Words by Sophie Roberts
Liverpool has been pulling some serious cards in the events department, transforming itself into a mega hub for house and techno over the last year.
One new night piquing interest is ENRG and their equally fresh venue - The Invisible Wind Factory - brought to you from the same minds behind the Kazimier. The first of four instalments saw Floating Points in Liverpool; we continued to their second edition with The Black Madonna.
We Arrived at the venue early doors to hear resident Blehrin opening the proceedings. Blehrin (Jay Murt) has been warming up across the UK for the best part of ten years, but could quite easily execute a headline set. It’s not uncommon for him play for up to 6 hours never dropping a beat, so a being a worthy candidate for their resident is an understatement. This skill came into play tonight as The Black Madonna was a little late due to playing back to back gigs across the North West (on her birthday!).
The crowd ranged from fresh faced Uni students to older veterans, no doubt inspired to make the journey to see TBM following her recent Dekmantel set that has taken the net by storm.
(ENRG features Bespoke lighting designs)
Her energy behind the decks was immediate when she stepped up and the dynamic of sound took a turn in her acclaimed direction.
TBM's Chicago roots were evident in the music she played; a diverse blend of world influences ranging from soul-infused vocals riding over bass-heavy Chicago rhythms all mixed together in her unique style.
The venue itself was perfect; a large black metal cage staircase lead up to a room boasting huge rectangular windows which, in the early hours, would let the sunlight through the slats and pour onto the crowd…remind you of anywhere?
The booth was set high above the crowd, who were transfixed upon a breath-taking lighting rig that was in full flow behind the DJs. Throughout the club, there was an array impressive lighting installations; one featuring mid-crowd, which appeared to rain lights over the dance floor, and one UFO style rig above the bar. A lot of clubs have been praised for their lighting, and sometimes mislead as a distraction, but this layout has been executed perfectly and adds to the atmosphere.
The sound system carried the sound beautifully around the venue, with no spot on the dance floor suffering from poor sound quality.
(Korea by way of Berlin - Peggy Gou)
As TBM continued to throw the crowd into a joyous flux, she executed perfectly a range of house tracks based on filtered disco samples, joined together with tribal percussive rhythms. A highlight for me was her seamless blend of seminal techno classic; Green Velvet's 'Flash' with elegant simplicity from a Chicago house track. The atmosphere was almost tangible. In true Black Madonna style, she brought the retro vibe with hip-hop blueprint Kurtis Blow ‘The Breaks’ shortly before finishing, thanking the crowd, and heading off to The Warehouse Project.
Having being musically spoiled already, it would seemingly be a tough act for Peggy Gou to follow, but she delivered. The Berlin- based Korean artist has been turning heads through a constant stream of high quality mixes recently. Her unique blend of dark pulsing techno and broken beats were evident in her set. I’m delighted to say I wasn’t able to identify a single track. Her abstract techno was ideal to close a musically diverse evening.
As Peggy ground her set to a halt, thanked the crowd, pints of water were being stacked at the bar for clubbers to take - a signal of a club that had managed to perfect every aspect of their event, including taking responsibility of their clubbers.
This is a truly special venue which deserves exclusive attention, and their next instalment with Bicep is no doubt being hotly anticipated throughout Liverpool.
Words by Sophie Roberts
Photos courtesy of ENRG
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