GW Harrison has gone from helping build ABODE into a global house music institution to carving out a 15-year career behind the decks and in the studio,
Throughout he has always understood and been focused on the power of community and the importance of emotional connection on the dancefloor.
Following the release of “Look Into My Eyes” on Andhera Records, we caught up with GW to talk past, present and the fresh chapter taking shape with GW’s House, ABODE’s evolution and a renewed focus as an artist.
Can you tell us about how you got your big break in the scene and the clubs and local scenes that influenced you before your rise to success?
I came into music through my dad. He used to attend illegal raves back in the ’80s, so the stories he told and the playlists in the car were always full of house music. That planted the seed.
Before DJing full-time, I was a graphic designer, and I think that creative background gave me a different perspective on branding and storytelling. It also gave me an in with some of the bigger promoters through my design work.
My big break wasn’t one defining moment, it was years of grinding away in local clubs, making music, and helping build ABODE. One standout moment was when I was asked to cover for Heidi on the We Are FSTVL main stage after she became ill. At the time, I was working as a designer for the festival, so I was in the right place at the right time. The arena was at capacity and the set ended up going viral online.
London’s underground scene had a huge influence on me, especially after I moved to East London. Places like Studio 338, fabric and Number 90, along with smaller warehouse parties, taught me that atmosphere is everything. Those experiences shaped both my music and the way I approach events today.
ABODE has been one of clubland’s biggest success stories of the last decade, from Studio 338 to Amnesia Ibiza. What were the core reasons that saw ABODE become a global brand?
Authenticity. We built a community first. Every decision was about creating the sort of parties we’d want to attend ourselves.
Consistency was another huge factor. Week after week, we delivered quality line-ups, production and an atmosphere that people trusted. Social media helped spread the word, but it was the people coming to the events who became our biggest ambassadors. That sense of belonging is what allowed ABODE to grow from one London residency into an international brand.
GW Harrison
It’s fair to say that ABODE has faced some challenges over the last few years. Can you give us a bit of background to this? It’s great to see that the brand is enjoying a return to form, with your most recent party, ABODE On The Rock in Malta, being a huge success.
Like most brands that have been around for over a decade, we’ve had our challenges. The pandemic changed the landscape, the industry became more competitive and we also took time to reassess where we wanted ABODE to go.
Rather than forcing things, we focused on rebuilding with the right events and the right people. Malta really felt like a turning point. The energy was incredible and it reminded everyone, including ourselves, what makes ABODE special. It feels like we’ve got that momentum back, and we’re excited about what’s next.
How do you balance being part of a successful collective while continuing to develop your own identity as an artist?
The two complement each other. ABODE has always given me a platform, but I’ve always wanted my music to stand on its own.
When I’m producing, I don’t think about ABODE, I just make records that excite me. Then, when I’m DJing or touring with the brand, I can bring that music into the wider story. It’s important that people recognise GW Harrison as an artist in his own right while still being proud of everything we’ve built with ABODE.
GW Harrison
How does your creative work as a graphic designer feed into your music?
Design taught me about emotion, simplicity and attention to detail. Whether it’s creating artwork, building a breakdown or thinking about a campaign, it’s all about making people feel something.
I also think very visually when I’m making music or selecting tracks. I’m constantly imagining colours, textures and environments, which helps shape the atmosphere of a record or set the tone for the dancefloor.
Your new track “Look Into My Eyes” has an instantly memorable vocal hook. What was it about that vocal that made you build the track around it?
The vocal was one of those moments where I instantly knew it had something special. It’s simple, but it’s incredibly hypnotic. The phrase sticks in your head after hearing it once, and I wanted to build a track that let the vocal breathe rather than overcomplicate it. Everything else was designed to support that hook and create those big, memorable moments.
The track balances underground credibility with crossover appeal. Is that something you consciously aim for when you’re producing?
Not consciously. I never sit down thinking about commercial versus underground. I just want to make records that DJs want to play but that also connect with people emotionally. I got this confused earlier in my career.
I was guilty of forcing tracks that I thought would get me radio plays or put me in the good books with certain brands. These days, I don’t think like that anymore. If you can make something that works in a sweaty basement at 2am and on a festival main stage at sunset, then you’ve probably found a sweet spot.
How has your production style evolved over the past 15 years?
I’ve become more patient. Earlier on, I probably tried to fit too many ideas into every record. Now I trust simplicity a lot more. I’ve also become much more confident leaving space in a track and letting the groove do the work. Experience teaches you that the records people remember aren’t always the busiest ones.
GW Harrison
How do you know when a track is powerful enough to work in both intimate clubs and major festival settings?
Testing records is everything. I’ll play new tracks in smaller clubs, then at festivals, and tweak them based on how people react. If it creates the same emotional response regardless of the size of the room, then you know you’ve got something. Great dance music isn’t about volume or production, it’s about connection.
You’ve often cited the rave culture of the 1990s as a major influence. What elements of that era still inspire your music today?
The positivity. There was something really unifying about that era. The pianos, uplifting vocals, memorable hooks and sense of escapism still resonate with me today. Dance music has always been about bringing people together and I think that’s something worth holding onto.
House music is constantly evolving. What excites you most about where it’s heading?
I think people are becoming less interested in genres and more interested in how music makes them feel. You’re hearing influences from old-school house, techno, trance and garage all blending together, and that’s creating some really exciting records. It feels like producers have permission to experiment again. The UK house scene is dominating globally right now, and I’m proud to play even the smallest part in that.
You’ve played everywhere from intimate clubs to massive festivals like Creamfields and Amnesia. How does your approach change depending on the crowd and venue?
The fundamentals stay the same, reading the room is everything. In a club, you can take people on a longer journey and be a bit more patient. At a festival, you often need to make an impact more quickly because the energy is different and you’re playing to a much bigger audience. It’s about adapting without losing your identity.
What’s the biggest lesson touring internationally has taught you about what connects with audiences?
People respond to authenticity. Every country has different tastes, but genuine energy translates everywhere. If you’re enjoying yourself and playing music you genuinely believe in, people feel that.
The best sets are always the ones where there’s a real connection between the DJ and the crowd. I’ve also learned that balancing partying with work is essential. It’s very easy to get caught up in holiday mode when you’re touring.
What do you think makes the current wave of uplifting house music resonate with so many people?
I think people want energy again. After everything that’s happened over the past few years, music that makes you smile, sing along and lose yourself for a few hours feels really important.
There’s a timeless quality to uplifting house that always comes back around. I also think UK house lost its way for a while by chasing super-minimal sounds and disappointing drops. Now it feels like emotion and melody are making a real comeback.
You’ve launched GW HOUSE as a touring concept alongside a summer residency in Greece. What can fans expect that will make these parties different from a typical club night?
GW HOUSE is about creating a memorable atmosphere rather than just putting my name on a flyer. I want every event to feel personal, whether that’s through the music, the production or the people in the room. The Greece residency has been the perfect place to develop that because it’s allowed us to build a community week after week rather than just doing one-off shows.
GW Harrison
Has changing from GW Harrison to simply GW marked a new creative chapter for you?
It hasn’t officially changed yet, I just naturally adopted the name “GW.” It wasn’t about leaving the past behind; it was about simplifying everything and making the project feel more authentic to who I am today. Musically, I’ve evolved a lot, and the shorter name reflects that. It feels like a fresh chapter while still building on everything that’s come before.
What goals have you set yourself over the next couple of years, both musically and professionally?
The biggest goal is simply to keep making records and keep pushing forward as an artist. For a while, I found myself in a battle with my own confidence. I stopped sending music out, stopped posting online and honestly lost belief in myself for a period. Getting through that has reminded me why I started making music in the first place.
I want to keep growing GW HOUSE, continue expanding ABODE internationally, release the best music I’ve ever made, and play even more dream venues around the world. At this stage, it’s all about building something that lasts.
GW Harrison – Look Into My Eyes is out now on Andhera Records. Grab it on Beatport HERE.
Head to Beatportal to read The Night Bazaar exclusive interviews in partnership with Beatport HERE.
