Collaboration, Simplicity, and Staying Grounded: A Conversation With Low Steppa & Capri

With “Got The Funk” out now on Defected Records, house heavyweight Low Steppa links up with rising producer Capri for a hypnotic club weapon that’s already made its rounds through the crates of Barry Can’t Swim, Eats Everything, and Danny Howard. But behind the energy of the track lies a collaboration grounded in mutual respect, low-ego creative exchange, and a shared commitment to keeping house music both fun and functional.

Built on a stripped-back groove and driven by the kind of vocal hook that cuts through without relying on theatrics, “Got The Funk” is a callback to the moments when house music worked best—lean, efficient, and designed for physical response. The production leaves space for each element to breathe, letting the bassline carry weight and the percussion push momentum without overcrowding the mix.

It’s got warmth, but it’s also got bite. And the response has matched the record’s sharp focus: early support from Defected, wide-reaching DJ play, and a growing profile for Capri, who’s fast becoming one of the most talked-about new names in UK house.

Below, the two artists unpack their creative values—from knowing when to say no to embracing the simplicity that makes records hit hardest.

When your profile starts growing, how do you stay connected to the parts of music-making that actually feel personal or important?

Capri
It sounds cliché, but remembering why I got into making music in the first place keeps me grounded. Sample hunting plays a big part—getting lost in YouTube rabbit holes, finding obscure records that spark ideas. A dusty old drum break can suddenly trigger a groove idea. Those kinds of moments always seem to lead to better music than when I try to recreate something already popular. Digging for sounds—drums, basslines, disco loops—is what brings out my best work.

Low Steppa
I’ve always said: make the music you love, the stuff you actually want to play. I toured the world as Will Bailey but lost the love for what I was doing, so I started Low Steppa and rebuilt everything from scratch. At the end of the day, it has to be about passion. When it turns into a business without that love, something’s off.

How do you weigh up the difference between a great gig opportunity and a great studio opportunity?

Capri
Right now, I’m focused more on production and building my name in the house world. After “Got The Funk” popped off, some really big names have reached out to collaborate, which is surreal. I want to make sure I’ve got a strong catalogue of solo releases and collabs before I fully dive into DJing. When the time comes, I want to be hitting clubs with a stack of tunes that people actually know.

Low Steppa
Live gigs always feed back into my productions. Playing out tracks, watching crowd reactions, or even hearing another DJ spin something unexpected—it all fuels ideas. Sometimes a night out sparks more inspiration than hours in the studio. So when I’m in need of a creative reset, gigs come first.

Have you passed on offers or collaborations that didn’t feel aligned, even if they looked good on paper?

Capri
It’s happening more and more lately. I’ve had big label offers fall through in the past when vocals couldn’t be cleared. That taught me a lot. Now, I’m prioritizing collabs with singers directly, which I’ve always wanted to do. Some of the recent offers from vocalists have me really excited.

Low Steppa
For me, it’s all about the vibe. Doesn’t matter who someone is or how big their name is—if I’m not into the idea, it’s a pass. I’ve never been one for chasing status or climbing ladders. I just want to make great music with people I connect with. Guys like Crusy, Tony Romera, Jewel Kid, and Capri—those are my people. That’s what matters.

Do you ever feel like you’re stretching too far—or not far enough—in your creative decisions?

Capri
Not really. I don’t overthink it too much. The best sessions are the ones where you follow the idea wherever it goes. I usually sit on a new idea for a few days before sending it to my team. That space helps me refine things. In dance music, simplicity often wins. The best tracks have a strong, simple hook and don’t overdo it.

Low Steppa
Overanalyzing kills momentum. If something feels good, I go with it. I play it out, see how it moves people. That’s the real test. Sometimes you end up tweaking for months—like with “You’re My Life” on Defected—but even then, it’s still about capturing a feeling. The best stuff usually comes quick and naturally.

When more offers start coming in, what keeps your choices grounded?

Low Steppa
Always remember where you came from. Think about what would have made you happy at the start. It’s easy to lose perspective, but gratitude and keeping it fun go a long way. The fans, the music, the community—those are the things to hold onto.

Capri
Even just a year ago, I was struggling to get people to hear my music. That’s fresh in my mind. When someone sends me a collab idea now, I always give it a listen. I know how hard it is to break through. Just last week I found an amazing vocalist in my DMs—now we’re working on something together. I never want to lose that openness.

How do you check in with yourself when things get noisy and your schedule fills up?

Capri
My management helps a lot with prioritizing and managing workload. But balance is important too—going to the gym, walking the dog, catching up with mates at the pub. Taking time out actually keeps the creativity sharper when it’s time to lock back in.

Low Steppa
You’ve got to switch off sometimes or you’ll burn out. For me, that’s watching football with my dad. It’s totally different from music, and it helps me reset. Inspiration doesn’t come from grinding 24/7. It comes when you’ve had time to breathe.

Looking back on your new release ‘Got The Funk,’ was there a moment where it felt clearly worth pursuing?

Low Steppa
As soon as I played it out, I knew. Then DJs started asking for it, texting me about it. That kind of organic buzz is rare—and when it happens, you’ve got something special. I’ve been playing this one for a year and still love it. That used to be how records worked: they stuck around.

Capri
The early messages between me and Will were electric. We both felt the energy in the track. Then he played it out and it took on a life of its own. I didn’t expect the level of support it’s gotten. Seeing that list of DJ names still blows me away. I guess it’s time to make another one.