Boo, how does it feel to know that a genre you helped create is being played all over the world?

RP Boo: It's easy for me, I love it. As they say, if your vision is great and your heart is greater, when it presents itself for what it really is, it's bigger and better than what you imagined. It had to grow. It has to grow. And it doesn't mean that it has to stay in one place; if it stayed in one place it would never get discovered. It's supposed to be discovered.

SHERELLE, you’re introducing 160bpm to a new generation of people. Can you talk about that and the reactions you've been getting?

SHERELLE: Before my first Boiler Room I didn't play that much in the UK. And I think I just wanted to play the songs that I'd been playing out so to see the reaction from so many different people saying they're playing that set at work or what they've learned from it [is amazing]. Going forward with sets and my BBC Radio 1 residency, I now know that I want to educate people and [let them know] that there's easy entry points to listening to [footwork and jungle]. I don't want to kill the scene by making it completely mainstream and all of a sudden fuck it up. I want to make sure there's longevity, in a generational sense – I'd like to think that in a few years time I'm still playing and people are liking it but there's a new group of people doing it and they're not taking it to a point where it's overkill. My next steps are making sure the producers get the recognition they deserve, that people understand the old songs and the new songs, new producers and new collectives versus ones that are already there. It's a lot of work basically but the overall consensus is to make sure there's some longevity. It's about bringing people in.

Do you have a sense that the crowds you're playing to, it's the first time they've heard footwork?

SHERELLE: Yes, definitely. It makes me so happy that there's a new generation who are open to new sounds, they're more open to looking at someone and going, "I'll give you 20 minutes of my time. I'm going to see what you play." The amount of messages I now get where people say, "I've never heard these songs before, can you point me in the right direction" and I'll DM them and be like, "Look, you start here and end here." I don't mind taking the time to let people know the producers, the labels, the collectives. I would like to see the scene grow more to the point where it's a stable scene that people are looking to and recognising. A lot of people will try and fit in with me and be like, "oh, I know Teklife" and I'll be like, "they're amazing but there's so many other things." They'll say Teklife but don't make the connection to Hyperdub or Planet Mu. There's also people like Juke Bounce Werk and Polish Juke and Iberian Juke. They're doing the most. That's my aim: to make sure that these people are elevated and pushed through, alongside [the more established artists and labels].