Pretty Girl returns with the "Body Step" EP — and a year away has only sharpened the focus
Two house records, a Prophet-5, a summer of dancing, and a deliberate step back that turned into the clearest artistic statement of her career so far.
Some artists take time off because they burn out. Pretty Girl took a year away because she couldn't answer a question — and the answer, when it finally came, produced the most confident music of her career. The "Body Step" EP, her first release in over a year, consists of two house records: the lead track "Body Step" and "Satisfy," both built around her own vocals, both living in the space she has spent years making her own — somewhere between the peak-time dancefloor and the comedown, between movement and feeling. "Body Step" itself began in a Tottenham studio with a Prophet-5 and took shape slowly across a summer of dancing, drawing on memories of dancefloors around the world. It's the kind of record that could only have been made by someone who genuinely loves dance music rather than someone who produces it as a strategy — and that love is audible in every bar.
"I have always found something quite profound in dance music: how it makes us move, why it makes us move, and how that makes us feel. When I'm dancing I feel free, and I feel connected to something I can't really explain. 'Body Step' started in a studio in Tottenham last year with a Prophet-5. Then slowly, over a summer of dancing, the rest of the song came together, drawing on so many memories of dancefloors all over the world." — Pretty Girl
The decision to step back was as deliberate as everything else about her creative process. Twelve months of going internal gave her the freedom to go deeper with her sound and rediscover the enjoyment of making music on her own terms — a reset that the EP makes tangible. That the return lands at what is already a high-water mark in her career makes it all the more interesting. Since Resident Advisor called her "a star in the making" in 2023, Pretty Girl has played Coachella, gone viral on Boiler Room, toured alongside Bonobo, remixed Romy and Fred again..'s "Strong," and signed to Mall Grab's Steel City Dance Discs — a run that turned a name made in Melbourne's clubs into one that now travels the full international circuit. The momentum carries straight into 2026: earlier this June she delivered a 90-minute mix for the RA Podcast as RA.1043, a series that Resident Advisor reserves for some of electronic music's most compelling personalities, and she enters this next chapter with new management backing, having signed with Leon Alexander and Jamie Porten at Red Light Management.
"A very important part of producing is knowing what you want, and when I found myself unable to answer that question I decided to go internal for 12 months. That time gave me freedom to go deeper with my sound and to really enjoy making music again, and I'm coming back with music that I feel so proud of, and music that makes sense to me right now." — Pretty Girl
The project belongs to Melbourne-born musician, DJ, producer, and vocalist Emilia Predebon, an artist who has built a distinctly personal corner of the electronic music world entirely from the ground up. Her sound draws on Chicago house as a rhythmic foundation and layers it with gauzy progressive textures, trance-tinged lo-fi, UKG basslines, and her own introspective vocals — music that sits, as she has always put it, at the intersection of the club and the walk home. Three EPs — Middle Ground in 2021, One Night, One Time in 2023, and Get Back to Me in 2024 — alongside a Fabric Mix CD and a growing list of critical recognition have traced a clear upward line, and her live CV now includes All Points East, KOKO, Osheaga, Portola, Lost Village, Coachella, and Rock Herk among its entries. With a debut album in development and a live show that translates her studio craft into something visceral and very present, "Body Step" is not just a comeback — it's the clearest signal yet of where one of contemporary electronic music's most compelling artists is heading.
