Some club records try to be clever. Naughty does not. Jessi Lowkey and MADDY LUCAS built a house track with garage drums that is, in their own words, for the girlies, the guys and the gays: super bouncy, super catchy, super vibey. That is the whole brief, and they hit it.
The production sits right where current Tech House, old-school House and UK Garage overlap. Swung garage drums keep the groove elastic instead of stiff. The bass is there to bounce, not to lecture. Nothing in the arrangement is over-decorated. It is a high-energy club cut that knows its job is to get bodies moving and keep them there.
Then the vocal lands and stays. The hook is built to stick after one listen: “I just want to be your freak / But everybody just wants me / will we make it to the sheets? / Get naughty.” Later it doubles down with “I don’t care what you want me for / I just want to give you some more / Shake that ass till I hit the floor.” The chops on “Come get, get” turn the last stretch into something DJs can loop without killing the mood. It does not take itself too seriously. That is the point.
Jessi Lowkey is the London-born, Sydney-based DJ and producer behind a lot of that bounce. She grew up on funk, soul, UKG, house, DnB and the UK rave scene, and she has been clear about wanting a stronger female presence behind the decks. That background shows. Her sets have put her on house and UKG lineups next to names like Belters Only, Cloonee, Biscits, Jackmaster, Gene Farris, Horse Meat Disco, Prosumer, Odd Mob, Spiller, Darius Syrossian, Melanie C, Jazzy, Dr Packer, Dave Lee and Obskur. On the garage side she has supported Luude, DJ Q, Burt Cope and S.P.Y. Other rooms have included CID, Westend, Riton, Danny Howard, Harry Romero and Nic Fanciulli.
As a producer she has been releasing through the UK label Garage Shared, mixing nostalgic garage energy with forward-facing club writing. Earlier singles such as Jealous Girl, Hear My Call and Better (also with MADDY LUCAS) already pointed in this direction: vocal-forward, dancefloor-first, unapologetically fun. She has picked up triple j Mix Up and Unearthed attention in Australia, BBC Radio 1Xtra and UKF mentions, and Beatport UKG chart traction off her first releases. The gap-year-that-became-Sydney story is now a proper career.
MADDY LUCAS is the other name on the file. This is their second documented collab after Better on Garage Shared, and the pitch frames Naughty as a shared, sing-along club record rather than a producer flex. That tracks. The vocal is the engine. The drums are the chassis.
The timing helps. UK Garage never really left the underground, but the last couple of years have pushed swung drums and cheeky vocal hooks back onto bigger house floors. Tech House crowds want bounce. Old-school house heads want a hook they can shout. Naughty sits in that overlap without pretending to reinvent the genre. It is a Friday-night record. Play it late enough and people will do exactly what the chorus asks.
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What do you think of this one? Is Naughty heading into your next house or garage set, or is the hook already stuck on a loop? Drop it in the comments.
