House music with substance and soul arrives at one of Sheffield’s most authentic DIY venues this summer, in homage to the 25th anniversary of seminal label Drop Music.
World-renowned yet underground label Drop Music celebrates 25 years of deep house excellence with a wicked day-to-night warehouse rave at Sheffield’s Dryad Works on 30 August 2025. We spoke to its founder Laurence Ritchie, one half of the DJ/production duo Inland Knights alongside creative partner Andy Riley, about Drop Music’s past, present and future.
Known as pioneers of the distinctive 2000s deep house sound, Inland Knights have been instrumental in the creation and continuation of the free party movement and soundsystem scene – much of which originated in and around Sheffield. Legendary music collective Smokescreen Soundsystem was formed in the city by Laurence and friends in 1992 – powered by a desire to create art, build community and hold inclusive, hedonistic parties.
Remaining modest and intentionally under the radar, the artists behind Drop Music have been influencing and inspiring artists worldwide for decades. In a 2020 social media post, DJ Sneak described Drop Music as a ‘pivotal’ label in the world of house, and that Inland Knights ‘deserve a space in the Sneak Vinyl Hall of Fame.’ More recently, industry heavyweight Chez Damier described himself as a ‘big fan’ of the duo, while Tom Findlay of Groove Armada said, “Inland knights are part of the fabric of the British house scene and people we’ve had the greatest respect for over the years.”
To mark a quarter of a century of Drop Music, Laurence and his daughter Sasha are throwing a day-to-night event at Dryad Works, inviting many of the artists signed by the label over the years, with indoor and outdoor soundsystems powered by Sheffield collectives RAZE and Risky Disco.
In conversation with Laurence Ritchie, founder of Drop Music
How was Drop Music founded? What is the story of the label’s beginnings?
LR: No one was interested in releasing our music, so the label was started 1998 as a platform to do it ourselves. It began as a P&D (pressing and distribution) deal with a London distributor — they covered pressing and distribution, because there was no money. Just good cheekbones! The story goes way back to years of DJing and throwing free parties with Smokescreen Soundsystem and other outfits, all while writing music and honing the skills we’d eventually need to run a label.
Smokescreen Soundsystem had already been around for five years before Drop Music, right? Did the Smokescreen ethos inspire the label, and vice-versa?
LR: Very much so. The free parties were a way of life. Everyone contributed – whether it was just partying, running the rig, fixing the generator, or driving the lorry. I was deeply involved in the running and execution of Smokescreen, but Andy and I were always mainly driven by the music. That’s what really bonded us.
Can you tell us about the way Smokescreen Soundsystem was formed?
LR: Organic is one word that springs to mind; the initial collective in Sheffield was quite a mix of people from other areas. Seems these sound systems are formed from people who are not from said city, like the city was missing something and it takes a group of outsiders to see it/feel it/make it happen. Those people all forged a common cause and alliance through the local clubs and pubs and took it elsewhere, with whatever kit could be begged and borrowed initially. Smokies and DiY systems spilled over into each other on many levels over the years, friendship, and fun, mutual appreciation, even politics. And the fact we shared a lot of the same free family. And then there are the joys of house music, of course, which united all.
Tell us about your links with Sheffield, as Drop Music founders and Inland Knights.
LR: I moved to Sheffield in 1992 and became part of Smokescreen as it grew. None of the crew were actually from Sheffield, which I think is why we looked out to the woods and barns — the city scene already felt established, and we weren’t meant to be part of it. The name “Drop Music” came from scribbling ideas on a bit of paper during a lunch break on a grim industrial estate, while assembling grow-light shades for a mate — cash-in-hand work. “Inland Knights” was originally just the name of the first EP on Drop Music, inspired by throwing parties across the Midlands at night. But as Andy and I started gaining attention as a production duo, the name stuck and we took it on ourselves.
How do you select tracks and artists for the label? How has this evolved over the years? What are your most significant signings?
LR: Just any good music that comes this way, ideally from ourselves or our friends. Some of the acts we’ve worked with include (in no particular order): The Littlemen, Kinky Movement, Sonny Fodera, and Crazy P.
What’s been your proudest moment for Drop Music?
LR: Hard to say – there’ve been many. But the overarching thing is the love and support we’ve received from fans over the years. That’s the biggest feel-good factor and something I’m incredibly proud to be part of.
What’s in store for the label and for Inland Knights? What excites you in terms of music, as DJs, label owners, and producers?
LR: We’ve got new remixes and tracks coming, plus a special three-part vinyl release celebrating 25 years, which has already topped the record charts. And there are more new releases in the pipeline for Drop Music.
Has the label been predominantly deep house throughout the 25 years? Has it strayed into different genres?
LR: It’s always been Drop Music. Call that what you will.
Drop Music celebrates 25 years at Dryad Works, Sheffield
30 August 2025
4pm-LATE
