Sammy Virji on UKG, Receiving a Call from Skrillex & Why “Everything I’m Doing Now Is Beyond My Wildest Dreams”

Q: Do you remember a particular late-night idea from the studio that made it onto the album?

Absolutely — “Leroy Street,” the album’s closing track, grew out of an aimless late-night experiment. I was fried and decided to make something ambient as a break. I added some drums and realized it had a special quality; that track came directly from those procrastinating, after-hours sessions.

Q: When did you know the album was finished?

I’m not sure I ever truly feel it’s finished. There are always little things I might tweak in hindsight. But at a certain point I was satisfied with where it stood; you have to accept it and move on.

Q: Were you working to a deadline?

Yes — definitely. (Laughs.)

Q: How do you feel about UKG’s momentum in the United States and your part in it?

When I first came to the U.S. in June 2023 to play at Sound for AC Slater, the scene still felt oriented toward a bass-house sound. Since then it’s evolved faster than I expected. I don’t know exactly why it’s taken off now, but it’s the right moment, and I’m glad to be part of that shift.

Q: What are you trying to do within that movement?

My aim is to make the music accessible without compromising its character. I like to layer unexpected a cappellas and mash-ups to keep sets fresh — bringing people in with something familiar, then guiding them toward more underground sounds.

Q: How do you strike the balance between crowd-pleasing and integrity?

Playing a well-known song always gets a reaction, but it can feel like a shortcut. I prefer to choose tracks that have enough recognition to connect but aren’t overplayed. Old-school tunes are great for that — they spark nostalgia and let you pivot into deeper cuts.

Q: Does that approach influence your studio work?

Yes — I often aim for an old-school vibe. Even in the U.S., classic garage would still be niche, so I try to blend nostalgia with live instrumentation to give songs warmth and authenticity. On the album, I even had my father — a trombonist — re-record a horn line I’d sketched poorly on Logic, which became the genuine opening horn on “One for the Books.”

Q: What moments in the U.S. made you feel like things were leveling up?

My first U.S. tour in January amazed me — the crowd energy was next-level. Shows at Elsewhere in New York and 1015 Folsom in San Francisco were unforgettable, and Denver was off the charts. Festivals are different — you’re often introducing people to the sound — but Coachella this year felt like a major turning point. Playing Forest Hills Stadium recently was also surreal.

Q: Was America always on your radar?

Not really. I expected to build a career in the U.K. and didn’t really imagine going abroad. Working with people like Skrillex — which began last year with an impromptu studio session — was beyond what I pictured. It’s all exceeded my expectations.

Q: Did you pick up anything specific from watching Skrillex work?

What struck me was his speed and focus on ideas over perfection. We worked in the smallest room of a studio — the one where I made the album — and he intentionally didn’t route computers into the mains so we wouldn’t get distracted by chasing the perfect mix. Watching his workflow, especially on Serum, was inspiring.

Q: What would make Same Day Cleaning feel successful to you?

It’s not about chart positions for me. If the album resonates and feels special to listeners — even a smaller group — then I’ll consider it a success.

Q: Are you already thinking beyond the album?

Since finishing the record, I’ve felt liberated creatively. That relief led to a burst of new music — when you’re not forced to make something, you can make freely, and that’s been really productive.