Who Is Peggy Gou?
Peggy Gou is a DJ and producer from Korea. She studied DJing and production in London, expanded her career in Berlin, and made her own music memorable with Korean-language songs such as "It Makes You Forget (Itgehane)" and "Starry Night." "(It Goes Like) Nanana" in 2023 reached No. 5 on the UK Singles Chart. [1][10][15][24]
But she is not someone who suddenly appeared with "Nanana." In 2017 she was reported to have played more than 100 shows a year, and was already working internationally. There is the road to becoming a DJ who travels the world, and the road to her songs reaching even people who don't know DJs. Following the two separately makes her career much more interesting. [11]
Basic Profile
- Artist name / reading
- Peggy Gou (Japanese reading: Pegī Gū)
- Origin
- Korea
- Main bases of activity
- Studied in London and moved to Berlin in 2014. The Standard in July 2026 reports that she has lived in London since 2024. [1][6]
- Activities
- DJing, music production, and running her own label, Gudu Records. Launched the fashion brand KIRIN in 2019. [16][19]
- Musical style
- Selections centered on house and spanning techno, disco, and more. In her own tracks, Korean-language singing and an interest in 90s dance music have been defining features. [3][6][21]
Three to Start With
Peggy Gou — Boiler Room x Dekmantel Festival 2017
Boiler Room official YouTube
Let's start not with her own tracks but with a DJ set. It is the one to watch to learn in what form she was introduced to club listeners around the world, before her later pop hits. She herself also looks back on this appearance as an important opportunity that widened her recognition. [11]
It Makes You Forget (Itgehane) — 2018
Peggy Gou official Bandcamp
The turning point where she put her own voice and the Korean language at the center of a song. Someone who had been introducing other people's records as a DJ now becomes the maker of a track that others will play. Listen with that difference in mind. It is included on the EP "Once," released on Ninja Tune. [10][33]
Peggy Gou official Bandcamp
From someone known in clubs to someone who reaches a broad pop audience. This track shows that change. Placed alongside "Itgehane," it lets you follow the period of singing in Korean through to her international hit without deciding that it was a change of course in one direction or the other. [23][24][25]
London at 14: Not Study Abroad to Become a Musician
Peggy Gou's starting point was not a trip abroad to take on the world as a DJ. She went from Korea to London at 14 to learn English. [1] In a later interview she also cited her parents' worry about her school grades in Korea as a reason. [3] She took piano lessons and, around age 10, was exposed to various genres through her brother's MP3s, but she did not head in a straight line from there to a career in club music. [1]
She got her first lessons in DJing in Korea in 2009. According to what she told XLR8R, her first love taught her to beatmatch with two CDs. Beatmatching is the technique of matching the tempo and beats of two tracks to connect them. After that, she returned to London in 2011 and took up DJing again. [2]
What she was studying at the time was fashion at London College of Fashion. But her attention drifted from classes toward record shops, studios, and DJ practice. In a 2019 interview she says that she once failed the course, but went back and eventually passed. It was a period in which she pursued her lean toward music and finishing her interrupted studies in parallel. [3]
Her relationship with her family cannot be explained as a simple rift, either. Her parents were bewildered by her change of direction, but by her account she asked for one more year of support to continue with music, and in fact received nearly two years of it. Here she had both the will to take on a challenge and the conditions that secured the time to try. [3]
At this point she still had no releases. What she had was the experience of having started DJing, and an interest in music. To turn that interest into work, she needed to go beyond "knowing songs I like."
Beyond the Records She Loved, There Were People Who Taught Her
One person who changed her early view of music was the German producer Roman Flügel. Using "Fatty Folders" as a way in, she looked into his earlier work and began buying records at Phonica. A way of listening that traces the background of the songs you like is already present here. [13]
What she gained here was not only a list of songs. A place where you buy records has people who recommend things. A club has people who actually play the sounds they love. In hindsight, these two places became the point where learning and work meet.
She met Esa, who became her production mentor, at Corsica Studios in London. Wanting to make her own tracks, she received one-on-one instruction. In a 2016 Dummy interview, too, she names Esa as the person who taught her the production software Ableton Live. [4][5]
At the same time, playing out did not mean everything was ideal music-making. Early on she also worked at a club in central London, where she was asked to play Justin Bieber and Rihanna during her set. She looks back on this as a "terrible experience." Gathering the records you love and facing the music a venue demands were separate challenges. [5]
Her way of learning was concrete in production too. In XLR8R she says that building tracks with a similar structure to songs she liked helped her understand how each element fits together. The number of tracks she mentioned in that same interview as made before her first release was about 500. But this is her own estimate, and includes unfinished ones. It is not a story of "completing 500 songs." [2]
What we can read from this is that she was not someone who could produce a distinctive sound of her own from the start without hesitation. She studied the structures of existing songs, was taught, and carried half-finished productions. There is no need to erase that process by working backward from her later hits.
In Berlin, Turning a Life of Listening Into a Life of Making
In 2014 she moved to Berlin. The reason cannot be dismissed as simply "because she admired the capital of techno." In a 2016 Stamp The Wax interview she explains that she tried to go to music school in London but her visa was rejected because it was at a lower level than the fashion course she had just completed, and that she had friends in Berlin, which she had visited before. A constraint of the system met a place where she could actually live. [1]
Of her early life in Berlin, in a 2019 Hypebae interview she recalls working in a record shop, making music at home, and going to Berghain on Sundays. Moving between shop, home, and club, she increased the time she spent in contact with music. [7]
She also found new production mentors. According to Mixmag, she was taught by Lucio Aquilina of Nu Guinea how to get a more analog-textured sound. [4] Rekids' introduction likewise says she took piano lessons from the two members of Nu Guinea and asked them for production advice. [8] We can see that she continued the learning she had started in London within her relationships in Berlin.
Berlin was not a place that made a star overnight out of someone with nothing. It became a place where she put the DJing, record hunting, and production she had already begun in London closer to the center of her life. This is an important difference when considering what moving there achieved. Copying only the name of a city does not get you who you meet there or what you make there.
From Phonica Regular to Rekids Artist
There are two points of contact on the road to her first release.
One is her connection to Matt Edwards, also known as Radio Slave. According to her account in Stamp The Wax, he had once recommended her to the organizers of a Mercedes-Benz auto show in China that needed female or Asian DJs. At that point the two were connected only on Facebook, and they became friends afterward. [1]
The other was Simon at Phonica. In a 2016 Mixmag interview, she explains that Simon told Matt about her music. She then gave five tracks to Rekids. [4] According to Stamp The Wax, Rekids picked four of them. [1] Because a double LP would have been costly, they decided to split it into two EPs, Part 1 and Part 2. [4]
If you separate having already met someone from having the work formally appreciated, this route becomes clear. The contact as a DJ came first, a recommendation about her music came from someone at a record shop, and she had demos ready to send. It is not a story that was completed by a single fateful encounter.
Her 2016 debut, "Art Of War", contained "Troop," "In Sum," and a Galcher Lustwerk remix. Rekids' official introduction mentions the production she had honed since her London days and her years of DJ experience. According to the same introduction, she also created the EP's artwork herself. Her approach of handling sound and visuals within the same work can already be seen at this stage. [8]
At the Berghain Klubnacht that began late on June 11 of the same year, Rekids' 10th anniversary was celebrated in Panorama Bar. The official timetable lists Peggy Gou, alongside Radio Slave and David Morales among others, from 12:00 the next day. The next performer is from 15:00. It was a slot giving her three daytime hours in Panorama Bar. [9]
The label's release record and the record of the label's anniversary event connect. Public materials cannot establish who made the booking decision or why, but we can see that putting out her own tracks also formed part of the context for her appearance.
2017: What Reached the World Was the Sight of Her DJing
Besides Rekids, work came out on Phonica White and Technicolour as well. XLR8R in 2017 also covers her DJ activity, such as supporting at the release show for Moodymann's "DJ-Kicks". As the releases piled up, opportunities on the floor were widening too. [2]
Ninja Tune's introduction also notes that Jackmaster invited her to his Mastermix show, and that B.Traits invited her to record a mix for BBC Radio 1's "Future 12." Recommendations from senior DJs, labels, radio, actual shows. People who knew her grew in number through different entrances. [10]
What carried that image far was Boiler Room at Dekmantel in 2017. The following year, in The FADER, she said that set got her known to more people. The magazine reported that she played more than 100 shows in 2017. It is a contemporary record showing that she had been building experience on the floor six years before "Nanana." [11][12]
Being discovered on video and gaining experience on the floor ran in parallel here. It is not the order of "the video spread, so she became a DJ from zero." The image of a DJ who was already active reached people who weren't at the venue.
For that reason, it is also hard to line up success as a DJ and success as a producer in a single row. She started DJing first. But in the period when international bookings increased, there were releases of her own tracks, and afterward DJ footage again brought in new listeners. Each created the next point of contact for the other.
With "Itgehane," Her Own Voice Becomes the Face of the Song
On March 2, 2018, the EP "Once" came out on Ninja Tune. On the track "It Makes You Forget (Itgehane)," she sang in Korean in her own voice. She had recorded her voice before, but according to Ninja Tune's description, this was the work in which she brought in singing in earnest. [10][33]
She hesitated over the choice of language. In the Hypebae interview she says she was anxious about whether listeners would accept her Korean and whether it would be understood. At the same time, she had also had the experience of finding records abroad in a language she didn't understand and finding them special. Not understanding the words does not necessarily keep you from loving the music. In this interview she also reveals the involvement of Bada Kwon, who wrote the lyrics. [7]
According to Groove, Floating Points also encouraged her to sing in Korean. Around her own decision to put her voice out, there were people she could consult. [13]
What this track added was not only a marker to explain her country of origin. Unlike the selections in a DJ set, with your own track the same voice can be heard repeatedly and remembered. It becomes a foothold within the work that remains no matter whose set it plays in. We cannot say it succeeded because it was Korean, but there is meaning in bringing the language and voice she has into the existing vocabulary of house.
Pitchfork's review of "Once" assessed her voice, not powerful but skillfully used, as adding color to house conventions and as an element that keeps the track from being buried. It also notes that the Korean draws the interest of listeners who don't understand the words. Beyond novelty, the way she used her voice was being heard as a musical characteristic. [14]
In The FADER, she herself also talks about her surprise that her tracks were being played in places like H&M, on the radio, in hotels, clubs, and beach bars, and that reactions came from people in their 50s and 60s and from children. Without waiting for 2023, the experience of her own tracks traveling apart from the DJ herself had begun here. [11]
"Starry Night" and Gudu: Taking On the Hit Herself
"Starry Night" in 2019 was included on the "Moment EP". It was released on Gudu Records, the label she founded herself. The catalog number is GUDU001. The official credits list Peggy Gou for composition and production and Maktoop for lyrics. [15]
Gudu's starting point was releasing the "Moment EP" herself. In Beatportal in 2023, she said it was at first just to release the "Moment EP", and also frankly said she didn't want to share 50% of the revenue with another company. From her experience of releasing work through other companies, she also says, she gained the idea of wanting full control over her own songs. [16]
From the stage of releasing through other companies and being recognized, to the stage of deciding releases herself. It was a change that took on responsibilities beyond making songs.
There were failures in running it. After "Starry Night" succeeded, she says she assumed the next release would sell the same way. She recalls that the JRMS release during the pandemic had bad timing and did poorly. [16]
In how it was run as of 2023, label manager Tom Lea handles much of the practical work, while she is involved in final checks of mixing and mastering. The explanation is that the artists' wishes are also confirmed. The same article introduces Gudu as having introduced veterans such as Maurice Fulton and DMX Krew to a new generation, and as now carrying international artists including Korea's Mogwaa. [16]
Deciding for yourself and doing all the work yourself are different things. Because of that distinction, she can keep traveling as a DJ while also putting out other people's work. Gudu's significance lies not in an added logo but in her having moved to the side that selects works, takes responsibility, and divides up the necessary work.
Praise for Selection Doesn't Guarantee Praise for the Mix
In the same year, 2019, Peggy Gou also did a "DJ-Kicks". It is !K7's series in which a DJ presents themself through selection and mixing. But being already popular did not make the criticism uniform.
Resident Advisor's review (Steph Lee) acknowledged the quality of the included tracks and the selection ear, but judged that the mix sounded flat and rushed, and that it was hard to find a through-line across the whole. It was a point that good selection alone is not creativity. Pitchfork, by contrast, took it positively, as a work that traces her tastes and influences rather than recreating a night at a club. [17][18]
Rather than treating one of them as mistaken, it is more useful to read this as an example of there being multiple axes for judging a DJ. Knowing rare tracks, choosing the appeal of a single track, building time through track order. The three overlap, but they are not the same ability.
Even when her image spread through Boiler Room and her own tracks gained support, a mix release is heard as a mix release. Summing up her path as "she succeeded at everything she did" erases this detail from which DJs themselves should be able to learn.
Fashion Work Wasn't Only Outside the DJ World
In fashion, she also worked as an editorial assistant at Harper’s Bazaar Korea. According to Vogue, KIRIN's starting point was a DJ appearance at a Mytheresa and Off-White event in London. After the event, she was approached by Virgil Abloh and an executive of New Guards Group, and later learned that Virgil had been pushing "we should work with her." That is how the brand launched in 2019. [19]
Here the DJ work itself became the entrance to another business. There was her past fashion study and work, there were opportunities to be called as a DJ, and there came contact with a company that could give the brand shape. That is the sequence.
KIRIN's clothes were rolled out in 2019 at places such as Lane Crawford in Hong Kong and Browns in London. Prints using the Korean mythical creature haetae were also introduced. It was a change from someone who shows how to wear clothes to someone who has products lined up on the sales floor. [7]
Her visuals on social media also can't be explained only by photos of the dressed-up artist. Groove in 2018 reports on things like her sharing on Instagram photos of people greeting her in fan-made T-shirts, and her replies to fans asking about track names. There was a relationship in which listeners could take part, not just look at her. [13]
In Hypebeast in 2023, she says she decides on clothes by choosing the "energy" she thinks suits the city and situation, depending on the country, the timing, and the festival. It is the idea that costume is part of her performance. [20]
Of course, we don't know how many bookings this kind of communication produced. Nor can we separate, from published figures alone, those who found her through clothing photos, through DJ videos, or through songs. What the materials let us say is that work and relationships actually moved back and forth between music and fashion. "She sold because she was stylish" alone cannot explain that concrete route.
"I Go": Turning the Time of Halted Tours Into the Next Song
On July 9, 2021, "I Go" came out on Gudu. According to the official description, during the lockdown when tours stopped, she was relistening to 90s dance music she had loved. That revisiting is behind the idea for the track. [21]
The lyrics started from a note she wrote on her smartphone in an airport restroom in 2019, looking at her tired self. She explains it as a song to encourage herself and to move forward. Production is by Peggy Gou, lyrics by Peggy Gou and Maktoop, mastering by Frank Merritt. The official credits list each person's role separately. [21]
What this track shows is that she did not let Korean-language singing end as a one-time talking point, but carried her own experience and interest in dance music over into another work. She did not let the time when touring was impossible become simply a gap in production.
In March 2022, a remix collection by Soulwax, DJ Koze, and Maurice Fulton also came out. On the official page she says she asked artists she loved herself. [22]
The DJ who once bought records and was influenced by them now hands over her own track and asks for other interpretations. A remix is, before being an accessory to promotion, also a way for creators to connect through a single song. There is a breadth here different from the early relationships of "being taught" and "having demos heard."
What "Nanana" Changed Was the Size of Her Popularity and the Way In
On June 15, 2023, "(It Goes Like) Nanana" was released by XL Recordings. According to Beatportal's report that day, it had been premiered earlier at the closing of Printworks in London, where she had headlined, and fans had been searching for the track ever since. It was not that she released a finished recording and only then gauged the reaction; the track had reached people first in the DJ setting. [23]
Where it ultimately reached can be confirmed in the Official Charts record. It peaked at No. 5 on the UK Official Singles Chart and spent 12 weeks in the top 10. This is an achievement on the UK's overall singles chart, different from sales rankings at DJ stores and from play counts of social media videos. [24]
So what was different from her earlier popularity? In a 2024 Billboard interview, she explains that with "Nanana" she realized for the first time that people recognized the song before they recognized her face. This article can be confirmed in the Japanese edition published by Billboard JAPAN. [25]
This is not to say that being recognized by face was meaningless. She already had fans who came to see her as a DJ, and people who bought her own tracks. To them was added a group who could hum the song without knowing her. What the hit expanded was not just the number of people but the order in which they encountered her.
There was change in the US market as well. In the same Billboard article, XL's Laura Lyons explains that her appearances at Ultra and EDC Las Vegas widen her audience from underground electronic music fans to a more mainstream electronic music fan base. The same article also reports that she played Yuma at Coachella in 2018 and moved up to Sahara in 2024. [25]
However, it would be out of order to write that talks with XL began because "Nanana" became a hit, and that she only then moved on to making an album. In a March 2023 Hypebeast interview, the album plan with XL was already being discussed. She also explains that she had been working on the album since before 2019. The big hit made a plan already in progress into something more people were waiting for. [20]
What "I Hear You" Asked: Beyond the Hit
Her debut album "I Hear You" was released by XL Recordings on June 7, 2024. Its ten tracks include "I Go" and "Nanana," along with "I Believe In Love Again" with Lenny Kravitz and "All That" featuring Villano Antillano, among others. [26]
Stacking short releases and making an album change how you are listened to. It is not only about moving the floor with one track; it also asks how different tracks coexist on one record. A debut containing a huge hit became a work presenting her whole picture after gaining name recognition.
Reception was divided. Pitchfork's Chal Ravens acknowledged the power of the hit songs, but criticized the album as a whole for falling short of both her earlier distinctive appeal and sufficient pop strength. [27] The Observer, on the other hand, reviewed it positively as a work that brings out the appeal of 90s dance. [28]
Both the positive and the critical reviews face a single work, apart from her drawing power as a DJ. Even after gaining name recognition, the question of what to show next as a musician remains.
Her scale as a DJ also kept growing. Glastonbury's official 2024 record places Peggy Gou on The Park Stage on Saturday from 23:00 to 0:15. [29] In the same month as the album's release, she closed a night at a corner of a major festival. Both the place to present her work and the place to welcome an audience as a DJ were expanding.
Being a Woman, Being From Asia, and Where She Is Now
When talking about her success, being a woman and being from Korea often become prominent labels. But in her own experience, there was also a gap between getting attention and being treated as a musician.
In a 2026 interview with The Standard, she recalls that when she worked at a record shop in Berlin, male colleagues wanted her to sell records by looking nice, and would not talk to her about music. The regular DJ nights at The Book Club in her early days, which she discussed in the same article, were also a place to learn by failing. The lesson that remains there is to pay attention to the people who are dancing, even if few, rather than worrying about those who aren't. [6]
Such statements should not be used as the cause of every event. At the same time, they give no grounds for assuming that because her appearance was known, recognition of her music came easily. Her account suggests she had to gain visibility and credibility separately.
Her activity as confirmed on September 29, 2026 has not stopped at "I Hear You". Official releases include "D.A.N.C.E." on June 24, 2025, and "Wo, man" with Ayra Starr on June 26, 2026. [30][31] As for her base of activity, too, it is better not to fix on the long-used description of her as "Berlin-based." The Standard in July 2026 reports that she has lived in London since 2024. [6]
Meanwhile, her habit of searching for music continues. According to 10 Magazine in 2026, in her rider for each show she has promoters prepare records from the country she is staying in. She herself says she brings home new records every time she returns. [32] She does not let traveling the world end as the work of delivering known hits; she also makes it a chance to receive new sounds.
What DJs Can Learn From Peggy Gou's Path
What follows is not presented as her own rules for success. It is a set of suggestions, drawn from her actions and circumstances so far, for readers who DJ to apply to their own activity.
1. Dig just one level deeper beyond the songs you like
For Peggy Gou, record shops and clubs were places to gather selection material, and at the same time points of contact with Esa and with Simon at Phonica. [4]
In practice, for one track you like, look into who made it, which label put it out, and which events that person plays. If you can go to a shop, name a track and ask for similar work. Rather than aiming to "meet someone famous," being able to say concretely what you like makes it easier to start exchanges about music.
2. Separate practice imitation from work you hand to others
Practicing by tracing the structure of a song you like and the demos she selected and sent to Rekids do not play the same role. [2][4]
In practice, write out in how many bars each element comes in, where it drops out, and how it develops, and try to reproduce it. Then narrow the tracks you send out to ones whose intent you can explain. You don't need to treat the figure of about 500 as a quota. What matters is distinguishing, in your own mind, the stage of increasing works in progress from the stage of finishing them in a form others can judge.
3. Change what you verify between DJing and production
In her career, DJ appearances, her own tracks, and set footage each increased the points of contact with the others. But each does not prove the same ability. The reviews of "DJ-Kicks" show that difference. [17][18]
For a DJ recording, listen back not just to the quality of individual tracks but to the transitions between them and a flow that fits the time slot. For your own tracks, check separately whether other DJs can use them easily and whether there's a part people remember as a song. Don't treat a rise in follower count as proof that you solved either challenge.
4. Try an element you already have, and grow it by watching the reaction
Korean and her own voice were not weapons guaranteed to succeed from the start. She herself had anxieties, and had the cooperation of people to consult and a lyricist. [7][13]
What to imitate is not the choice of language itself. It is trying, in production, one element already close at hand: your own voice, the music of the land you grew up in, another genre you usually listen to. Compare your reason for using it with what remained for those who listened. You can verify it in the music, before declaring uniqueness in a profile.
5. Give your communication an entrance back to the music
Interaction with fans increased the entrances to getting to know Peggy Gou. [13] Her fashion work also grew out of a DJ appearance. [19] But reproducing the same clothes or posting frequency does not earn the same popularity.
For your own activity, make sure people can get from a photo or short video to a full set, track names, releases, and your next booking. Build a path so that someone interested in your personality can go on to listen to the music. Looking not only at which posts stood out but also at what people went on to listen to makes the purpose of your communication clear.
6. Running things yourself means taking on freedom and workload together
Gudu was a choice to hold the initiative over releases. At the same time, there was a division of labor with Tom Lea, and there was the experience of the next release not selling the same way. [16]
If you are considering your own label, first write out, for one release, who handles production, rights checks, mastering, artwork, distribution, promotion, and accounting. Separate the work you want to decide yourself from the work you can hand off. Rather than making launching the goal, it is realistic to start at a scale where you can still make the next decision even if sales fall short of expectations.
Her path involved conditions such as family support, the cities she lived in, the people she met, and an era in which video circulates widely. These are not a strategy anyone can reproduce as is. Even so, digging for the sounds you love, being taught, getting your work into a state you can hand over, and taking in differences in evaluation are things you can choose within your own activity.
Before Peggy Gou became a world-famous DJ, there was time spent selecting other people's songs and delivering them to people. Beyond that, her own songs came to reach even people who did not know her appearance. What this career can teach lies in the process of going back and forth between those two kinds of work many times.
Main References
Except where quotation marks are used, statements by her are paraphrased in English from each source. The numbers in the text link directly to the evidence. Labels' official introductions were used to confirm release information and credits, and promotional evaluative language was treated separately from fact.
[1] Stamp The Wax, "Stamp Mix #55: Peggy Gou" / 2016-01-21
https://www.stampthewax.com/2016/01/21/stamp-mix-55-peggy-gou/
[2] XLR8R, "20 Questions: Peggy Gou" / 2017-02-24 (an update dated 2020-08-04 is shown)
https://xlr8r.com/features/20-questions-peggy-gou/
[3] The Standard, "DJ Peggy Gou on the best way to deal with sexism: ‘Kill them with kindness’" / 2019-04-15
https://www.standard.co.uk/lifestyle/peggy-gou-dj-interview-a4114261.html
[4] Mixmag, "Impact: Peggy Gou" / 2016-05-05
https://mixmag.net/feature/impact-peggy-gou/
[5] Dummy / DMY, "Peggy Gou: ‘I would like to be the first Korean female DJ that plays in Berghain.’" / 2016-03-31
https://dmy.co/features/peggy-gou-interview
[6] The Standard, "Peggy Gou: ‘They wanted me to look pretty. They didn’t want to talk to me about music’" / 2026-07-30
https://www.standard.co.uk/culture/music/peggy-gou-london-croydon-k-house-music-b1291799.html
[7] Hypebae / Hypebeast, "Peggy Gou Discusses Her Career & Inspiration Behind Fashion Line, Kirin" / 2019-09-25 (published on Hypebeast; a republication of the Hypebae interview; the date of the original Hypebae article is unconfirmed)
https://hypebeast.com/2019/9/peggy-gou-dj-kirin-fashion-launch-interview
[8] Rekids official Bandcamp, "Art Of War" / 2016 (the release date shown on the page is 2016-05-02; see editorial note)
https://rekids.bandcamp.com/album/art-of-war
[9] Berghain official, "KLUBNACHT" / record of the event that began 2016-06-11
https://www.berghain.berlin/de/event/1677/
[10] Ninja Tune official, "Once / Peggy Gou" / release date 2018-03-02
https://ninjatune.net/release/peggy-gou/once
[11] The FADER, "Peggy Gou is winning over the world. In a one-off lecture, she’s coming home to reflect on the journey." / 2018-03-15 (partner article)
https://www.thefader.com/2018/03/15/budx-seoul-peggy-gou-interview-boiler-room-budweiser
[12] Boiler Room official YouTube, "Peggy Gou | Boiler Room x Dekmantel Festival: Amsterdam" / video published 2017-09-06
https://www.youtube.com/watch?v=nKHpbiYCtDQ
[13] Groove, "Peggy Gou: Gou Vibrations" / 2018-12-03
https://groove.de/2018/12/03/peggy-gou-feature-english/
[14] Pitchfork, "Peggy Gou: Once EP" / 2018-03-03
https://pitchfork.com/reviews/albums/peggy-gou-once-ep/
[15] Peggy Gou / Gudu official Bandcamp, "Moment EP" / 2019 (the release date shown on the page is 2019-05-03; see editorial note)
https://peggygou.bandcamp.com/album/moment-ep
[16] Beatportal, "Label of the Month: Gudu Records" / 2023-05-04
https://www.beatportal.com/articles/51050-label-of-the-month-gudu-records
[17] Resident Advisor, "Peggy Gou – DJ-Kicks" / 2019-06-27
https://ra.co/reviews/23897
[18] Pitchfork, "Peggy Gou: DJ-Kicks" / 2019-07-02
https://pitchfork.com/reviews/albums/peggy-gou-dj-kicks/
[19] Vogue, "Meet Kirin’s Peggy Gou: The DJ Turned Designer Mixing Fashion and Club Culture" / 2019-02-28
https://www.vogue.com/article/kirin-dj-peggy-gou-new-fashion-line
[20] Hypebeast, "Streetsnaps: Peggy Gou" / 2023-03-13
https://hypebeast.com/2023/3/streetsnaps-peggy-gou-gudu-records-interview
[21] Peggy Gou / Gudu official Bandcamp, "I Go" / release date 2021-07-09
https://peggygou.bandcamp.com/album/i-go
[22] Peggy Gou / Gudu official Bandcamp, "I Go (Remixes)" / release date 2022-03-30
https://peggygou.bandcamp.com/album/i-go-remixes
[23] Beatportal, "Peggy Gou Releases First Ever Single On XL Recordings" / 2023-06-15
https://www.beatportal.com/articles/319821-peggy-gou-releases-first-ever-single-on-xl-recordings
[24] Official Charts, "PEGGY GOU songs and albums / full Official Chart history" / continuously updated, checked 2026-09-29
https://www.officialcharts.com/artist/53160/peggy-gou/
[25] Billboard JAPAN (Japanese edition of the US Billboard article by Katie Bain), "(Fuji Rock ’24 Performer) Peggy Gou: Why Worldwide Demand for This Groundbreaking DJ/Producer Is Surging" (title rendered into English from the Japanese) / Japanese edition 2024-06-05 / original article 2024-04-25
https://www.billboard-japan.com/d_news/detail/138172/2
[26] Peggy Gou official Bandcamp / XL Recordings, "I Hear You" / release date 2024-06-07
https://peggygou.bandcamp.com/album/i-hear-you
[27] Pitchfork, "Peggy Gou: I Hear You" / 2024-06-07
https://pitchfork.com/reviews/albums/peggy-gou-i-hear-you/
[28] The Observer / The Guardian, "Peggy Gou: I Hear You review – sparkling, 90s-inspired dance" / 2024-06-07
https://www.theguardian.com/music/article/2024/jun/07/peggy-gou-i-hear-you-review-sparkling-90s-inspired-dance
[29] Glastonbury official, "Line-up 2024" / 2024 event record, checked 2026-09-29
https://www.glastonburyfestivals.co.uk/line-up/line-up-2024/?view=artists
[30] Peggy Gou official Bandcamp, "D.A.N.C.E." / release date 2025-06-24 (Gudu Records)
https://peggygou.bandcamp.com/album/d-a-n-c-e
[31] Peggy Gou official Bandcamp / XL Recordings, "Wo, man" / release date 2026-06-26
https://peggygou.bandcamp.com/album/wo-man
[32] 10 Magazine, "Peggy Gou: On The Record" / 2026-03-19
https://10magazine.com/peggy-gou-on-the-record/
[33] Peggy Gou official Bandcamp, "It Makes You Forget (Itgehane)" / "Once" release date 2018-03-02
https://peggygou.bandcamp.com/track/it-makes-you-forget-itgehane
[34] Peggy Gou official Bandcamp, "(It Goes Like) Nanana" / release date 2023-06-15
https://peggygou.bandcamp.com/track/it-goes-like-nanana
