Haskell’s decade-long journey in electronic music is defined by his focus on tech-house’s rhythm and maximalism. A regular presence on the global circuit, he has played across venues from Ibiza to Dubai, sharing the stage with artists like Carl Cox, while his productions are marked by bass-driven, streamlined textures.
With releases on labels like Toolroom, In Rotation, Love Juice and D4Dance, Haskell’s sound is built around crisp percussion, deep basslines, and moments of atmospheric release, gaining support from stations like BBC Radio 1 and Kiss FM.
His latest single sees Haskell entering a new creative phase, working alongside Mark Knight and Gene Farris. The collab signals a real shift in his sound, and with big releases planned for 2025 we thought it was about time we featured this rising star in Tech house.
Tech-house is all about the groove—what draws you to its rhythm-driven intensity, and how does it resonate with your personal energy?
Tech-house is all about creating that infectious energy that grabs you and doesn’t let go. When I started making music, I experimented with house tracks, but they didn’t feel like the full embodiment of who I am. I’ve got a bold, larger-than-life presence, and I wanted my music to reflect that. My tracks aim to capture the listener’s imagination, with big basslines, driving kicks, and synths that hit with power. Tech-house has this rhythm-driven intensity that mirrors my own energy—it’s dynamic, it’s commanding, and it’s always evolving.
Your sets have taken you from Ibiza to Dubai. Do you feel each location has a unique energy, and how does that affect your track selections?
Without a doubt, each location has its own unique vibe, and it’s the crowd that really sets the tone. In Dubai, for example, there’s a demand for more polished, vocal-heavy tracks and radio-friendly edits. Ibiza, on the other hand, is the spiritual home of dance music, especially when you’re closing a night. There, it’s about taking people deeper, pushing the energy higher, and experimenting with more underground sounds. Adapting to the crowd is like being a playmaker—you feed off the energy in the room and find the tracks that connect in that moment.
Tech-house and rugby both thrive on intensity and precision. Do you see any parallels between the rigor of rugby training and the meticulousness required in music production?
Absolutely. In both, resilience and discipline are non-negotiable. In rugby, you train relentlessly, review every performance, and constantly work to improve. Music production demands the same commitment—you’ve got to refine your skills, take feedback on board, and recognise that you’re never finished learning. Both require a sharp focus on what makes you unique. In rugby, it might be your physicality or strategy; in music, it’s your signature sound. Another parallel is the need for teamwork—whether it’s working with coaches or collaborating with other producers, you have to be open to input and growth.
Collaborations your new track Go Deep with Mark Knight and Gene Farris mark an exciting new phase. What can fans expect from these upcoming releases, and how do they differ from your past productions?
Working with Mark Knight and Gene Farris has been a massive step forward for me. These are artists I’ve admired for years, and collaborating with them has pushed my music to new heights. Compared to my earlier productions, these tracks are more polished and dynamic—they’ve got the same high-energy vibe but with a new level of depth and complexity. It’s all about evolving while staying true to my passion.
Some might question if a successful athlete can be a “real” DJ—how do you address the sceptics, and what would you say to people who doubt the legitimacy of your music career?
I’ve been doing this for over a decade, so the proof is in the work. This isn’t a side gig or a vanity project—it’s a serious career that I’ve invested countless hours into. I’ve played in clubs up and down the UK, from tiny underground venues to some of the biggest stages. I’ve also had moments where I played to almost no one, and those experiences taught me just as much as the packed shows. The fact that I’m still booking gigs and releasing tracks on respected labels shows that I’ve earned my place in this industry. I didn’t get here overnight, and I wouldn’t still be here if I didn’t take this seriously.
You’ve already seen releases on respected labels like Toolroom and In Rotation. What led you to these platforms, and how do you ensure your sound aligns with their audiences?
Releasing on labels like Toolroom and In Rotation has been a dream come true. It’s all about finding the right fit—knowing where your sound aligns with the label’s identity. Sometimes I’ve sent tracks to labels thinking they were perfect, only to find the label had moved on to a different direction. Other times, they’ve loved what I submitted. It’s a fast-paced industry, so you have to stay adaptable while staying true to your sound. Ultimately, respected labels only release tracks they believe in, so getting that validation is an incredible feeling.
With your athletic background, do you feel there’s a natural stamina or mental discipline that you bring to the DJ booth during long or high-energy sets?
Definitely. Playing rugby at a professional level teaches you stamina, focus, and how to perform under pressure—all of which carry over to DJing. Long sets demand physical and mental endurance, especially when you’re feeding off the energy of a packed crowd. The discipline to stay sharp and in control, even when things get intense, is something I developed during my rugby career. That background gives me the edge to keep the energy high and stay locked into the moment, no matter how long the set runs.
The tech-house scene is competitive, and standing out can be challenging. What would you say is unique about your approach to both DJing and production?
What sets me apart is the way I channel my personality into my music. I’m all about creating bold, high-energy tracks that demand attention. Whether it’s the bassline, the synth work, or the arrangement, I want every element to make an impact. As a DJ, my approach is equally dynamic—I don’t just play tracks; I craft a journey that builds energy and keeps people moving. My background in rugby taught me to always strive for excellence and to embrace challenges, and that mindset is at the core of how I approach everything in music.
What’s the biggest misconception people have about your journey into electronic music, and how do you set the record straight?
The biggest misconception is probably the assumption that I’m just a “celebrity DJ” dabbling in music for fun. The reality is far from that. I’ve worked hard to build a legitimate career in this industry, from playing small gigs to signing tracks with top-tier labels. This isn’t a side project—it’s a full-time commitment that takes immense effort and dedication. I’ve always been about proving myself through action, and the work I’ve put in over the years speaks for itself.
Go Deep is out now on Toolroom
The post “I wouldn’t still be here if I didn’t take this seriously” Haskell interview appeared first on Magnetic Magazine.