INTERVIEWS
DC returns down under: Dreamcastmoe’s Australian POV
The Washington DC-based artist shares an outsider’s perspective on a local music scene he’s become inextricably linked to.
Few artists can grasp the spirit of musical freedom quite like Dreamcastmoe. Across an evolving discography that drifts between the intimacy of beat tapes, live instrumentation and club cuts, the Washington DC-based artist has built a reputation for sincerity.
That reputation sees his return to Australia in 2026, here for a variety of shows that have taken him all the way around the country, tied loosely yet conveniently to that of fellow collaborator Bradley Zero’s UK-based Rhythm Section imprint.
To mark his latest visit to Australian shores and to reflect on moments passed, including iconic sets at DIY festivals like the now sunsetted Inner Varnika, Dreamcastmoe shares a perspective on a local music culture even more caught between hyper-curated performance and raw musicianship.
Q: Davon, thanks so much for making the time to chat. What excites you most about your return to Australia this time around?
DCM: Australia is a country that deeply appreciates music and musicianship. 3 years ago, I was welcomed with open arms. Had the opportunity to tour with the talented 30/70 band, Shy One, and Ruby Savage.
Q: Your latest visit to Australia coincides with a series of shows put on by Rhythm Section, headed up by the one & only Bradley Zero. One of your most recent releases, 'The Lost Tape, Vol. 3' was released via the label. How does it feel to be visiting with that collaboration as a kind of tether to the experience?
DCM: The release was simple, release a tape with someone I’d consider a brother from another(mother). Bradley’s had a front-row seat to my progression as an artist over the last 8 years. It was an honour to share music with the rhythm section crew.
Q: What do you think a label like Rhythm Section provides a musical culture now often so obsessed with 'the dancefloor' as a concept?
DCM: Freedom to create without the limitations of ‘electrons music / dance floor’ standards. I was able to release music made in my living room with friends over the course of 2025.
Q: The push further into electronic sounds feels like it's being met by a push back by artists, once again picking up instruments and leaving DJ controllers behind. What do you make of that push?
DCM: Simple. DO WHAT FEELS RIGHT. Not someone else’s standard or expectation of you, but what feels right TO YOU.
Q: Your latest release, a series of cassettes called 'Normalise The Crush', also pushes back against that trend by way of its format. Why does working on cassette feel right in 2026?
DCM: Working with 404Eros was an absolute pleasure, they simply asked me for mix/tape that I’d make for my crush
Q: Your performance at one of Australia's most iconic festivals, the final edition of Inner Varnika in 2023, saw you forever embedded in the memory of an event thousands of kilometres from where you call home. What does that kind of international community feel like to you when it's at its best?
DCM: I’d like to first say this to anyone who happened to be in that audience 3 years ago. THANK YOU.
Moments like that remind me the world is still capable of UNITY, capable of HEALING in creative spaces. There was so much love in that crowd.
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Q: What do you think of the way you've evolved as an artist compared to who you were during that performance in 2023?
DCM: I’ve been working on bringing my sound to life with some exciting new visuals this year. Follow me on socials to be up to date.
Q: I'd love to know what kind of parallels you see between the scenes in DC where you're from, where you're regularly visiting in the UK, and here in Australia?
DCM: There is so much talent around the GLOBE, from my home city to your living room.
Q: What do you make of Australian crowds and how they respond to your music, compared to everywhere else in the world?
DCM: Passionate and energetic crowds! Australians really know how to PARTY.
Q: What do you think we need more of, on stage, in 2026?
DCM: Curated immersive experiences on stages - more outfit changes and bigger bands (go-go style).
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Tickets to Dreamcastmoe's final Australian appearances on Gadigal Land/Sydney, Naarm/Melbourne and Cavvanbah/Byron Bay are still available.
