Ria Listic’s DJing is built on long-form listening, deep crate work and an instinct for reading shifting room energy. In this conversation she traces the records and rituals that shaped her, the lessons learned on small stages and Burner lands, and the practical habits that keep her sets fresh and exploratory. Her answers reveal a selector who balances careful preparation with the spontaneity required to meet any crowd.

When you think about the earliest records that shaped your taste, which one still surprises you when you drop it in a set and why?

My introduction to house came in the late ’90s when smooth, funky house was taking off. Tracks from labels like Defected, FFRR and Strictly Rhythm instantly take me back to those first moments. The one that still surprises me is ATFC ft. Lisa Millett — “Bad Habit.” I love the vocal and I own at least ten different versions or samples of it; there’s a version that fits almost any dancefloor.

How has the Burner ethos — improvisation, community and ritual — subtly changed the way you choose the next track mid‑set?

Burning Man taught me patience and long-form thinking. Sets there have real flow and progression, so it forced me to build journeys rather than chase immediate peaks. At the same time, seeing sets like Carl Cox’s sunrise disco reminded me that there are moments to follow your heart and play what you genuinely want to hear.

Can you describe a moment when a crowd reaction in a small, unexpected gig taught you more about programming than a festival mainstage ever did?

In 2016 I was booked to warm up at Black Market in Melbourne and spent weeks preparing. On arrival we discovered a scheduling mix-up, and the promoter invited me to play back-to-back in a prime 3am slot. I hadn’t rehearsed for that moment, but we killed it. That taught me the value of having a wide range of music ready — it allows you to jump in and find the right tunes for any sudden opportunity.

Where do you find the odd or overlooked sounds you love to fold into mixes, and which recent find excited you most?

I spend a lot of time hunting music — easily 20–30 hours a week. Shazam is my best friend at parties, and SoundCloud is where I do most of my digging. I usually have a set on in the background of daily life and grab anything that lights me up. This week’s find is Durante’s “Once Again” — it’s six years old but still feels fresh, and I can’t wait to drop it.

When you move from a chilled daytime slot to a late‑night room, what is the single adjustment you make to preserve your identity while shifting energy?

The shift is gradual and intentional. I slowly increase intensity rather than hitting hard too soon. Every track in my 20,000‑plus collection is there because I relate to it, so the challenge is finding a natural pathway from downtempo beach house to jackin’ late‑night tracks while keeping a signature groove or cheeky bassline present.

Is there a particular transition or mixing trick you use that feels like signature to your sets, and how did you discover it?

I learned long‑form mixing early on by watching DJs up close when everything was vinyl. I practised one‑ to two‑minute transitions and subtle adjustments, then adapted those techniques as technology advanced. Loops, effects and visual track previews have given me more tools, but the core idea of patient, musical handovers is still central to my approach.

How do you archive and revisit your own sets or edits to keep them evolving rather than repeating the same ideas?

I prepare a new playlist for every mix and never play the exact same set twice. I don’t plan every track because I don’t know how I’ll feel or how the crowd will respond, but I usually shortlist ten-plus hours of music for each show. I love the spontaneity of finding the perfect track mid‑set and being able to pull it out of the collection.

If you were to teach a short class on crate‑digging, what three unconventional rules would you insist every student follows?

Dig deep when you find something that grabs you: follow the producer, explore the label and check lesser‑known remixes. Stay open to crossing genres while digging, because unexpected finds often come from outside your comfort zone. Those rabbit holes keep your crates alive.

Ria’s answers highlight a practice rooted in patience, wide musical curiosity and a preparedness that allows for on‑the‑spot magic. Her work balances long-term listening with the agility to respond to any room, and that combination is what keeps her sets surprising and alive.

Catch Ria Listic alongside Ben Rau and Caleb Jackson at Haven this Friday, 01 May, 6pm–midnight. Tickets are available here: https://events.humanitix.com/flow-music-presents-may-01