For over a decade, Midland (aka Harry Agius) has been filling dancefloors across the globe. A prolific force in electronic music, his sets and productions channel a kaleidoscopic palette, platforming and exploring the rise of DIY queer spaces. His recently-released debut LP Fragments of Us was an ode to the gay clubs that shaped him – past and present – pulling memories and sounds from nights spent at NYC Downlow and Chapter 10. Armed with an intuition like few others, his ability to switch styles with ease sees his output span a 3.5-million-stream Dua Lipa remix, sell-out Phonox residencies, and the founding of three record labels.

In the midst of a jam-packed summer schedule, the DJ and producer is gearing up to play Field Maneuvers, the UK’s best-kept secret on the festival circuit. Over its twelve-year reign, it’s gained a reputation as a truly independent no thrills rave (now with a slight frill due to the addition of showers and a darts board in the on-site pub), platforming some of the most esteemed and emerging names in underground dance culture. This year sees takeovers from the likes of East London’s Dalston Superstore and Leeds’ fabled Cosmic Slop, creating a space for queer dance communities to gather and celebrate.

Ahead of his long-awaited return and headline set, we caught up with Midland to find out the goss ahead of this year’s Field Maneuvers, the importance of DIY spaces in the electronic scene and his growing love of film photography.

Ella Joyce: What can we expect from your long-awaited upcoming set at Field Maneuvers? 
Midland: Field Maneuvers is somewhere I feel I can play with complete freedom. Playing on the Dalston Superstore stage amongst lots of friends and being asked to close the festival means I will be drawing from lots of special records to bring everyone back down to earth. 

EJ: When you aren’t performing, which other artists are you excited to see on the line-up this year?
M: It’s honestly such a plentiful lineup, so it’s hard to pick favourites, but off the top of my head, Toshiki Otha, Sybil, Auratekh, Big Ang, Cooly G, Dan Beaumont & Hannah Holland and Richard Akingbehin.

EJ: Your recent LP Fragments of Us is a pocket history of British and American gay subcultures, which spaces have fed into the storytelling of this?
M: The three spaces that are overtly referenced on the LP are Chapter 10, the NYC Downlow and Honcho / Campout (First Light over the Grove), but I feel like the LP as a whole was inspired by countless parties around the world. 

“Field Maneuvers is somewhere I feel I can play with complete freedom”

EJ: What is the importance of truly DIY and queer spaces in music to you right now? How have they shaped you over the years? 
M: DIY spaces will always be, for me, the most important part of this whole thing. They are spaces devoid of hierarchy. As capitalism intertwines with music more and more, these spaces remind us that we are just one small (and important) part of a greater thing, from the people in the cloakroom to the bar staff to DJs. Musically, it’s where I feel I am able to hone and understand what it is to play music for people, but also learn about myself and just be a part of it, be it as a dancer and sometimes a picture taker. 

EJ: Field Maneuvers is now in its thirteenth year, how would you describe the crowd and community that surrounds the festival? What keeps you coming back?
M: Following on from what I was saying, it’s a crew who are ravers first and promoters second, which is how it should be. The crowd is loose in a way that puts you at ease, but also respectful of each other. Most importantly, there is a healthy dose of humour and chaos running through it all. 

EJ: Grassroots projects – such as Cosmic Slop, Gut Level and Cobalt Studios – from across the country will host takeovers this year. What do you hope this offers the community?
M: Collaboration, in its truest form, is one of the most important parts of any creative endeavour. Each of the parties and crews you mention is doing something unique in their city, both in terms of how they throw parties, but more importantly, how they serve their local community. By inviting them to host stages and be a part of Field Maneuvers, there is a chance for them to bring some of that “sauce” to the dancefloor, so to speak. 

“Taking photos and documenting the people and spaces around me has always been second nature to me”

EJ: You’re also an avid photographer of dance music and queer culture. When did you begin documenting the scene? What made you want to capture it from your own perspective?
M: I have been taking photos for as long as I can remember – I think I got my first camera aged five. Taking photos and documenting the people and spaces around me has always been second nature. It’s never been an intentional decision, just how it is. I think everyone has a unique perspective on the human experience and a chance to capture it by whatever means they can; for me, it’s always been photography. 

Being a part of certain spaces, like the Downlow for the last eleven years, and getting to know so many of the people involved, has given me the chance to photograph them in a way that has always felt very natural. In doing so, it’s forged some incredible relationships and an extensive archive over the years. There is a slightly voyeuristic side that comes into play when people who aren’t a part of it want to take photos in these spaces, so for me it’s always been something I treat with respect, a healthy dose of love and humour. 

EJ: Are there any photographers or photo series you turn to for inspiration?
M: I am an avid collector of photo books and while I don’t really look at them for inspiration, I am sure that there are similarities. I try my hardest to be inspired and excited by the moment at hand, versus trying to recreate something. That said, there are lots of photographers whose styles are inspirational to me, if only as a reminder to do your own thing. People like Malick Sadibe, Peter Hujar, Diane Arbus, Bruce Davidson, Nan Goldin, Cindy Sherman, and currently people like Roxy Lee, who has documented so much of the London Queer Scene for the last decade, Myles Loftin, Ekua King, Rosie Marks, and my brother Dom Agius (who shot the photo on the cover of my album).

EJ: What can we expect from you for the rest of 2025?
M: In October, I’m going to be heading to Pittsburgh to lead the weekly creative sessions as part of the next edition of the Rising Artists Foundation’s programme, a collaboration with Honcho called Fourth River. Beyond that, putting out music I have been working on, as well as some collaborations on a more production-oriented side of things. I should probably get my camera serviced… again. Djing across North America during the fall. The usual and unusual, in equal measure. 

Check out Midland’s Instagram here and photography Instagram here, more info on Field Maneuvers here.