Jon Who
From Zurich’s vibrant electronic music scene to international dancefloors, Jon Who is carving out his own space in house music, blending soulful vocals, uplifting piano melodies and contemporary club production with a distinctly emotional touch. With a musical background spanning childhood piano lessons, orchestral composition and architecture, his creative approach is shaped by a unique combination of musicality, structure and visual thinking.
His latest single, “Glass Houses” feat. GEORGE ANTHONY MUSIC, released on Groove People Records on 16 October 2026, brings these influences together in a feel-good house anthem built around a driving bassline, classic piano keys and a powerful vocal performance. Joining forces with the experienced vocalist GEORGE ANTHONY MUSIC, Jon Who delivers a track that balances soulful expression with peak-time dancefloor energy.
Having progressed from his early DJ beginnings in 2018 to performances at Zurich Street Parade, Openair Gampel, Ministry of Sound in London and Café del Mar in Ibiza, Jon Who continues to develop his sound as both a DJ and producer. For Mixmag Netherlands, we caught up with him to discuss the story behind “Glass Houses”, the creative connection with GEORGE ANTHONY MUSIC, the influence of architecture on his musical process, Zurich’s house scene and what lies ahead.
- Your new single, “Glass Houses” feat. GEORGE ANTHONY MUSIC, has just landed on Groove People Records. What was the initial idea behind the track, and how did you envision its sound and energy when you first started working on it?
I wrote the original version of the track 10 years ago, and after several modifications I felt stuck. I forgot about it for all this time until the beginning of 2026, when I found it on my drive, dusted it off and started rebuilding it. I wrote it as an anthem of personal hope in the face of life’s challenges in an era of extreme visibility through social media. I think now, after 10 years, its lyrics are even more relevant.
- The track combines a groovy electronic bassline, uplifting piano chords and a powerful, soulful vocal. How do you balance classic house influences with contemporary club production while making sure a track still feels emotionally authentic?
I think simplicity is a key, but even if referencing classic house, the track should feel relevant in the present rather than nostalgic. I did this by giving it some textures that belong to the 2020s rather than the 2000s. The authenticity is also given by George’s soulful voice and the lyrics that I think are universally relatable.
- GEORGE ANTHONY MUSIC brings more than 25 years of vocal experience, with roots in gospel and a rich musical background. How did the collaboration come about, and what did his voice bring to “Glass Houses” that helped shape the final result?
This is actually a beautiful story. When I wrote the song I had another singer in mind - also a gospel singer - whom I’d met by chance through an acquaintance. But the project didn’t really take off, the singer had some personal problems and I ended up moving from town - some things just aren’t meant to happen. WHen I rediscovered the song back in January, I started looking online for a session vocalist and I found George after browsing dozens of profiles on an online platform. His voice instantly stood out. He was happy to be part of a project, and his voice really breathed new life into the song, it is exactly what I had imagined for ‘Glass Houses’.
- Your musical journey began with piano lessons and later expanded into orchestral composition before you found your way into electronic music. How have these early musical experiences influenced your identity as a DJ and producer today?
I think the classical formation open my ears and my mind to melody, layering and musical storytelling. I always come back to deep, melodic sounds and to a lot of vocal electronic music. Also, I think it shaped my eclectic taste in music - I like to move across subgenres.
- You’re also a trained architect, which is a rather distinctive background for an electronic music artist. Do you see any parallels between architecture and music production — perhaps in terms of structure, rhythm, atmosphere or the way you build an experience for an audience?
Yes, there are definitely interesting parallels - I even made some content about them:) First of all, I perceive music very spatially, its different elements placed in different points in space. Also, I am paying attention to its layers and their shifts and flows. There is also a tendency to “build” a mood, to carefully add and subtract elements as the music progresses in a set. Also, an important thing I learned during the earlier phases of production to stop obsessing over details too soon. Same with architecture - you go from the vision down to the plan and then to the details, not the other way around.
- You started DJing in 2018 under the name Tahiti Snow, with music gradually becoming a bigger part of your life before you moved further into production in 2024. Looking back, which moments or experiences have been the most important in shaping your career so far?
Being given the opportunity to play in some good venues has certainly given me the motivation to keep walking towards music. I starting better understanding people, energy flows, what works and what doesn’t. Playing in the middle of an immense crowd at the Zurich Street Parade, an opportunity for which I am grateful to this day, was an insane experience. I think that was the pivotal moment. Also the passing of my mother made me understand that music is a life force that is there and stays there all the time, for each and every one of us.
- You’ve played some major events and venues, including Zurich Street Parade, Openair Gampel, Ministry of Sound in London and Café del Mar in Ibiza. How does your approach change between an intimate club, a large festival crowd and an international dancefloor?
Reading the audience is the constant here, be it an intimate venue or a large festival. What differs is the level of experimentation you can get away with. You have a much more direct contact to a smaller audience and you can feel it better. A large crowd has a different inertia, and it needs more “in your face” moments to get fired up.
- Zurich has a distinctive electronic music culture, and you’ve become an established presence on its local scene. How would you describe the current house music landscape in Zurich, and what makes the city a special place to develop as a DJ and producer?
Zurich has deep techno underground roots, but its music landscape is unexpectedly rich compared to its size. It is also highly competitive and establishing trust with bookers and promoters takes longer than elsewhere. At the same time, also due to its size, personal networks are especially important. Being extremely international, there are very diverse strong music influences - for an outsider it’s surprising to see how strong the latin music scene is, for instance.
- Your productions lean towards vocal, soulful and melodic house, while your DJ sets are more eclectic. How do you see your artistic identity evolving, and are there particular sounds, genres or collaborations you’re keen to explore next?
I’d like to experiment with natural instruments such as real strings or horns. I will definitely experiment more with underground flavors. One other project I want to pull off is finishing a gospel choir track I wrote around the time I wrote Glass Houses..I met a lot of talented producers in the past few years, and I am definitely looking forward to collaborating with some of them.
- With “Glass Houses” marking another step in your development as a producer, what can we expect from Jon Who over the coming months? Are there new releases, collaborations, gigs or longer-term ambitions you’re particularly excited about?
I am in the late stages on the production on my next track, which is also a vocal house track. I am planning to have a radio show, but I can’t say too much about it yet:) I am teaching myself mixing on vinyl as of lately and I find it incredibly exciting. I will make a content series with music discoveries exclusively on vinyl. For next year I am also planning gigs in clubs and festivals. Stay tuned!
Buy / Stream ‘Glass Houses’ HERE
