Interviews

Bristol based deep house producer Sean McCabe has well established his reputation for being an ever-reliable producer of quality house. This week sees his Good Vibrations label release Volume 3 of some previously released cuts with some heavy remix twists. Here we get the chance to have a chimney side chat with Sean McCabe.

Thank you for taking the time to talk. Where are you this moment and how are you spending the today?

It's Friday evening and I'm at home with my family, sorting through some music for a gig this weekend in Mallorca. I recorded my monthly Good Vibrations Mixshow this afternoon, which is a fun way to familiarise myself with new music I might play at the club.

Where are you based? Were you born there?

I'm based in Bristol, UK. But I was born in Rutland. We moved around a lot through my childhood, so it's hard to say where I'm from. We lived in South Wales during my teenage years, and I decided to move to Bristol with my girlfriend in 2012.

What is it you love most about the city in which you live?

It’s a very artistic city that celebrates differences and other cultures. Even though it’s vibrant with lots of talent, there’s also a slow and easy going pace of life. Suits me down to the ground.

How is the health of the music scene where you are?

There’s a wide variety of events musically in Bristol with some exciting parties. People are open-minded on dancefloors and will usually go along with what the DJ is playing. Everyone is also very supportive of each other’s events too, even across different genres and scenes. So, there is a strong community spirit which is very healthy for any music scene.

How is the health of the music scene generally in your opinion?

Times have changed a lot in club land, in the sense that a lot of things have moved to festivals and larger pop-up events with bigger lineups and shorter sets. In some ways it’s good and punters get to hear to lots of artists in one place. But I think smaller night time venues still play the most important role in developing and maintaining any local music scene.

A cool thing I’m noticing is a return of appreciation for DJs who are quality music selectors and radio/streaming DJs. I don’t think you need to be a producer now to get bookings.

Who are the icons who have inspired the music that you make?

Most of my music is inspired by US style productions. A quick short list would be Masters At Work, Kerri Chandler, Glenn Underground, Josh Milan (Blaze), Mood II Swing, DJ Spinna, Jovonn, Spen & Karizma.

And what about UK house heroes. Are there some people you look up to in the UK as producers?

My biggest UK producer influence would be Phil Asher, who has sadly passed away. I would also have to mention CJ Mackintosh, Ricky Morrison, Atjazz, Groove Assassin, Dave Lee, Zed Bias, and Craig Smith. As DJs, Paul Trouble Anderson (RIP), Marcia Carr and Deli G are among my favourites. Outside of house music, I’m a big fan of producers like Dego, Kaidi Tatham, K15, and Bugz In The Attic.

How did you come to start the label Good Vibrations. What led you to that point?

The brand originally began as a party in 2013 with my friend Deli G. We still do the Good Vibrations parties now. But I started the label as a creative outlet to release my own productions, collaborations and music my friends were making. It meant I had more creative freedom and didn’t need to a fit a mould or brief from another label.

How long has the label been going?

The label started in 2016, the same year my son was born, so we’re nearly 10 years in now with about 60 digital releases.

What are some of the challenges you have faced running a label over the years?

Occasionally there can be creative differences between artists which can feel difficult to work through at the time, but I always learn and grow from those experiences. I try to remain open minded to other’s ideas. But the biggest challenge is always the administrative and marketing side of running a label. I’m a creative person at heart, so all that other stuff doesn’t come naturally to me.

What other labels do you look up to right now?

I tend to follow labels that have a consistent quality sound. Some of those for me are Honeycomb Music, 2000Black, Boogie Café, Reel People, Vega Records/MAW, Mirror Ball, R2, Visions, Mother Tongue, Phuture Shock Musik, Yoruba Soul and Neroli.

Give us an overview of your new release Good Vibrations Volume 3.

The Good Vibrations series is a various artist EP. The 3rd in the series is a selection of 4 of our favourite releases from the last year, with a variety of styles.

How long did it take to come together? Did it flow easily, or did it take some time to perfect?

As the tracks had already been made a released, the only extra time taken was selecting the right tracks and re-mastering them for vinyl pressing.

Tell us a about some of the other artists involved in the release.

There are a number of people involved. But I’m most proud to be releasing music from the Matsiko World Orphan Choir, which is a charity choir made up of some very talented orphaned children from Liberia. Their initiative is to raise awareness and funds to provide education and breaking the cycle of poverty for vulnerable children. I produced the track with a close friend of mine and regular on the label, Black Sonix, who also connected me with the choir.

The release includes some top London based talents, Last Nubian, David Bailey, with vocalist MissFly. And a young local Bristol talent, Ellis Aaron, provided some dope vocals for 'Got It Bad’ Dub.

Do you take some time - after you have made a track – to leave it alone for a while to evaluate?

I usually like to wait for a week after I think it’s finished. Then I’ll listen again and if anything jumps out, I’ll make some changes. I also like to test things in the club environment, and that can also influence changes.

Do you find the feedback of others is important to you in the production process?

Absolutely. It’s always been an integral part of my process. I have a number of friends who have a great ear and are always brutally honest. I’d rather that than people who say they like everything.

When you work on something for a long time, your ears get used to it. So having a fresh ear on something can bring up different ideas or confirm something I was already unsure about. It could be chord isn’t quite right for a vocal, or something is clashing with another sound.

What drives you to create music do you think Sean?

I think I just enjoy the creative process of putting it all together. I don’t get excited about tools that almost make the track for you, that’s the part I like doing. I love making beats, but I also play all the keyboards on my productions and get a real buzz from jamming ideas and coming up with something special when it hits. And the further you go with it, the vision can shift but become clearer, and that’s when I really get in the zone. It’s a great feeling when it all comes together organically.

What other artists do you think are making great music right now?

Some personal favourites at the moment are Kai Alce, Dav Risen, Rob Redford, K15, Lynda Dawn, Sault, and Piers Kirwan.

What was the last record you purchased?

Ronnie Foster – Two Headed Freap (LP)

What has been a highlight of the last year for you?

I played a great little club in Berlin called ‘Paloma Bar’ on NYE 24/25, for a local record label party ‘Mister Bear’. That was a lot of fun. Shelter in Liverpool was also a really good one earlier this year.

What can we expect next from Sean McCabe?

I’ve just finished a remix for Vick Lavdender’s new album on Mister Bear Records. That’s coming out early 2026. And another remix for Inkswel.

There’s also a collaboration coming with Detroit’s own, Jon Dixon, on his next album.

I’m aiming to get back into some more original productions too, so expect some more vocal collaborations on Good Vibrations Music in 2026.

Check out the latest release from Sean McCabe.