In an interview with LoudLife.eu, former professional rugby player turned DJ and producer James Haskell shares his journey from the sports field to the global club scene. Known for his minimal, percussive tech house style, Haskell discusses early influences, production insights, and his determination to prove he’s more than a “novelty act.” With recent releases hitting the charts and plans for his own label, Haskell is carving out a serious space in electronic music.
Interview with HASKELL
As a big fan of your music (I’ve even dropped tracks like “Go Deep” and “Deeper” in my own DJ sets), what initially drew you to electronic music during your rugby career, and how did those early influences shape your minimal, percussive style in tech house?
The style of my music has always been a progression. When I first started, the early tracks on D for Dance were solid house cuts, but they didn’t have the energy that really defines me. Go Deep and Deeper were much closer to where I wanted to be as an artist. My sound has evolved from there — my latest track, Afters, leans more toward that Max Dean and Stussy kind of vibe. You’ve got to stay true to your lane, sure, but also keep shaping what you do as your influences change.
Transitioning from professional rugby to full-time music production isn’t common—what were the biggest challenges you faced in earning credibility in the scene, and how do you feel about shaking off the “novelty act” perception?
That’s been the hardest part. People see me as a novelty act, a wedding DJ, or someone doing this as a side project. But it’s not that at all. I’m on my 29th release now — Rock the Rhythm came out on October 17 — and this is a serious career for me. I’m passionate about making it in music, and I want to do it full-time. Over time, I think people are starting to see that.
Your 2024 collab with Mark Knight and Gene Farris on “Go Deep” was a game-changer. How did that partnership come about, and what did you learn from working with established names like them?
Mark’s become a real mentor and a friend. He’s incredibly generous with his time and advice, and I’ve learned a lot from just sitting in on A&R sessions with him — hearing how he listens, what he picks up on, and how honest he is about what works and what doesn’t. Gene Farris is one of the best in the game too. From both of them, I learned the importance of quality and of holding your work to a high standard.
This year’s releases like “Perfect Sound,” “Shake That,” and “Suave Suave” have a strong club focus. Can you walk us through your production process for these—any specific tools, inspirations, or studio rituals that help you nail that stripped-back groove?
For me, the key thing is to make music that you want to put out. The audience thinks it knows what it wants, but it doesn’t always. Suave Suave came together with James Herr — I found the vocal, wrote the lyrics, and brought in the vocalist. Perfect Sound came from a vocal I’d been sitting on for ages, something I always wanted to use to make a proper club record. Seeing Carl Cox play it, and Nick Fanciulli dancing to it, that’s a great feeling.
You’ve played at iconic spots from Ministry of Sound to Ibiza and Tokyo. What’s been your most memorable gig so far, and how has touring influenced your evolution as a DJ?
Playing on the beach for Carl Cox was huge. But honestly, any time I play to a crowd that’s there for my sound — like in Dubrovnik for Toolroom — it’s special. A lot of the time, the gigs I get booked for don’t let me play much of my own music, which can be frustrating. But those moments when I can really express myself behind the decks make it worth it.
Looking ahead, you’re planning your own label to spotlight emerging talent alongside your work. What kind of artists are you scouting, and how do you envision the label differentiating itself in the house music space?
I want to work with artists who inspire me and make music I genuinely love. I also want to give opportunities to people who might not otherwise get them. I’ve had people tell me they love my music but can’t sign a James Haskell record — which is madness to me. The idea of “cool” in this industry can be narrow-minded. If the music stands up, that’s what matters.
As someone who knows the grind of the scene (I’m a DJ/producer myself and cover festivals like ADE for LoudLife), what’s one piece of advice you’d give to aspiring producers trying to break through without a “famous” backstory?
It’s all about consistency. You have to double down, keep going after a hundred no’s, and not see it as failure. Post your tracks, even if they get 200 views. Build from there. A lot of people who seem to blow up overnight have been grafting for years. Look at Fisher — before Losing It, he’d already built a foundation on Dirtybird. You have to put the work in and be patient.
Are you planning to attend ADE in Amsterdam this year? Specifically, will you be at any Toolroom sessions or events, given your collab with Mark Knight? I’d love to connect if you’re around—I’m heading there to cover features and interviews for our site and Instagram.
Yeah, I’ll be at ADE. I’ve been a few times before. It’s funny — people are often surprised when they hear how much work I’ve put in, or how many releases I’ve done. They assume I’ve been handed everything, but I’ve spent 11 years driving up and down the country playing to empty rooms, turning up to gigs where no one showed. I’ve earned my stripes, and ADE is a good reminder of how far I’ve come and how much further I want to go.
