With the autumn rugby internationals in full swing, 909originals had the opportunity to catch up with a former master of the oval ball who has turned out to be equally adept behind the decks – James Haskell, otherwise known as house producer HASKELL.
The former Wasps, Northampton and England flanker – who also toured with the British & Irish Lions – hung up his boots in 2019 to embark on a music career, and unlike many other athletes-turned-DJs, he’s far more than a hobbyist or novelty act, having perfected his craft on labels such as One Seven, Nervous Records, D4 Dance and Toolroom.
Toolroom was the home for arguably his biggest release to date, the track Go Deep, alongside Mark Knight and Gene Farris, which came out last year.
This year has seen HASKELL drop a string of releases, including the singles Deeper, Perfect Sound, Shake That, Suave Suave and his latest single, Rock The Rhythm w/ Dope Earth Alien, alongside a recent collaboration with Mosimann on the track SexyBack. 909originals caught up with him.
How has 2025 been for you so far – any particular highlights?
There have been some big moments. Having the collaboration with Mosimann come out has been a real step. He’s doing great things across Europe, so working with him on SexyBack felt like a strong progression.
Collaboration in general has been key for me. Finding the right people and building those relationships matters.
Releasing music consistently this year has also helped me grow my audience and refine what I want to say. I’ve always used music to shift mood or mindset, whether that was recovery, staying positive, or just resetting. Starting to release my own tracks was the real turning point. I’m closer to where I want to be, but still pushing forward.
What inspired you to go from professional rugby to shaping a career in electronic music?
Music was always an outlet for me when I was playing. It gave me space to shift gear emotionally. When I began producing and releasing music, it moved from being an escape to something I wanted to build a career around.
Are there any skills or mindsets from your time as a rugby player that have stayed with you as you forge a music career?
Definitely. Seeking feedback, reviewing your own performance, asking for help from people who know more than you. Routine and professionalism are huge. Turning up prepared. Taking responsibility for your own progress. The music world can feel chaotic, so you need to bring your own structure to it.
Have there been any musical artists that were particularly influential in terms of encouraging you?
Mark Knight has been central. He was a friend first, but he’s become a real mentor. I respected him long before that because of what he built with Toolroom and how he’s stayed grounded through it all. Carl Cox has also been incredible in supporting my music. When someone operating at that level gives you encouragement, it means a lot.
How important was your collaboration with Mark and Gene Farris, Go Deep, in terms of establishing your reputation?
It was a key moment. I started the idea and sent it to Mark. He could easily have passed, but he brought me into the process. Working with Gene, who is a figurehead in this scene, really cemented it. That was the point where I think people stopped seeing me as someone dabbling and started taking me seriously.
How would you describe your latest single, Rock The Rhythm?
Rock The Rhythm started a while back. I revisited it, reworked it with Dean Ramirez, and brought Dope Earth Alien in. It has that hypnotic 90s stab feel to it. It’s direct and carries weight. SexyBack, on the other hand, takes a familiar vocal and shifts it into a darker, more underground place. Both tracks represent where I’m at sonically.
What inspired you to put together the Back Row Beats workout mix collections? And how have these evolved?
It came through a connection with Defected. Simon Dunmore introduced me to soul, funk and classic house when I was still more into EDM. That opened everything up for me. Back Row Beats gave me the chance to curate music with a strong identity at a time when I was just starting out. It was a big early moment for me.
We read recently that you’re planning to launch a record label – what are your plans?
The label will be driven by the music first. Yes, it will be a platform for my own tracks, but it’s also about finding and supporting the right artists. I don’t care about names. If the track is right, it goes out. I want to be in control of my own output and build something that reflects the sound I believe in.
How do you balance commercial viability with maintaining your creative vision?
I make music I want to play. That’s the starting point. People will always tell you what works or what sells, but if you don’t love it, what’s the point? Whether a track leans more commercial or more underground is secondary. If it feels authentic and it lands, that’s enough.
In what ways do you use your own story – from professional athlete to international DJ – to mentor others?
I would like to do that more in time. Right now I’m still learning, still defining my own space. But at some stage I’d like to help others in the same way I’ve been helped.
What do you miss most from your time on the rugby pitch, that can’t be emulated in your new career?
The shared professionalism. On the pitch, everyone is aligned and committed. The music industry has a lot of good people, but also a lot of noise and disorganisation. The camaraderie is what I miss. I’ve found some of that with people like Mark, Carl, and the producers I work with regularly, but you have to look for it.
What’s next for you for the remainder of the year, and into 2026?
I have a new track, I Need Your Baby, coming out on Alianza in December. I’ve also signed several tracks for 2026 and we’re just finalising the paperwork. It’s an exciting run ahead.
Keep up to date with HASKELL’s recent releases here.
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