lot more kind of bass music.

So I listened to a lot of drum and bass and dubstep and yeah, kind of the basic side of dance music. So when we started making music together, we would make just about everything. Like we say, we did house and made a couple of hip hop tracks and garage and drum and obviously did a couple of drum and bass tracks.

And then when, then it’s only really in the last kind of year that we’ve kind of had a bit more of a push to kind of narrow that down and kind of start niching in one area to really kind of nail an audience and nail a kind of a group. And then from there, once we’ve kind of got a baseline following, it’s then about building it back out. So absolutely, it’s, that’s the thing is we’re just starting to get into that niche, but I think what we’re hoping with obviously with MN2S, we’re kind of trying to guide, guide, trying to like narrow our vision to like, just let’s go, let’s work on this, let’s get this niche done.

And then we could potentially branch out again, because I think, I mean, a lot of our artists, some of them, Scream, Jack Master, one of the things I loved going to their set would be that you didn’t really know what you’re going to get. Whereas like, Amazing Nights in Ibiza, but you can almost predict that it’s going to be eight hours of pretty much this type of music. And although it’s amazing, like now I’ve moved away from that.

And again, like with Joining Forces in terms of like, like for music, it’s a real eye opener actually, but you know what, I want to go to a set and kind of not know what the genre is. And they’re going to bring, they’re going to bring me up and they’re going to take me this way. And then they’re going to make it have a real journey.

And I think like, that’s the, there’s a festival around, not far from where we are. And it’s called Mucky Weekender. And it’s, for me, it encapsulates that in its best form, because it’s a lot, I would say it’s like slightly, it’s like a slightly older age group or demographic, but it’s basically from music heads to music heads.

And it’s that kind of, it highlights so many different genres, and they’re all equally as good as each other. And then you get artists who are diving, because it’s a multi-genre, obviously festival, they dive, each artist has got that kind of ability and freedom to, let’s do a bit of this, let’s do a bit of the house, then make a bit garagey, and then all this, then ramp it up to drum and bass, and then bring it back down. And actually it’s like, it’s a very difficult thing to pull off.

And I think that’s kind of hopefully where what we’re doing with our music, and that’s what kind of makes it fun.

[Darran]
When guests come on the show, they don’t know the questions we’re going to ask, you kind of led into something I was just going to get into, you mentioned just a little teeny bit of it, but you mentioned MN2S. And before MN2S, before we get into that, were you working with a label or were you just doing everything self-distributed on your own?

[Faranoe Bros.]
Yeah, everything was self-distributed. So it’s all been using TuneCore to get our tracks on Spotify and other streaming platforms. The main one’s been SoundCloud.

Like you were saying, how accessible it is for people now to produce and make music, and that’s a leading platform because anyone that’s making any kind of music can have an immediate platform where they can put it out and they’ve just brought new algorithms in so that you can, when you upload a track, they’ll do their own kind of boosting for it, which is amazing. So yeah, we’ve spent, like I say, we’ve spent what, four years making music and just putting tracks out, hoping you throw enough at the wall and hope it sticks. And that’s kind of what we were doing.

We were just sticking, getting tracks out and then obviously, like I say, then MN2S came along. But prior to then, that was, yeah, we’ve had, that’s been the aim. So it’s weird.

Yeah, well, we did have, oh no, actually, literally just before MN2S. So we’ve got another track that’s coming out, feels like it’s been coming out for ages. But it’s like, obviously in the music industry, loads of people understand that, that it’s like, once someone’s been signed, it can sometimes be months before a release gets put out.

But that is due soon, hopefully. And it’s coming under Moustache Records, which again is, so we, what’s it called? What’s the other place we put our music?

Is it Label Radar? Yeah, Label Radar was the other one. So we put it out on there.

And again, that just has a, your track just gets sent out to loads of labels and then they’ll either say we like it or some of them said, we don’t want this track, but we put you on a highlight list. So then I imagine any other tracks you get, they’ll then sort of see that you’ve put it. But yeah, Moustache Records came back to us and they said they liked it and they wanted to have it.

So we’ve got a track, like I say, it’s a bit, I mean, it’s a big part of the music industry at the moment, it’s all paid. I mean, this sort of fits in with the MN2S stuff is a lot of, you get a lot of emails and messages from companies trying to, you know, pay X amount and we’ll give you so many followers or so many listens. And that was with this label, it was sort of, it can come out in six months time, or you can pay 200 quid and it will come out next month.

So being right at the start of our careers, we went, we’ll just go with the, well, we’ve got to sign, we’ve got to sign step one, always forget about it because it is, yeah, it’s coming out just at some point in the future.

[Darran]
Yeah, no, I hear you there. You know, how important, I know we talked a little bit about MN2S and all the services, awesome company, we work closely with them, super excited with that partnership and looking to get more artists knowing about the services they do. You work with their label service division, is that correct?

You know, when you mentioned something that was very interesting, that you were getting emails from them and kind of just passing them by, like thinking, no, this is not, this isn’t real, this isn’t real until they said.

[Faranoe Bros.]
No, I think both of us are at fault here. So we get quite a lot of emails, like I say, from people trying to promote stuff and we had actually applied to MN2S and then totally forgotten about it. And we had had emails coming through saying, would you like an interview sort of thing?

And I think we’ve been putting them straight in the spam folder because we thought, nah, this is unlikely. I want to sell our music for nothing. Then they sent us, it was a firm email, I’ll say, it was a firm email basically saying like, do you want this or not guys?

Like, what are you doing essentially? And that was, yeah, then we responded to that. And again, we checked it with Lee and we were like, Lee, is MN2S a legit company?

And he sort of sent us back their website and went, what? These guys, yeah, they’re legit, they’re really good. And that was, after that, it was, that was a brilliant start of the next chapter.

Yeah. Definitely.

[Darran]
Like I said, I’m really looking forward to the partnership with them and working, collaborating with them. My plan is to go over to the UK at least twice a year now, starting in 2026, along with my EU plans of going over there about four times a year to be there in sight. We’re working on a collaboration with the studios out of Berlin.

If you know anything about the history of the DJ sessions, you can find out who that is. I can’t announce it yet though, but pretty good idea who that’s going to be with. Being on the ground there, but then also go to the Sonar and be in Berlin for Ray of the Planet as well.

But then also getting over to the UK and being on the ground and doing some stuff there, collaborating with MN2S and the artists they represent as well. Plus a number of other stuff we do here in the States. And I’m supposed to go to Dreamfields in Mexico next month too.

So a lot of international ramp up in, national and international ramp up travel. So hopefully we’ll get to see you two on the ground out there. Speaking of events, congratulations on getting on board with MN2S.

I think you’re going to see a lot of fun stuff there with that team there. But speaking about doing some events, I was watching some footage or traveling doing events, getting out of you two online. And it seems that, I don’t know if it was footage from all one night or is it a specific club that you’re at, but it looks like you’re in a DJ booth.

People are having a great time. Lots of lights, lots of color going on. Is that somewhere that’s close by you or was that on tour?

[Faranoe Bros.]
We travel. We travel because Oxford is there. It’s great because you’re kind of like you’re, it’s almost always there.

It’s like you’re in the middle of the country because you kind of be three hours you’re up in Manchester and then two hours you’re down on the South coast. So we, the reason I say this because we literally play everywhere. So we’ve played sets up at the Lake District, which is at the top of England.

And then we play sets in Bournemouth and Brighton, which is the most Southern point. So we’re constantly on the move. I’m not sure.

It’s probably the New Year’s Eve set. So that was down in Kent. Yeah, we did that a couple of years.

Yeah, we did that a couple of years in a row. And that was really, we love small venues that are really intimate. That’s what I, it’s, it’s the best thing when you, I would much rather play to a 20 of our best friends than play to, you know, 200 people that we don’t know.

[Darran]
Do you guys see my question sheet or something? How do you know what I’m going to be asking you next? Or no, I have a list of 500 questions.

You just brought one of them up, but I didn’t mean to interrupt you. Sorry about that, Mike. How’s this happening?

No, we did not. We did not send questions to our guests. Sorry, back to the, back to the small intimate venues.

I love that. I do love small intimate venues.

[Faranoe Bros.]
It’s much better than, than 200 people who are just sort of like, we went to an event, we played down in Brighton, which, yeah, it was wicked. Like again, some people, we’ve made some really good contacts and one contact who, who then went to see us literally the next week in a different town and bought a couple of his, through his mates, his missus around. And it’s like, we’re following you around everywhere, which is like amazing.

But we then went from Brighton and drove up to Nottingham just to see our friend for it, to sort of do a bit of market research, shall we say, and go to an event. And it was just a completely different vibe. You just look like a lot of people just sort of standing there, not really paying attention to what’s going on.

They kind of felt like they were just there to, we just, the clout kind of just say that, show that they’ve been there kind of thing. And, and we had a lot of people coming up to me and my, and us two and our friends, we were meeting and they’re like, Oh, you guys are, you guys are the vibe. You guys are having it.

And I was like, no, no, we’re just, we’re just dancing. We’re just the only people here. Just the only people dancing.

Everyone else has got this, they look really moody. They all come out like they’re like dressed in the same shop and it’s just sort of a very different vibe. So for us, when we’re DJing, especially, I feel like we really want to create that vibe where it’s anyone can come.

Everyone’s welcome. You know, it’s not exclusive. It’s just not everyone.

If you don’t dance, you’re not welcome. Yeah. You’ve got to dance.

You’ve got to and as our, our group is, you’ve got to give a good base space, essentially. Otherwise there’s not, what’s the point of, what’s the point of going out?

[Darran]
Well, that’s kind of like when you just led into another one of my questions, I was going to ask you too, is that, do you both become different people when you’re on stage as opposed to being off stage or your antics on stage going to translate and be off stage as well?

[Faranoe Bros.]
I think we’ve become a lot more silly on stage. That is, we’re, we’re both, we’re both big kids and we love us.

[Darran]
Yeah.

[Faranoe Bros.]
We, we, we, like I said, like I said, music has always been a massive part of our lives and it’s so integral that there’s something so special about music events that it’s a real kind of some people that people that are coming to the events are putting their, their trust in our hands that we’re going to give them a good night. And equally we’re putting our trust in their hands that they are going to hopefully enjoy what we’re, what we’re doing. So it’s very much a kind of two way relationship when it’s, when we are DJing.

So when we’re playing, we want, we, we, we, we do, we love, we love what we’re doing. And if we’re not having a good time, then how could we expect the people watching us to also have a good time? I think it’s again, like, like the, the, the market research we went and did, the DJs that were playing, they played some great music, but they were all just, just, it just looked like they could have been anywhere else and they would have been happier.

And you just think if I’m on the dance floor and the DJ, the person that’s giving me the music looked bored, then I have no incentive myself to actually get up and, and get moving. So yeah, so, but behind the decks, we’re very active and we’re, we’re, we, we play music that we love. So whether there’s no one in the room or the rooms packed out, we’re exactly the same.

It makes no words to us because we just love what we do. And we love being able to play and love being able to, you’ll fit our favorite songs on big sound systems. It’s like a dream come true just to hear our music on a big rig.

[Darran]
I can definitely relate to that in the early versions of our show, the DJ sessions, you can go back and watch our early episodes, our first episodes from 2009. And one of the things was that I noticed that when I was filming, being the executive producer, being the person putting shows on broadcast TV, when I was filming DJs, to me, it was boring. The DJ was sitting there, they’re mixing, they’re not used to being in front of cameras.

They’re in, there’s no audience to bounce anything off of. So they’re only, I mean, they might as well be recording a bedroom set in a sense with nobody watching them. And that’s the first few rounds of that going.

So I would be on the side of them on the camera. We do a four hour show. You’d see me bouncing up and down for four hours.

People literally would kind of tune in going, I’m going to watch the DJ show, but I’m not watching the guy on drugs. How is he doing that for four hours? I mean, I have little tricks.

I could swipe the camera off to it, to a visual screen or something to be like, okay, let me take a break. Okay. Okay.

Let me take a break. Okay. Back on the shows.

You’ll be like, this is crazy. I had to stop doing that after a while. Just because, you know, I wasn’t trying to be the focal point of the show myself.

But when Pandy hit, you know, you saw a lot of DJs jump on board and it was, I saw them go through the morph of, oh, it’s me with my webcam. And then they get more webcams and then they do the green screen. And then, you know, but they were just playing and the quintessential shot I love now.

And I still don’t understand why DJs do this is I’m going to show my hands on the board, you know, like, oh yeah. Do I really care about you turning knobs? Do I care about you?

I try to get away from that shot now so much because it’s just so it’s a shot that in the beginning we were doing was okay. It was probably, I want to see the DJ mixing. I want to see if they’re really doing it because that could just be a prerecorded set and they can be faking it.

But now I think I do. I just think nowadays it’s just an overplayed shot that just doesn’t need to be there. If somebody’s going to fake it, they’re going to hit the play button, let them hit the play button.

If they made a mix and that’s what they want to dance to and play it out for people, fine, do it. Call yourself a DJ. Are you really?

The proof is in the pudding when you put in front of a crowd. Can you really do it or not?

[Faranoe Bros.]
You know, make it really, really evident if they’re like, again, I would never, we would never imagine to do a prerecorded set for anything because it makes no sense to us. However, I think it’s really, if you can have some really, we went again, I’m not going to name the person, but it was incredibly evident that it was a prerecorded set and because it was like, he was over-antic. It was to the point where like, okay, his hands are in the air, he’s standing on top of the DJ booth and the track’s getting mixed and you’re sort of like, it’s almost not like, it’s just disappointing because I feel like one of the exciting things to go DJ, because it’s not, you’re not listening to a radio, it’s not just your Spotify, because now with all the streaming platforms and everything and Spotify having their DJ and stuff like, what need do you have? You can just have a great night with your mates at home listening to music.

So what do DJs realistically give you? And it’s like, then you kind of want, and that’s kind of why you go to them, is you want to see what they’re worth and you want like, this is the money I’m spending not only to listen to music that I wouldn’t, is unreleased or not out to the wide world, but it’s also because you’re like, you’re seeing someone work and it’s someone, and it is an art form to whichever, whatever you are in the music industry or like our fabulous art behind us. Kazalaz allows me to give a shout out because that was our friend, girlfriend did that for us last summer. It’s like this, we’ve built this community through the music.

This is a memory board from our decks that we serviced and Kaz has, yeah, like made this and so we’ve built through us being a couple of Muppets on behind the decks. We’ve made this beautiful community of artists, people that love music, and that’s what I mean about the two-way relationship. It’s not because we’ve found this community of people that just love music and then that deep love of music, you then find yourself on a totally different level to people you’ve known for ages, just through that instant connection and that’s been half of the fun of it, is the people you meet along the way and this kind of, not just people that like our music, but people that we’ve actually become really good friends with through that.

[Darran]
And when you two are not entertaining others, what do you both do to entertain yourself?

[Faranoe Bros.]
It’s basically in the studio. Yeah, we just, while they’re here, we’re trying to keep quite social as humanly possible. I mean, we have, again, with this community, through our school friends and stuff, that it can be quite intense and constantly doing, going to work, coming home, in the studio, go to work, and it can become very repetitive, so we do enjoy trying to get out as much as possible.

I’m a bit of a nerd, so I build and paint models and then have fish tanks which keep me pretty busy, which is probably less cool than doing the DJing side of things, but like I said, that’s the nerdy side. Tom’s more hands-on and practical. Yeah, I did the beginning part, to blame probably for not producing so much, but I built a van on the premise that we use it to go out to gigs because then we can live, you know, we don’t have to find somewhere to live, we just go anywhere and then we can stay in the van, which has actually been really great in Brighton because waking up in Brighton Beach has been quite nice, actually.

Yeah, again, where you’re not getting, we’re at the beginning, where you’re not getting paid for sets and things, suddenly going and traveling all around the UK, if you had to pay for hotels and things, it suddenly becomes quite expensive and then they limit it for diesel and that’s a little bit extra, but it’s not mental amounts, but having a room on wheels is really helpful for just being able to go and pop up and do sets here, there and everywhere and not have to worry about it too much.

[Darran]
Yeah, definitely, I would love to have a tour bus and a Learjet one day. I’d love a tour bus. Just need a tour bus.

We’re going to tour all over the nation and go set up, I mean, I can already actually do that with where I go, like I was saying with my phone, I do go with a very minimalist setup. I would love to always do like from a video standpoint, a multi-cam setup, be on site, boom, boom, boom, go back and forth, you know, give that little professional flair to it and just be a little bit better than the next person, you know, the next team, the next thing and people like, how are you going around all these countries, I got a multi-cam setup in my backpack, three cameras and an iPad. I’m like, you know, and they’re like, whoa, if I had to do that, I’d have to set up this and set up this and set up this and their whole, you know, a lot of people can’t take it out of the studio.

So I’m very fortunate that I’ve been able to do that. But, you know, gentlemen, it’s been great having you on the show. I know we’re going to be following up with you.

I believe we’re supposed to be getting an exclusive mix from you. Is that correct? That I do have in my archives that are already downloaded.

Wonderful 12 gigabyte file.

[Faranoe Bros.]
Before this, we saw your message saying like four gig max.

[Darran]
You’d be amazed that I’ve gotten 50 gigabit files before. And I’m like, shrink it down because this, this footage is going to live on the web. I mean, it’s not going to 4k TV.

We’re not putting it on broadcast 4k HD stream, but obviously the better quality, I’m going to shrink it down anyway. So it makes it so it’s easy and quick to download on the web. But yeah, this is great.

No, I’m looking forward to going through that mix. I’m going to get into it right after I get this show so we can get up and ready to get it out there for you. Thanks so much for sending that over.

Congratulations on your partnership and working with MN2S as well. Definitely looking forward to the tracks coming out. You know, is there anything else you want to let our DJ sessions fans know before we let you get going?

[Faranoe Bros.]
Well, we’ve got this, this mix out on SoundCloud. So any, yeah, basically go, go check it out, give it a like. And hopefully that gives us a bit of, a bit of a boost to get this set.

Yeah, stay tuned because we’re bringing up, bringing a nice catalogue of songs moving into the new year. Obviously something with MN2S and sort of going through with them as well as some naughty remixes that will be free on the SoundCloud. So just in case of keeping in touch, keep in tune.

Yeah, yeah. Instagram and our website are good places to go and keep up to date with. What is that website?

feronibros.co.uk I knew that.

[Darran]
feronibros.co.uk Check them out. And that’s F-A-R-A-O-N-E, bros, B-R-O-S.C-O.U-K. Awesome guys.

Thank you so much for being on the show today. It was a pleasure having you here. We’ll definitely be in touch.

On that note, don’t forget to go to our website, thedjsessions.com. Find us there on all our socials, over 700 news stories, 2700 plus past episodes, live interviews just like this one here, exclusive mixes and more. We have our VR nightclub, mobile app 2.0 coming out soon, our new music section. We even got a new internet station in the works as well. All that and more at thedjsessions.com. Hi, I’m Darran, coming to you from the Virtual Studios in Seattle, Washington.

That’s the Faranoe Bros. coming in all the way from the U.K. And where are you at in the U.K. again, exactly? Big Cut.

[Faranoe Bros.]
Big Cut.

[Darran]
I have no idea where that’s at.

[Faranoe Bros.]
Big Cut, Oxford. It sounds a bit better.

[Darran]
Yeah. Awesome. Well, that’s Tom and P-Po from the Faranoe Bros. coming in from the U.K. I don’t know where you’re from. For the DJ Sessions. And remember, on the DJ Sessions, the music never stops.