- Words Notion Staff
With ‘Only One’ officially out, TS7 opens up on reworking a 2007 anthem, the resurgence of bassline and the power of nostalgia.
Long before TikTok trends and festival hype, TS7, real name Thomas Sampson, was cutting his teeth on the bassline scene in Bradford, where vinyl, burn mix CDs, and raving into the night were the only ways to make your mark. Fast forward to 2025, and the British DJ and producer is bringing that energy back with a fresh rework of Katie May’s 2007 underground anthem, now reborn as ‘Only One’.
“I spent many weekends as a teen raving to this one,” TS7 recalls. “It was an absolute anthem in Bradford, so I jumped at the opportunity to give it a 2025 spin.” Dropping the track at Bassline Festival and Bassfest, he watched crowds sing every hook, proving the nostalgia of UKG and Bassline still hits as hard as ever. With Katie May back on vocals, the track balances hyper-addictive hooks with contemporary flair, creating something that nods to the past while blasting boldly into the present.
Since breaking onto the scene in 2007, TS7 has become a cornerstone of UKG and bassline, earning tens of millions of streams with releases like ‘Real Raver’, ‘Freak’ and ‘Slow Down’, while remixing big names from Jorja Smith to James Hype. But it’s not just about the studio, dynamic live sets across Glastonbury, Reading & Leeds, Parklife, and Creamfields have cemented his reputation as a performer who knows exactly how to read a crowd.
Now, with ‘Only One’ officially out and a series of live dates on the horizon, TS7 is proof that the bassline revival isn’t just nostalgia, it’s a living, evolving sound. We caught up with him to talk revisiting classics, working with Katie May and staying inspired in the studio.
Let’s start with ‘Only One’. What drew you to rework Katie May’s original track after all these years, and what made it feel like the right time to bring it back?
I remember hearing the track for the first time in the late ’00s when bassline had its first big boom. It’s one of those songs that has something special in the hook. You’d only have to hear it once, and you’d be humming the melody and singing along. Over the last year, bassline has been having a massive resurgence, so I jumped at the opportunity to put my spin on this one. It’s always risky when you touch a classic, but the feedback has been incredible.
You’ve described it as an anthem from your raving days in Bradford. How have those formative experiences shaped the artist and producer you are today?
Bradford has shaped my musical taste. If you’re from Yorkshire, or even the Midlands, you’ve probably had a bassline phase. It’s an infectious sound that just hooks you in. From organ vocals to heavier 4×4 beats, it’s been an obsession of mine since I first heard it.
How did the collaboration with Katie May come together creatively? What was the dynamic like between you two in reimagining the track?
It came together really seamlessly. Sometimes remixes take ages, and you go back and forth with different versions, but this one only took a day or two to make. Katie has such great vocals, which made everything easier. I loved the original, so I didn’t stray far from it melodically, just brought it into 2025.
When you first dropped ‘Only One’ at Bassline Festival and Bassfest, how did it feel to watch that live reaction, especially knowing it was a rework of something so nostalgic?
Both shows were insane. I only finished it three days before playing it live, and the reactions were incredible. Crowds were singing it word for word, which is a testament to how great the hook of the song is. It was a real moment.
Do you build your sets around specific moments like that, or do you prefer to read the energy of the crowd and adjust as you go?
I generally have a rough idea of the tracks I’m going to play for a set, but for a moment like this, I want it to be where the crowd feels ready, and the energy in the room is at a place where it can have maximum impact.
You’ve been a consistent force in UKG and bassline since 2007. From your perspective, how has the sound and spirit of the scene evolved over the years?
The sound feels similar to how it did in 2006/2007 sonically and melodically. The bass, riffs, and vocals all convey a nostalgic feel. There’s a real craving for nostalgia right now in the world. It feels like we’re having a full circle in most genres, which I think is a positive. Now, events are calmer, people just want to have fun and have a proper rave. There’s an influx of really talented producers like Denon Reed, TeeDee and Chad Harrison who are pushing the scene forward. When you put these producers with veterans from the first wave, the scene is in a really strong place.
What’s one thing you think newer producers or ravers might overlook or take for granted about the early days of UK bassline?
Social media, 100%. We didn’t have Instagram or TikTok to help promote our stuff. We had to press our music to vinyl and burn mix CDs to get our name out. TikTok gives everyone an even playing field. Your following is irrelevant there. It’s the best way to showcase your music today, in my opinion.
You’ve remixed artists across a broad spectrum, from Jorja Smith to James Hype, and Sigala. What draws you to a remix project, and how do you strike the balance between your sound and someone else’s vision?
It depends on the project, but a general rule of thumb is that I have to connect with the original song, it has to make me feel something. Usually, I can tell after the first listen if a TS7 remix will work. The best remixes happen when the artist gives me creative freedom. I start by writing drums around the vocal, take my time selecting samples, then start writing quick bass riffs without really thinking about it. Once I find the strongest, I chop the vocal almost creating a riff, and build the arrangement from there.
Your catalogue continues to grow with some of your strongest releases yet. How do you keep pushing yourself creatively this deep into your career?
I still feel as ever inspired as ever. In the studio, I try my best to keep it simple, to have fun and make music that feels exciting. It’s important to avoid comparing yourself to others; every musician is unique in their own way. It sounds cheesy, but being the best version of myself keeps me focused. It’s a privilege to do this for a living, so I never take it for granted.
Finally, what’s next for you? More reworks, original cuts, new collaborations, or something completely unexpected?
I have loads of new music on the way, so much so that I’m losing track of where I’m at! Alongside the vocal-led releases, I’ll be releasing some heavier underground club stuff too. I have an outlet for all my bootlegs/edits called CD-R, which we’ll be rolling out. It’s full steam ahead!