A Friday night at Hope Works is always a night of contrasts and Friday 15 March once again proved that. The cold downpour outside and the hot, heady inside. The darkness of the interior, and first streaks of daylight as you stumble out at six in the morning looking for an Uber. The worry in the queue of whether the ticket you bought two hours ago from a guy with a car for a profile picture is real, and the ethereal joy of losing yourself in the music once inside.

Objekt didn’t start his set until 4.30am, so the night involved trips in between the main room, with sets from Rian Treanor, Roxymore and Josey Rebelle, and the small room, with sets from 96 Back, Skee Mask and Tasha. But of course, the night started with Lo Shea absolutely going for it in the main room with Rian Treanor following on. It was all very very heavy. The kind of heavy where your pancreas and appendix have somehow swapped places through internal shaking, not that I’m at all complaining though, it very much wakes you up for the night ahead. The Sinai Sound System speakers were unreal, you can understand why Anthony Eden wanted to invade it as the output was electrifying, which was fitting for Rian Treanor’s electro live set. Eardrums sufficiently battered, I left the main room to catch Skee Mask.

He started his set in the small room just after 2am with an ambient kind of vibe that gradually progressed to a heavier sound throughout the set. The starting beat was reminiscent of the scene in Spaced when Tyres starts dancing to the sound of the kettle, and developed into synthier techno until around 3am when it slowed back down again. Half time oranges over, he headed into more 90s style club techno. It was of a similar feel to the soundtrack of the Blade films, re: vampire dance club. The only complaint that was noted by some on the evening was the choice to put Skee Mask in the small room, as it meant a one in, one out policy had to be enacted, which left people queueing in the pouring rain for quite some time. Obviously the weather exacerbated the issue, but it did seem to be the case that Skee Mask would have been better situated in the main room.

After Skee Mask finished with a bit of jungle there was still the last half an hour of Josey Rebelle’s set. Her set was absolutely fantastic, you ended up getting completely lost in the music, to such an extent that via the tectonic drift of Hope Works I ended up about five people away from the group I’d come with. I was behind that pillar in the centre, the one you try and chart your surroundings to like a mast rising out of the deck that is the crazy ship of Hope Works. Josey’s set certainly laid the stage for Objekt to follow on to.

At around 4.40am Objekt’s stuff started, and he did not disappoint. His latest release Cocoon Crush has a more trancey feel compared to some of his previous work but his set at Hope Works was back to his heavier back catalogue. It built up gradually and whipped the crowd into a fervour. Although everyone there that night was enjoying themselves it was clear most people were here for Objekt and his set was not disappointing on that front. From about 5am it got into a good pace following 20 minutes of incremental build up of layers upon layers. If you were to compare it to anything I’d suggest ‘Cowgirl’ by Underworld as a point of reference in terms of raw, intoxicating techno. Leaving at just gone 6am with tinnitus firmly setting it you feel a yearning for more after another fantastic night; Lo Shea, you’ve done it again.

Image: James Pendlington

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