From live music and poetry to conversations around mental health, EOTT’s first Lightworks festival created a space where community, creativity and care took centre stage.

"Even now, u k, g?" is the phrase that lingered after EOTT's inaugural Lightworks festival last weekend, Saturday 18 July. An extension of the collective's familiar prompt, ‘u k, g?’, the slogan has become synonymous with its mission to normalise conversations around mental health and wellbeing through music and conversation, or, as Morgan (AKA Levvy) puts it, "create a cultural haven of normalised mental health conversations." Printed across signs scattered throughout the site, it invited people to pause, check in and ask those around them a simple question: how are you? 

Set in and around the Earthship, the award-winning sustainable building tucked away in the fields of Stanmer Park, the setting felt like an extension of that ethos. Constructed from reclaimed materials and surrounded by woodland, the venue offered a quiet contrast to the overstimulating environments often associated with contemporary music culture, even featuring a sensory room where people could decompress and ground themselves. 

Entrenched in Brighton’s music community, Morgan (EOTT) built Lightworks with support from Jed (Basics). Both have been steadily building their respective platforms through events, conversations and a shared belief in music’s ability to bring people together. Beyond organising gigs and events, the pair are equally passionate about cultivating spaces that harness the power of music while acknowledging the necessity of mindfulness.

Despite an event of this scale being unfamiliar territory for them, Morgan was clear about the kind of event he wanted to create, and it had been something long on his mind. “I mean, to be fair, ever since I had my first house party when I was like 17, I wanted to do a festival one day," he laughed. 

The event was intended to be an example of the way different forms of creativity can encourage connection. Poetry, art, music and conversation formed the foundations of Lightworks, each given equal space to exist alongside the others. Despite featuring well-known names such as Brighton-based DJ Changing Currents and Bushbby, the pair made it clear that they didn't want the line-up to be the focus. Instead, the artists became part of a wider experience that centred community, care and genuine connection. 

Ahead of the day, we discussed the hedonism that is often associated with music events and festivals, and how Lightworks, based on its ethos, would counteract this. Communicating a nuanced understanding of the matter, the pair were not seeking to position mindfulness and enjoyment as opposing forces, but instead explore how music spaces could hold both. 

As Morgan explained, “It’s about working with it rather than counteracting it. I wouldn’t challenge some form of hedonism or letting yourself go. Life is tough, it’s necessary to an extent.” Jed continued, “We’ve taken measures to encourage mindfulness, such as the fact it’s a day event, combining other creative outlets and prioritising the community over the actual acts.”

Morgan expanded on this idea, “We’re trying to emphasise the other things that can get you high. You can get high off other things than what you’re taking. You can get high off conversation or dancing or just being outside in nature.” 

This intention shaped the ethos behind Lightworks’ programming from the outset. “We released the manifesto before anything, rather than the line-up,” Morgan explained. “So people knew what kind of environment we were trying to create.” 

The curation of the line up was just as intentional as the wider experience. Jed selected artists based on their contributions to the Brighton community and through his involvement with organisations such as AudioActive, who helped make the event possible alongside the Enjoolata Foundation and Lighthouse Future Creative Leaders. 

Meanwhile, Morgan incorporated individuals who he felt naturally aligned with the values of the event, people whose work reflected mindfulness, creativity and connection. Even the Big Ears sound system that powered the event was Brighton based, reinforcing the pair's commitment to showcasing and supporting the local creative community. 

“As far as I know, they’re all mindful souls, and they understand the purpose and message of EOTT.”

As we continued our discussion around the positive impact live music can have on mental health, the conversation moved towards the backlash EOTT’s recent post had received, which centred around the idea of checking in on the wellbeing of artists and DJs before they perform. A practice that, to the pair, seemed difficult to understand as controversial. 

For Morgan and Jed, the reaction reflected a wider issue within music culture. Too often, artists are viewed through the lens of what they can provide an audience, rather than as people navigating the same pressures as everyone else. Their response reflected a wider desire to move away from the traditional idea of “music as a product”. 

Instead of viewing artists solely through the lens of what they provide an audience, Morgan and Jed emphasised the importance of recognising the person behind the performance, “We want the outcome to be hopeful. You’re asking someone to go on stage and guide our emotions and give us a moment. It’s nerve wracking at the best of times; we don’t think it should be groundbreaking or shocking to check in beforehand.” 

Rather than taking the criticism personally, the pair reflected on the importance of feedback in strengthening what they are trying to create. For Morgan and Jed, this simple act of acknowledgement represented a broader shift in how music spaces can operate, where care for artists is considered before, during and after the event, rather than treated as an afterthought. 

For a few fleeting hours, the Earthship became exactly what Morgan and Jed had hoped it would be, manifesting as an ephemeral village where music was a catalyst for conversation and connection. As the sun went down, Changing Currents took to the stage barefoot, while elsewhere people danced in the grass, played football, or sat talking. It was rare to see a phone in sight. 

It wouldn’t be fair to suggest that cultivating community through music is a new idea. Its roots extend back to some of the earliest forms of human gathering, where music, movement and collective experience played a central role in bringing people together. Almost every modern festival promises a sense of connection, but this can often become obscured beneath increasingly idolised headliners, clashing set times and the sense of urgency that so often accompanies contemporary music events. 

Lightworks did its best to provide a different type of experience, where connection and creativity formed the foundations of the event. Rather than placing emphasis solely on who was performing, it created space for conversation, art and moments of stillness alongside the music. It was a reminder that the appeal of live music events has always extended beyond the artists on stage, and that the most memorable events are the ones where you are able to be present and in tune with those around you. 

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