Graeme, you’ve been a pioneer in the dance music scene for decades. How do you think the landscape of clubbing has changed since you first started DJing?
The biggest change is definitely social media and smartphones—they’ve really impacted the vibe and atmosphere in clubs. DJs have become more egotistical because they’re often the main focus now, rather than the music itself. I’ve always believed the music is more important than the DJ. I miss those dark, dingy DJ booths hidden away in the corner where you could just get on with it, without all the unnecessary attention DJs seem to crave today.
That said, sound systems are so much better now, and the technology has transformed how we DJ—which is fantastic. No more lugging around heavy boxes of vinyl! Clubs and festivals are also more inclusive and safer now, which is a great thing. But at the end of the day, as long as you’ve got a great DJ, an open-minded crowd, a banging sound system, and a cool venue, things haven’t changed all that much since I started in 1984.
2. Your sets are known for blending house, acid house, and rave. How do you approach curating a set that maintains that signature Graeme Park vibe while staying fresh and exciting?
I do what I’ve always done—play to the crowd in front of me. I play music I like to like-minded people, and I just make it up as I go along. I never fully plan what I’ll play, because until you get to the venue, you don’t know the vibe, the age range of the crowd, or what the other DJs have played. I always have a rough idea, but adaptability is key—and that’s what I enjoy most.
I also try to avoid playing the same obvious classics that a lot of my peers rely on. I dig out older tracks that don’t get aired as much—many of which are even better—and those always put smiles on people’s faces. After 40 years, I need to keep things fresh, exciting, and take risks. Younger crowds actually give me more freedom to experiment with newer tracks and obscure gems, as they’re not weighed down by the nostalgia that older clubbers often bring. My favorite gigs these days are the ones with mixed-age crowds, where I can play a proper blend of old and new.
3. Ministry of Sound’s Testament tour is all about celebrating the golden era of clubbing. What was your experience like during that time, and what does the term ‘proper clubbing’ mean to you?
Honestly, I can’t remember much of it! But when I talk to others who were there, the memories flood back. The 80s and 90s were wild—anything went. Most of the legendary stories you hear are probably true. Back then, people really didn’t care what others thought of them, which isn’t always the case now.
“Proper clubbing” means different things to different generations. For me, it’s simple: a great DJ, an open-minded crowd, a banging sound system, and a cool venue. That’s all you need.
4. You’ve had the opportunity to play at some of the most iconic venues in the world. Do you have a favorite venue, and what makes it special for you as a DJ?
Without a doubt, The Haçienda in Manchester. It was a club run by hedonists, for hedonists—which meant it was often chaotic, but that’s exactly why it worked. It all felt so organic. Nobody really knew what they were doing, but we were riding the crest of a wave together. It was incredible to be part of something that influential. Its legacy lives on, and I’m proud to be part of that story.
5. The 90s and 00s were formative years for the dance music community. Can you share a memorable moment from your career during that period that still stands out to you?
There are so many! Playing in Australia twice a year throughout the 90s was always a highlight. Punte del Este in Uruguay and Buenos Aires were unforgettable too. And DJing in New York during that era—just incredible vibes.
6. With Testament bringing together legends from the era, how does it feel to share the stage with such an incredible lineup, including Paul Oakenfold and Roger Sanchez?
We’ve all known each other for years and genuinely get on well. It’s going to be great to actually spend some quality time together instead of the quick catch-ups we usually have in clubs.
7. In your view, what makes a dance track timeless? Are there any tracks from your early career that you still play regularly?
Simplicity. The simpler the better. That’s why early Chicago house and Detroit techno are still so powerful. And yes, there are a few tracks from my early days that I still sneak into sets now and then—they still work a treat.
8. You’ve seen dance music evolve from underground to mainstream. How do you think the scene has maintained its authenticity amidst all this change?
It really depends on how you define “authenticity.” For some, it’s rooted in a certain era or sound. For others, it’s about staying true to the underground spirit. I think it’s all subjective and shaped by your own history and experience of clubbing. Age plays a big role in how you see it.
9. As a DJ and producer, you’ve worked with so many talented artists. How do collaborations influence your creative process, and is there anyone you’d still love to work with?
I wish more of today’s so-called DJ/producers would collaborate. You learn so much from sharing ideas. I much prefer working with others—it often takes you somewhere unexpected. That said, egos can get in the way.
As for who I’d like to work with—my son Ben makes some incredible music, and I’d love to collaborate with him. His ideas are wild, and it’d be great to combine our sounds.
10. Looking ahead, what are your goals or aspirations for the future of your music and career? What’s next for Graeme Park after Testament?
Funny thing is, I never planned to be a DJ. Yet here I am, still going. I’d love to keep doing this for as long as I enjoy it and as long as people still want to hear me. That definitely includes returning to Australia in the future.
After Testament, I’ve got a packed Easter weekend in the UK with several gigs lined up, followed by a busy summer. And then it’s the return of Haçienda Classical for its ninth year, which I’m very excited about. I still can’t believe I get to do what I love after all these years.
Presented by TMRW Music
– TESTAMENT –
The warehouse experience Ministry of Sound Testament 2025.
Australia, New Zealand & Bali Tour.
8 cities. 12 shows. 3 weekends.
TICKETING INFO:
GENERAL ADMISSION TICKETS ON SALE
Thursday 7 Nov @ 10am AEST
Excluding Canggu, Bali
TESTAMENT 2025 AUS/NZ TOUR DATES:
Friday 4th April – 00s – Super Ordinary, Brisbane
Friday 4th April – 90s – White Bay Power Station, Sydney
Saturday 5th April – 90s – The Timberyard, Melbourne
Saturday 5th April – 00s – White Bay Power Station, Sydney
Sunday 6th April – 90s – Miami Marketta, Gold Coast
Sunday 6th April – 00s – The Court, Perth
Friday 11th April – 00s – Studio The Venue & Galatos, Auckland NZ
Friday 11th April – 90s – Super Ordinary, Brisbane
Saturday 12th April – 00s – The Timber Yard, Melbourne
Sunday 13th April – 00s – The Station, Sunshine Coast
Sunday 13th April – 90s – The Court, Perth
Saturday 19th April – 90s – Morabito Art Villa, Canggu Bali
