Eamon Harkin

The long Sunday in Ridgewood

In the garden of Nowadays, on the border between Ridgewood and Bushwick, Mister Sunday has become one of the most recognizable rites of the New York dance floor: an entire day of house, disco, and physical presence, with food, shade, and a sound system designed for staying. Eamon Harkin is the co-founder of that house alongside Justin Carter. What started in 2009 as Mister Saturday Night—first at Santos Party House and later in unconventional venues like 12-turn-13—grew to open a permanent club in 2015, with an indoor expansion in 2017, now cited among the most respected in the world.

From Derry to the New York party network

Born in Derry, Northern Ireland, he settled in New York in 2004. Before that, he had spent time in London, with a programming job that eventually led to a move. In the city, he set up Calling All Kids, a party in homage to Arthur Russell and downtown; he DJed at Studio B—with the FUN residency, for which he also handled bookings and production—and at APT, and in 2009 he joined forces with Carter. The sessions invited Kerri Chandler, James Lavelle, Moodymann, Theo Parrish, or Four Tet. In 2014, they brought Mister Sunday to London and activated Industry City. The label Mister Saturday Night Records, founded in 2012 with Anthony Naples' Mad Disrespect, served as a home for the party community and artists from outside the city. The compilation Brothers and Sisters and the mix Weekends and Beginnings consolidated that scene on record.

House, techno, and the disco of belonging

As a producer, he has released disco and deep house edits since the late 2000s, solo and with Steve Raney (Harkin and Raney) on Throne of Blood. The maxi Rigor Music (2012) brought remixes by Brendon Moeller and Roman Flügel. Later came Back Down (Argot, 2014) and EPs such as Weaker Moments, See You in My Dreams, Truth Be Told, Storytelling, or Noetic, in addition to music on Sorry Records, Funnuvojere, Fixed Rhythms, Coastal Haze, and Darker Than Wax. In March 2026, he released his first album, The Place Where We Live, between house, techno, and ambient: the dance floor seen from memory, halfway between New York and Ireland. With Carter, he maintains Planetarium, deep listening sessions lying among pillows. He has brought that sensibility to events like Waking Life and to clubs from Perth to São Paulo, always as a resident of his own house.