Introduction 

Sweids is a London-raised, British-American multi-instrumentalist, producer, engineer, and DJ, bringing high-energy tracks that hit just as hard in underground clubs as they do in your headphones. His sound is a fusion of house, UK garage, breakbeat, and hip-hop, laced with intricate sampling and deep, percussive grooves.

A product of London, New Orleans, and Valencia’s thriving musical communities, Sweids crafts tracks where rhythm leads the way; the bassline and drums are the heartbeat of his creative process. His EP release Energy Of Its Own pushes this ethos further, combining UK sub-bass and two-step with the catchy melodies of house music. His breakthrough single Tune Is A Classic fused South Indian rap with house production and amassed half a million streams and engagements across all digital streaming platforms.

Having started his musical journey by stealing from his dad’s cassette tapes and later performing in bands, Sweids channels his raw musical curiosity into an electronic identity that is playful, cheeky, and self-aware – sunglasses on, groove first. While his productions draw heavily on hip-hop, breakbeat, and UK garage, his DJ sets are rooted in deep and tech house curation, positioning Sweids at the pulse of modern club culture.

Sweids is currently signed to Disprucion Records and is a Berklee College of Music graduate, indicating early industry recognition alongside a strong technical foundation in music production and performance. He has performed at established venues in Valencia, including Oven Club Centro, La 3 Club Valencia, and Miniclub, with his audience growth developing primarily in Spain while also extending internationally.

In terms of promotion and audience engagement, Sweids frequently incorporates livestreamed recording sessions into his creative process. These sessions allow listeners to engage directly with the development of his music, strengthening audience connection. 

This strategy positions Sweids competitively within the music industry by using livestreaming as a unique selling point to differentiate his projects.

In addition to his own releases, Sweids operates a music production support service through which artists can submit project briefs and receive guidance on their work. This initiative reflects his collaborative approach and contributes to audience expansion by building relationships with artists at varying stages of development.

I chose Sweids as my emerging artist because of his ambition to act as a pioneer within his generation of electronic musicians. While many artists and bands choose to specialise in a single genre, Sweids expands across multiple electronic styles, allowing his music to remain aligned with contemporary tastes. This approach reflects current listening habits, where audiences are increasingly drawn to genre-fluid artists rather than rigid stylistic categories, indicating strong potential market appeal. Furthermore, his visual identity reflects what modern platforms and audiences look for in a developing artist, strengthening his potential for visibility and engagement within the digital music industry.

Example 1: Energy Of Its Own  

Energy Of Its Own is a techno and hip-hop styled song, which features an American-Indian rapper named Anohnymous, rapper Jaydeuse and singer Anne Noor.  It’s fast paced, includes elements of garage, vocal hip-hop riffs and jazz and represents Sweids’ current artistic direction. With a speedy BPM of 145, his track gravitates towards techno while maintaining a groovy and experimental vibe, which highlights his confident approach to fusing genres

Its four-on-the-floor rhythm suits club environments because faster-paced tracks are commonly played at night. The main hook enters at approximately 55 seconds, showing that Sweids understands our generation’s listening habits and shorter attention spans as  studies show that early engagement reduces the chances of tracks being skipped.

In addition, the use of multiple synth layers and stereo panning creates a more immersive sound, making the listener feel more connected to the track and more engaged with its sonic elements. In particular, the recurring arpeggiated, reverbed synth plays an important role throughout the song, as it encourages a dreamy and open-minded listening experience. Starting at 52 seconds, its presence reflects Sweids’ intention to create music that feels relaxed and immersive, allowing listeners to engage without feeling pressured or overwhelmed.

Importantly, the track maintains consistent energy levels while evolving sonically.  As recorded, rather than relying on a traditional build-up and drop structure, at around 1:41, the song transitions into a dreamy and atmospheric section, which builds emotion and keeps the listener aware of what’s happening. This approach aligns well with current trends in EDM, including tribal beats and styles such as Afro-house, where audiences prioritise energy and bounce, progression, and texture over exaggerated drops. Keinemusik are a strong example of this approach, with tracks such as The Rapture Pt.III lasting over six minutes and achieving more than 100 million streams due to their simple structure and journey-based progression.

From a performance perspective, the track sits best as a transitional tool within a DJ set rather than as an opener. Its balance between relaxation and energy allows it to blend naturally into faster selections, and therefore the listener becomes unaware of its 4:33 runtime.

For audiences, this track offers a fresh listening experience because the fusion of styles is not commonly played within a single DJ set. By merging genres and introducing creative transitions, the track goes against traditional genre expectations, and exposes listeners to a new approach to electronic music. 

The track primarily targets younger listeners, particularly those aged 16–24, as it reflects the energy, experimentation, and genre-blending associated with youth-driven music culture. Artists such as Tyler, The Creator have shown that younger audiences respond positively to experimental sounds and artists who are confident in their identities.  Similarly, Sweids uses this track to channel energy and experimentation, aiming to connect with his own demographic through innovation rather than following standard genre conventions.

Furthermore, the range of collaborators featured on this track highlights Sweids’ openness to collaboration. Rather than creating music alone, he works closely with artists within his musical circle, allowing different influences and perspectives to shape the final product of his music. This adds variety to his music and helps distinguish his work from artists who rely solely on their own stylistic preferences.

In the market, it plays well within both club and playlist environments because of the combination of electronic and hip-hop elements, allowing it to appeal to multiple ages and audiences.  Even though Sweids’ streaming numbers are modest, his unique sound attracts DJs who often look for more obscure, young artists to help them differentiate their sets with different beats. This in turn helps their artistic growth through word-of-mouth, social sharing and DJ networks.Overall, Energy Of Its Own demonstrates Sweids’ willingness to take creative risks in developing a distinct artistic identity. Rather than replicating existing trends, the track highlights his potential as a forward-thinking artist with a potential in developing as a long term artist.

Example 2 :  Call it A Wrap 

Structurally, the track is concise, with a noticeable shift occurring at approximately 1:41, where a fast-played, funk-influenced bass line and a more dominant synth changes the song’s direction. This contrast reflects Sweids’ artistic style, which prioritises variation, momentum, and listener engagement over simple looping. By changing the track’s energy towards the ending, the structure helps sustain the listener’s interest and shifts how the track is perceived, rather than allowing it to fade predictably.

The inclusion of a fast-paced, jazz-influenced bass line demonstrates how contrasting genres can be successfully combined when approached in a thoughtful manner. In this track, Sweids bridges electronic and jazz elements by incorporating a live bass recording from a jazz musician, which adds a more organic feel to the ending rather than relying solely on electronic instrumentation. This fusion enhances the track’s musical depth without overpowering its electronic elements. 

In addition to this, Anne Noor’s vocals increase the impact of the synths as she reinforces the same notes, which makes the sound feel fuller and more powerful. Also, her vocal presence reduces the sense of space within the track at 1:56, as the bass and instrumental sections feel less empty once she starts to sing. This helps the transition feel more complete, and although she does not sing lyrics, her vocal performance contributes to the sense of the track as a journey, using her vocals and melody to guide the listener forward. 

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In a DJ set, these vocals would work particularly well during transitions, as their simplicity and clarity make them effective for blending into the next track without overwhelming the mix.

In addition to this , the livestreamed production session of Call It a Wrap highlights the collaborative and low-pressured approach behind the track’s creation. Rather than following an overly rigid or pre-planned process, the artists experimented freely during the session, which contributed to the track’s energetic and relaxed character. This openness in the creative process is reflected in the final song, making the track feel natural rather than overproduced.

https://drive.google.com/file/d/1pJBFE3XlVUMaG1t_e791uGfihvsTsspt/view?usp=sharing

The track primarily targets listeners aged 15–24, as its catchy melodic elements align well with youth listening habits. Simple melodic structures are often more memorable, increasing the likelihood of repeated listening. A comparable example can be seen in Yummy by Justin Bieber, where a straightforward and repetitive melody contributed to strong commercial performance. Similarly, the simplicity of this track’s melodic content gives it the potential to resonate with younger audiences, while remaining effective in both streaming and live performance contexts.

In the market, the track functions well across streaming platforms, playlists, and live performance environments. The strong vocal presence makes the track suitable for hip-hop playlists and performance settings, while the electronic and jazz foundations are the elements that make the song experimental. 

Overall, Call It a Wrap balances creative experimentation with commercial awareness. By connecting hip-hop with contemporary house and jazz influences, the track serves as a strong entry for Sweids’ wider body of work and highlights his potential for further growth across multiple audiences.

Example 3 :  Tune is a Classic Remix

This track represents a more aggressive and confident expression of Sweids’ sound. The intensity of the production aligns closely with hard techno and psytrance club settings, where energy and immersive sounds are central to the audience’s experience. By working within this style, Sweids demonstrates versatility and an ability to adapt his music to different electronic music contexts.

At around 1:27, Anohnymouss’ vocals become more effective as the track leans further into its electronic elements. The chopped and spatial vocal processing blends naturally with the electronic atmosphere, allowing the vocals to function as a textural element in that genre rather than pulling the track back into a hip-hop context.

The track’s experimentation with chord progressions allows it to evoke multiple emotional states simultaneously. By shifting between major and minor harmonies, the song creates emotional contrast, enabling moments of optimism to balance with tension. These harmonic changes guide the listener’s emotional response, as shifts in the sound directly influence how the music is perceived and felt. The use of Step FX on the chords further enhances this emotional connection by introducing complex rhythmic and melodic variation to the vocal elements, adding movement and contributing to the tracks have deeper sound.

Rather than targeting a specific age demographic, the track is suited to listeners who actively seek intense musical experiences, as psytrance and acid-influenced genres often attract audiences based on energy and personal taste rather than age. Through this remix, Sweids aims to connect with listeners who value intensity, individuality, and strong emotional expression in music, positioning the track within niche electronic communities that prioritise immersive experiences over mainstream accessibility.

A key aspect of this release is that it is a remix of his own original track. This creative decision highlights Sweids’ willingness to rework existing material and explore alternative genres, showing that he is capable of moving across a wide range of subgenres while maintaining a consistent artistic identity.

Furthermore, the remix is particularly suited to playlists focused on fast-paced, high-tempo electronic music, and in recent years, techno and psytrance have experienced a resurgence in popularity, making these playlist genres popular, and therefore benefits the release of this track well timed. By contributing to this revival, Sweids positions the remix as a practical tool for DJs, as it functions effectively within both psytrance and techno sets.

By contributing to this revival, Sweids positions the remix as a practical tool for DJs, as it functions effectively within both psytrance and techno sets.

In the market, this remix does well because Sweids original Tune Is A Classic is one of his most recognised tracks. By creating a remix, he demonstrates that the same musical idea can exist across different genres, increasing the track’s reach beyond a single audience. This allows listeners from different electronic music communities to engage with the same track in varied forms, improving visibility and widening his potential audience.

Overall, this remix demonstrates Sweids’ ability to reinterpret existing material with current trends while keeping a clear and consistent artistic direction. By adapting one of his most recognised tracks to a different electronic context, he strengthens his catalogue and increases the track’s usefulness across club, DJ, and playlist environments.

Taken together, Energy Of Its Own, Call It a Wrap, and Tune Is A Classic (Remix) demonstrate Sweids’ potential as a well-rounded and strategic artist. Each track explores a different direction stylistically, while maintaining a strong sense of groove suited to live and club environments. Energy Of Its Own establishes a clear creative identity and positions him as an experimental producer with long-term artistic vision. Call It a Wrap functions as a hybrid release, showing his ability to combine genres into accessible musical formats that support audience growth. Tune Is A Classic (Remix) reinforces the understanding of club culture and DJ circulation, highlighting his capacity to produce high-energy records that travel effectively through electronic music scenes.

A DETAILED PLAN FOR DEVELOPING THE ARTIST’S PRODUCT, INCLUDE EFFECTIVENESS AND FEASIBILITY

Firstly, I will develop the artist’s product by securing a performance at The Camden Assembly, a mid-sized London venue that is well suited to emerging electronic artists such as Sweids. As his UK fanbase is still developing compared to other regions, starting with a smaller venue is a strategic choice. A reduced capacity increases the likelihood of a stronger turnout in audience, and helps create the impression of a headline show, while also aligning with his music style, which is best experienced in an indoor club environment. Although the venue has a maximum capacity of 400, the target would be approximately 200 attendees, which is realistic while still creating an engaging event with meaningful audience reactions. 

The set will be titled THE MARATHON, reflecting the idea of a continuous journey where listeners experience a change in emotions and energy levels throughout the performance. It provides him with the opportunity to express his artistic identity in front of a live audience and test upcoming material in a live performance context, which is valuable for building recognition around new music and assessing audience responses to his sets. It is going to be set on Tuesday the 20th, and tickets would be priced at £10 using a penetration pricing strategy to encourage attendance and attract a wider audience. To maximise revenue, merchandise such as T-shirts and sweatshirts would be sold at £15, allowing fans to support Sweids beyond purchasing a ticket. Merchandise also provides an additional income stream if ticket sales are lower than expected, while promoting Sweids through visible branding.

Aesthetically, Sweids would wear his signature ushanka and sunglasses to reinforce his artistic identity and match the overall atmosphere of the performance. This styling aligns with the venue’s setting and helps him connect naturally with the local Camden audience.

From a technical and promotional perspective, I would bring my XDJ-XZ deck to the venue, as one is not provided, and set it up using the venue’s existing XLR cables. During the event, a small camera team would capture professional photographs of Sweids DJing. Additional GoPro Hero 10 camcorders would be positioned around the DJ booth, including one behind the decks and two on each side. The master output would be recorded directly using an RCA cable to achieve good sound quality, allowing the mix to be reused later when sending his EPK to clubs. Furthermore, this setup would help us post engaging performance clips for social media, particularly Instagram, helping to build momentum and visibility after the event. The footage would be professionally edited by my friend Nils in order to achieve a cinematic style, helping the video stand out from standard performance recordings and allowing viewers to feel more immersed in the musical experience.

After the show, Sweids would create a collaboration post with The Camden Assembly to increase exposure and reach a more organic audience. His content would mainly consist of Instagram reels promoting his music, including transition clips, behind-the-scenes footage, and reaction videos of people responding to key moments in his set, such as transitions and drops. This variety of content helps develop Sweids’ artistic identity while encouraging curiosity and engagement from new listeners.

Overall, this strategy combines event marketing, buzz marketing, and guerrilla marketing to support the launch of Sweids’ performance while maximising reach and engagement.

In total, the estimated costs would be £155. This includes £100 for a two-hour venue hire, £30 for the street marketing team, and £25 for A3 poster printing. As the camera crew is already part of the project team, no additional costs are incurred for content production.

Based on these figures, the event is financially feasible. Selling 200 tickets at £10 would generate £2,000 in ticket revenue. If approximately 10% of attendees purchase merchandise priced at £15, this would generate an additional £300, resulting in total estimated revenue of £2,300. After subtracting total costs of £155, the estimated profit would be £2,145.

This plan is realistic and effective, as low ticket prices encourage attendance while still offering good value for a high-quality performance. Hosting the event at The Camden Assembly further supports this, as the venue regularly hosts electronic music and DJ nights, meaning the artist’s sound aligns well with both the audience and the setting. Targeting 200 attendees is achievable, as it represents only half of the venue’s maximum capacity, reducing financial risk while maintaining the potential for profit.

WEAKNESSES AND AREAS FOR IMPROVEMENT

One weakness of my artist development plan is its strong reliance on a single live event to generate momentum. While the Camden Assembly performance provides a valuable amount of exposure and content, it depending heavily on one show means that any external issues, such as lower expected attendance or scheduling conflicts with other events in Camden, could reduce its overall impact. To overcome this issue, the strategy would be to improve my planning with follow-up performances so that I can make sure that my momentum is maintained even if the initial turnout is lower than expected.

Another weakness of my artist development plan is the limited use of audience data when setting targets for attendance, pricing, and merchandise sales. As Sweids is still an emerging artist, decisions around ticket demands and purchasing behaviours are based largely on assumptions rather than analytics. I could improve this by collecting data from ticket sales, social media engagement, and audience feedback after the event, such as the number of tickets sold, increases in social media interaction, and direct responses from attendees. Using this information would allow future performances to be more accurate and organised.

A third weakness in my artist development plan is Sweids’ early-stage brand recognition in relation to the merchandise sales. As his name and visual identity are still developing, some audience members may not purchase merchandise at this stage. I could improve this by strengthening brand consistency across live performances and online content, as well as promoting merchandise designs before and after the event.

Finally, another weakness of my artist development plan is that it mainly focuses on one venue. While Camden is a good starting point, developing Sweids in a single location limits his exposure to wider UK audiences. I could improve this by planning some future performances in other areas in events in London or outside London, allowing Sweids to reach new audiences and expanding his fanbase gradually.

Conclusion

In conclusion, this report has shown that Sweids is a versatile, smart and strategically positioned emerging artist with a strong potential for long-term development within the contemporary electronic music industry. Through the analysis of Energy Of Its Own, Call It a Wrap, and Tune Is A Classic (Remix), it is clear that Sweids balances his experimentation with functional awareness of club culture, DJ performance, and audience engagement. Each track highlights the different aspects of his artistic identity, from genre fusions and emotional progressions to high-energy, underground-focused production, he maintains a clear artistic identity across his work.

The proposed artist development plan builds directly builds up on these strengths by focusing on realistic financial strategies that align with Sweids’ current career stage. The performance at Camden Assembly, supported by targeted pricing, merchandise, and content creation, provides an effective platform for audience growth, brand reinforcement, and professional exposure. The feasibility of the plan is reinforced by low operational costs, achievable attendance targets, and clear profit potential. Although certain weaknesses have been identified, the plan demonstrates strong potential for success and offers Sweids a valuable opportunity to get the recgnition he deserves.

References

Music, Professional. “Sweids.” Sweids, 2020, sweids.com/. Accessed 18 December. 2025.

Disrupción Recs. “SWEIDS.” Disrupción Records, 8 Apr. 2025, www.disrupcionofficial.com/post/copy-of-sweids. Accessed 15 Dec. 2025.

Sweidan, Dylan. “Energy of Its Own: An EP Exploring Hip-Hop Vocals within Contemporary EDM Production.” Research Media and Information Exchange, 2025, remix.berklee.edu/graduate-studies-production-technology/407/. Accessed 8 Jan. 2026.