Eamon Harkin is a New York club Samaritan. A man who’s been tending to the city’s dance floors in all the right ways for two decades. What began as clandestine parties in anonymous lofts and warehouses across Brooklyn has since evolved into co-ownership of what is arguably the best place to kick up your heels: Nowadays.
Mister Saturday Night and Mister Sundays gatherings, spread across Nowadays indoor and open-air spaces (in Ridgewood), are a tour de force in electronic music curation. Here you will find a considered cross-section of accomplished locals and international juggernauts. A glance at the March bill alone reads like a who’s-who: Batu, Avalon Emerson, PLO Man, Kia, NIKS, Patrick Russell, Kim Ann Foxman, CCL, PARAMIDA, to name a handful. It would be remiss of me not to mention that Eamon and his counterpart, Justin Carter, also step up month to month, performing sets before and after these virtuosos – both adroit DJs, as you’d expect.
Unsurprisingly, another string to Harkin’s bow is his production chops. Over his career, the Irishman, hailing from the small city of Derry, has released a slew of EPs with imprints like Coastal Haze, Darker Than Wax, Argot and his very own Mister Saturday Night Records. A track of his from 2021, “People Are All That We Have”, lives rent-free in my mind.
Fast-forward to 2026, and Eamon has just released his debut album, The Place Where We Live, and I’m chuffed to premiere its ninth WAV, “Fifty”.
The album draws its name from psychoanalyst D.W. Winnicott’s idea of “the place where we live” – the psychic space between our inner and outer worlds, where play, art, and culture help us make sense of things. As an Irish immigrant, this concept strikes a chord with Eamon as he has long grappled with forging a sense of belonging in New York. This collection of songs is his sonic capture of that very feeling.
Now to “Fifty”…jumpstarting with synth chords that feel more shaken than stirred, the track bumps along in dub techno fashion. Soon, drum machines and sounds that remind me of Star Wars blaster shots join the mix. The result is entrancing, lending the track a real sense of scale. I can picture Eamon using this as kindling for a peak-time inferno during his extended sets.
As Eamon explains:
