He partnered with John Digweed in 1993, touring internationally and producing a series of mix albums (compilations of other artists' work played in a continuous fashion).

His use of live audio engineering equipment helped popularise technological innovations among DJs who formerly relied on records and turntables.

Sasha's stepmother forced him to take piano lessons which, although he disliked them at the time, he ultimately found to be beneficial to his music career.

[13] Drawn to the rough sound of acid house music and the rebellious attitude he associated with it, he visited Manchester weekly and soon moved to nearby Disley.

[13] He accepted, instead, a spot in the DJ rotation at Renaissance, a club night started by Geoff Oakes at Venue 44 in Mansfield, England.

[6] Sasha and Digweed honed their DJing skills, often performing in tandem and focusing on track selection and technical mixing abilities.

[13] The album featured tracks from such artists as Leftfield, Fluke, and 2 Bad Mice, and original productions and remixes from Sasha and Digweed.

[17] After touring together for two years, the duo became "true superstars"[6] with the release of their double CD Northern Exposure on mega-label Ministry of Sound.

To support the album, the duo toured internationally, and in the process helped to define the sound of trance music in the late 1990s.

[6] After extensive touring, Digweed and Sasha took up residency at New York City's famous Twilo nightclub, where they would DJ for the entire night.

[21] Sasha reached a more mainstream audience with his remixes of Madonna's "Ray of Light" and GusGus's "Purple" for those artists' single releases.

[25] During the late 1990s, the increased popularity and visibility of "superstar DJs" led to the creation of superclubs such as Liverpool's Cream and Sheffield's Gatecrasher.

The Guardian's pop critic, Alexis Petridis, attributed the "terminal decline" of dance music to its over-commercialisation by big-name DJs, such as Sasha, and to their demands for increased fees for performances.

[29] The appearances, complete with laser shows and video production, were more akin to rock concerts than to typical DJ events.

[30] A DVD of performance highlights, interviews, and behind-the-scenes footage was released as Sasha & John Digweed present Delta Heavy by System Recordings.

[28] Ben Turner, creator of the DanceStar awards, retrospectively described the Delta Heavy tour as "a landmark moment for electronic music".

[28] Though the duo of Sasha and Digweed never explicitly split up, demanding schedules and frequent independent touring prevented any substantial collaboration for a long period after Delta Heavy.

[38] To encourage listeners' interest, Sasha held an amateur remix contest for the album's single, "Wavy Gravy".

[39] Due to the contest's success, Sasha released all the tracks from Airdrawndagger on his website, so that fans could download and create their own versions.

In 2005, Sasha produced his next mix album, Fundacion NYC, based on his nights DJing in New York at the Crobar club.

[48] Its first release was "COMA", a collaborative track by a group of the same name, which features Sasha, Barry Jamieson, Charlie May, and Duncan Forbes.

[57] Influenced by the early sound of The Haçienda, Sasha began his career playing records of the rough, danceable genre of acid house.

[58] At the time, Sasha's music rotation included records by artists such as Space Manoeuvres, BT, and Breeder, and Sander Kleinenberg's single "My Lexicon".

The album featured tracks by Morel, Mainline, and Jimmy Van M. The focus shifted from the melodic themes of previous releases in favour of a stronger emphasis on the bassline.

[58] The Delta Heavy Tour and Airdrawndagger marked a dramatic shift in style, and reflected the influences of relaxed ambient and breakbeat music on Sasha's work.

Both Sasha and Digweed used Pro Tools on Mac computers when mixing their compilation albums, and used turntables and records during live performances.

For their remixes, however, they used an Atari ST—an obsolete personal computer from the early 1990s—with Notator, a music sequencer used for arranging audio tracks.

[61] For more recent albums such as Fundacion NYC, Sasha used Ableton Live for sequencing, partially because of Pro Tools' higher price.

In February 2013, Sasha spoke to Resident Advisor about his decision to change from using Live and the Maven controller to a combination of Native Instruments' Traktor and CDs in his DJ sets.

[65] Sasha did receive a Grammy nomination for his remix of Felix da Housecat's "Watching Cars Go By", which was featured on Involver.