Born in Manchester and shaped in the sweat of student basements, Teletech has grown into one of the most influential forces in contemporary rave culture. What began as Tom Shenton and Anton Stevens’ local project in 2017 now moves crowds of more than ten thousand, expanding into a label, agency and merchandise ecosystem that has reshaped how the UK experiences high energy dance music. We speak with the duo to trace the values and decisions behind that growth.
As our conversation unfolds, they return to ideas of growth, responsibility, and the challenge of preserving the spirit that first defined their parties. As Anton puts it, “although the party has grown from what it was, we still run it how people would run a smaller party.” Their commitment to intimacy, representation, and artist development remains central, even as their audience widens across cities and continents.
Although their recent work on XXL, their global shows and the growing ecosystem around the label and JINN Agency hints at how rapidly Teletech is evolving, the heart of the brand lies elsewhere. What emerges in conversation with Tom and Anton is a team effort on staying close to their community and on shaping a scene with clarity and purpose.
Let’s start with the obvious: Marlon Hoffstadt’s Party of the Year last weekend looked wild. Four rooms, a huge line-up, and a sold-out crowd. How did it feel to witness that energy come together under your roof once again?
It was insane! We’ve been a part of Marlon’s journey since the very beginning, and seeing several small-capacity shows grow into this huge party is why we do this job.
Does an event like that still remind you of those first parties in Fallowfield? In what ways does the energy feel the same, or completely different, from those early days?
There’s still that raw spirit in the air, a feeling that can only be understood by those in attendance.
You founded Teletech back in 2017 with the intention of bringing “more techno to Manchester.” When you look back now, what do you think made that idea resonate so deeply?
There was a real passion for the music and a space in Manchester that needed to be filled.
Manchester’s club culture has always been rich in identity, from The Hacienda to The Warehouse Project. Did you feel a responsibility to that heritage, or did you want to create something entirely new?
Manchester is our home but we’ve always wanted to do things differently from those who have gone before us. We want to feel local to whichever city we’re in. We’re taking the spirit of Manchester but adapting it to all of our shows.
During a time when many UK venues were closing, Teletech managed to reignite excitement around underground rave culture. What do you think drew people in: the music, the energy, or the sense of belonging?
All of the above. The community aspect is what everyone needed after being separated for so long.
The XXL shows after the pandemic marked a new chapter for you. When you launched the first one with Amelie Lens, did you expect it to spark the movement it did?
That was our ambition and the reason why we risked everything to do it, but we didn’t know it was going to escalate so quickly.
“Coming out of the pandemic, we didn’t know if this would work or not,” Tom once said. Looking back, what did that period teach you about rebuilding and resilience?
It taught us to keep working even when the odds are stacked against us.
Anton, you practically grew up in nightlife, spending time in your father’s club, throwing your first parties as a teenager, and later managing Hidden. How has that experience shaped the way you now approach Teletech?
It’s taught me the need for a clubbing space to feel welcoming. I’ve always felt welcome in the space, so I know how important it is for people to feel the same.
Tom, your background comes from happy hardcore and the energy of Sankeys and The Warehouse Project. Do those early scenes still influence what a Teletech event feels like today?
The idea of doing something a bit crazy and unpredictable is something we bring into our lineups. Sankeys and The Warehouse Project introduced me to big club shows, so I came out of them wanting to do the same things.
Over the years, Teletech has evolved into more than an events brand. Nowadays, it’s a label, an agency, and even a fashion project. Was that diversification part of a plan, or something that unfolded naturally with growth?
It was something that came naturally as the culture developed; we realised it was important to create an immersive experience that extends beyond our events.
“The idea of doing something a bit crazy and unpredictable is something we bring into our lineups.”
Your merchandise line has become a phenomenon, selling out each time, and even has fans getting the logo tattooed. What do you think creates that kind of emotional connection?
That’s purely down to the strong sense of belonging that we’ve created, so the experiences people are having as part of our brand is what keeps them loyal.
The Teletech label has given a platform to artists like Funk Tribu, Parfait, Azyr, and Kander, among many others. What’s your philosophy when it comes to choosing who represents the sound of Teletech?
High energy, exciting dance music in all its forms. Anything that’s unique and exciting, we want to be a part of it.
Let’s talk about JINN Agency, your way of supporting artists on a management level. When you say, “We’ve got something we can give people, to take them from an emerging DJ to a headliner,” what does that journey look like in practice?
It starts with an introduction to the brand and community through opening slots, maybe releasing some music, and figuring out what they want to achieve in their career. The next step is creating an identity around the artist, giving them peak slots and supporting them through the industry.
You’ve also been praised for your commitment to diversity and representation across your line-ups, from LGBTQIA+ artists to Black voices in techno. How important is that responsibility to both of you personally?
It is important to represent every cross-section of society, and although the availability of artists sometimes means we’re not as consistent as we’d like to be, it’s always in our minds.
Even with over a hundred events a year, you’ve said you “still run Teletech like a smaller party.” How do you maintain that level of closeness as the brand scales globally?
We approach everything from a customer's point of view, trying to connect with people at ground-level events all the way to the big spectacles. We feel it’s important to engage with our potential new audiences across every price point and type of music that falls within our scene.
France and Australia have become two of your strongest markets, both with completely different scenes. What have you learned from those audiences, and what keeps drawing them back?
We have to stay true to the high-energy, fast-paced music that people have come to love with Teletech, whilst keeping in mind the differences for each region that give us that extra sense of connection.
Your collaborations with Boiler Room have been huge, with millions of streams and viral clips. How do you keep that balance between digital exposure and the physical, in-the-room connection of the rave?
We try to use our digital output to enhance the experience for the individual, for people who attend Teletech locally and don’t travel to events outside of their cities. We think it’s important to continue the connection through events online.
Looking back at 2025, what moments stand out to you the most?
We’ve had so many great moments, so it’s hard to pick one. Some key highlights would be: Restricted’s Australia tour, the second edition of XXL Malta, having a bigger stage at Creamfields, selling out Halle Tony Garnier in Lyon, to name a few.
If you had to describe this year in one word or feeling, what would it be and why?
Heartracing.
You’ve appeared at some of the biggest festivals in the world, from Tomorrowland to Glastonbury, yet Teletech has kept its edge. How do you protect the brand’s identity while playing on such massive stages?
Through a series of non-negotiables when we enter any festival, to make our stage feel authentic to us.
And finally, when people talk about Teletech ten or twenty years from now, how would you want them to describe what you built together?
Iconic and unforgettable.
