Dance pop and EDM keep colliding in 2026, and the records that stick are the ones that feel written, not just assembled. morier.’s What We Chose (feat. Colour Club) lands in that lane: glossy enough for playlists, physical enough for a club night he might actually be running himself.
morier. is a songwriter, producer and DJ splitting time between London and LA. He is signed to the publishing arm of Spark Music Group and This Fiction in Los Angeles. That matters, because the track does not sound like a bedroom experiment hoping to get lucky. It sounds like someone who has sat in rooms with people who finish records. Mentors on his list include Zach Nahome (Olivia Dean, Bakar, Justin Bieber), Mark Saunders (Neneh Cherry, The Cure, Tricky), Maverick Sabre, and The Imports (Clean Bandit, John Legend, Beyoncé). Recent studio names around him include Coach Harrison, Sara Hartman, Angry Baby, mustbejohn, Finn Askew, Raissa and Alfie Neale.
Outside the session world he books and runs club nights across the UK and Europe, and he has been hired to curate music for brands including Aston Martin and Red Bull. On stage he has supported Galantis, Ella Eyre, Hybrid Minds, Pola & Bryson and Danny Rampling. That mix of pop writing, dancefloor programming and live support slots is the frame for What We Chose.
The genres listed are Dance Pop and EDM, and the record lives at the overlap. Dance pop right now rewards hooks that survive a phone speaker and drops that still work when the system is loud. EDM, especially the more song-led end of it, keeps borrowing pop structure: verse that actually says something, pre-chorus that tightens, chorus that opens the room. Colour Club is featured on the cut; without extra notes on the vocal arrangement I will not invent lines or a story. What you can hear in this style of collaboration is a producer who knows how to leave space for a featured voice instead of burying it under the next riser.
Production-wise, expect the usual modern toolkit used with some taste: tight drums, a bassline that moves rather than just sits, and a topline-friendly arrangement. The London–LA split in his bio is not decoration. London still feeds club programming and UK pop writing; LA still feeds publishing rooms and radio-minded finishes. When those two cities meet on a dance-pop record, you often get something that can live on both a festival after-party and a daytime playlist.
Industry context is straightforward. Independent dance-pop artists who also DJ have an advantage: they can test a record in a room before the algorithm decides its fate. morier. already does that work. Brand curation for names like Aston Martin and Red Bull also hints at an ear for mood and pacing, which is half of what makes EDM feel expensive instead of generic.
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What We Chose is a clean example of dance pop that still wants to move a floor. Have a listen and tell me where it sits for you: radio-first, club-first, or both. What do you think of this artist’s sound? Let me know in the comments.
