Sean McCabe Reflects on Ten Years of Good Vibrations Music and the Story Behind 'Decade One'
- Undrtone Blog
- 1 day ago
- 4 min read
Good Vibrations Music reaches a major milestone in 2026 as Sean McCabe marks ten years of the Bristol-based label with 'Decade One', a carefully curated retrospective spanning some of its most important releases.
Available as a limited-edition double vinyl package and an extended digital compilation, the collection brings together music from Sean McCabe, Frankie Feliciano, Lem Springsteen, Mr. V, Kaidi Tatham and more. It also captures the broad musical identity that has shaped Good Vibrations since its launch in 2016, moving naturally between soulful house, broken beat, boogie, deep grooves and Afro-influenced sounds without ever feeling tied to one fixed direction.
For McCabe, however, the label’s greatest achievement is not necessarily its biggest record or most high-profile collaboration. Looking back over the past decade, he points instead to a deeply personal project released in 2022.
“There have been some top remixers and artists on the label over the years, but the highlight for me is the Harold Matthews Jr album project ‘Peripheral Vision’ from 2022. It’s quite sentimental to me as it involved friends who have been part of my musical journey since I started producing in 2003.”
The album brought together Harold Matthews Jr, DJ Fill, Black Sonix and Matthews’ son Syl Messi, giving the project a sense of closeness that extended beyond the music itself.
“It had that family feeling about it. Sadly, Harold passed away in 2025, but I’m so pleased we were able to put this project together and share his work with the world before he left us.”
That emotional connection runs through Good Vibrations Music’s catalogue, which has often grown through friendships, collaborations and shared creative interests rather than conventional A&R strategy. Decade One offers an opportunity to revisit that history while also giving several digital-only favourites their first physical release.
“The initial focus for the compilation was the vinyl double pack. In the early years of the label, it was mainly digital releases, so I treated this as an opportunity to press up some popular tracks from over the years that never made it to vinyl.”
The extended digital edition allows McCabe to show more of the catalogue’s range, but several tracks were immediate choices for the vinyl package.
“Absolutely, Frankie Feliciano’s remix of ‘I Know Someone’ is among one of my favourite tracks on the label. The original release was the first release on the label, which would have been nice to also include, but Frankie turned that song into something extra special to me.”
Kaidi Tatham’s version of “Pause” and earlier singles including “Grow” were also essential selections, reflecting both McCabe’s personal favourites and the wider story of the label.
Those contributors have helped shape how Good Vibrations is perceived, though McCabe explains that its identity has never been created by simply targeting particular names or reputations.
“The identity of the label is really something I have in mind when approaching artists and remixers. It’s more about who feels right for the music itself at the time.”
The results nevertheless reveal the standard and musical character he has consistently aimed to uphold.
“They’re all people I’ve looked up to and respected for their musical talents for many years, so I felt honoured that they were happy to work on something.”
That open approach also explains why Good Vibrations has remained difficult to pigeonhole. Its releases can move between house, jazz, soul, disco, boogie, broken beat and African influences, mirroring McCabe’s own work as both a producer and DJ.
“It’s not really something I felt like I had to resist, as it comes naturally to me to keep things varied. Before starting the label, I always produced slightly different things, mainly because I get bored of doing the same thing.”
That variety is not a deliberate attempt to appear eclectic. It is simply the continuation of how he has always listened to, played and made music.
“It also reflects my DJ’ing style, which moves around different genres within the realm of soul/jazz influenced dance music. I think it helps the label to remain interesting and as a result attracts an open-minded audience.”
Good Vibrations began as a series of Bristol events before becoming a label in 2016, initially offering McCabe an outlet for his own productions. Over time, that purpose gradually widened.
“The label started as an outlet for my own creative freedom, and over the years it’s grown into other artist’s visions driving some of its direction.”
Rather than actively searching for releases, McCabe says projects often emerge organically through the artists and musicians already around him.
“I don’t really see myself as someone who actively signs songs, but often projects come together organically through friends I’m working with at the time, where I can help make the artist’s vision a reality.”
Running an independent label has changed considerably during that period. Streaming has helped Good Vibrations reach new listeners, though it has also contributed to declining sales. McCabe still sees Traxsource as central to the label’s DJ audience, while Bandcamp has become increasingly important for connecting directly with collectors and listeners.
“I think it bridges the gap between both music collectors and DJ’s who want to buy the music of their favourite artists and labels. It also widens the creative scope of what we can release, so it’s not only music targeted to DJs.”
That renewed interest in physical formats made the vinyl edition of Decade One especially meaningful.
“There have been certain tracks from the catalogue that I wanted to exist in the real world in some way, for historical archive purposes, and it also introduces our music to a new audience.”
Despite the retrospective nature of the compilation, its title suggests that Good Vibrations is far from finished. McCabe remains reluctant to impose a rigid long-term plan on a label that has always developed instinctively.
“The focus has always been on the music at each moment, while learning, collaborating and growing through it, and helping other artists to realise their own visions.”
The next chapter is already beginning to take shape, with several new collaborations underway, including a version of Kem’s “Heaven” featuring Colonel Red and produced alongside Groove Assassin.
“I’m really not sure what the next 10 years holds, but there are plenty of collaborations in the making at the moment.”
After a decade defined by creative freedom, close relationships and an unwavering commitment to soulful music, uncertainty feels less like a lack of direction and more like the reason Good Vibrations continues to evolve.