Harriet Jaxxon on Independence, Empowerment, and the Basslines That Built Her

Roots in Rhythm

Lewisham in the ’90s was a borough alive with sound — car radios bleeding through open windows, pirate stations drifting from corner shops, and the rumble of basslines threading through everyday life. It was in that chaotic backdrop that Harriet Jaxxon began shaping her musical identity. “Yeah, having those kind of sonics around me at home growing up was massive in shaping how I hear music. It’s given me a deep appreciation for bass, texture and space. I’ve always tried to see silence as an instrument in itself when writing music — it’s something you can use to shape rhythm and groove. It’s all about tension and atmosphere to drive the emotion and energy in a track.” Her latest single, Stop Me on Souped Up Records, channels that energy with confidence and attitude, bridging her South London roots with the precision she’s honed behind decks and in the studio.

Finding Power in Independence

After a break from production, Harriet returned with a sharpened focus. “Stop Me was one of the first tracks I started after a little hiatus from making music. Tracks always begin with a sample for me… I’ve noticed I’m drawn to vocals which have an essence of female attitude or empowerment.” Having released with Souped Up before, the label’s interest in the demo stage made it an obvious home for the track. The response in her sets was instant: “I received great crowd reactions to both tracks on the first plays — long before I started talking about them or they were signed. That first impression in the rave is always very telling.”

Her independence extends beyond the music following her decision to slim down her management team for a while. “I realised I knew absolutely nothing about the workings of the industry first-hand and that just didn’t sit right with me… This period has been such a valuable and important learning experience for me. Whilst I’ve always had full creative control over everything I do, my confidence in making business decisions has completely evolved.” Living with Type 1 Diabetes adds another layer of discipline: “I run a tight ship when it comes to making sure I have everything I need for every eventuality when I’m travelling, because I must. It's given me some next-level mental precision and resilience though!”

Owning the Stage

Early in her career, Harriet felt pressure to tone down her femininity. Touring for Ministry of Sound changed that. “I was worried my credibility could be affected if I showed up as my ‘full self’. Then I kind of thought f*ck it, this is who I am, and I want to represent it across the board even if I can’t see anyone else doing it. Turns out it set me apart in a positive way in the end.”

Her sets balance instinct with careful planning. “The setting and event comes into play… That thought process comes first, then I’m naturally mixing based on the energy flow and of course crowd reaction. I almost always start high energy, then never try to maintain that throughout, then almost always end high energy. I’m usually thinking what kind of experience I’d like to have if I was watching me and use that as a reference as well.” Looking ahead, she’s focused on momentum and experimentation: “I want to keep pushing myself creatively — take more risks, maybe even explore a live show concept. I also want to continue cracking some of the big stages in the US, it’s exciting getting to know the crowds in a new territory.”