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In Review: Run All Day

In Review: Run All Day

Jake Hirst | Reviews

To hear that yet another major drum and bass party has descended on the music melting pot that is Bristol will come as a surprise to no one. However, this was not just any party.

Last Saturday RUN returned to it’s familiar stomping ground of Motion with its most ambitious event to date, featuring a gargantuan lineup so powerful it could easily be considered the Megatron of drum and bass line ups. Following on from the success of RUN’s first day event in August 2015, the event made use of Motion’s revamped outdoor area for a day filled with colossal basslines, hearty cuisine and to the surprise of many – good weather.

At the beginning of the day it looked to be a bleak affair with black clouds swamping the sky and torrential rain falling like hail, but for the most part the weather was kind to the hardened Bristol crowd. Sporting the most colourful and skimpiest of clothing, the prospect of bad weather failed to stop the optimists who desperately clung on to the remaining dregs of summer.

The day was set across three different areas – from the spacious front yard sheltered by a marquee, to the rustic crane yard where DJs performed on a tin platform, to the darkened solace of Motion’s indoor area. Littered in between the areas were a varied selection of local food vendors, including The Hippie Chippie and Burger Bear. While prices may have been festival-standard, the quality did not disappoint.



The crane yard provided a feast of musical styles better than any burger, from the jungle history sessions courtesy of pioneers Congo Natty and Dillinja, to the liquid relaxation of the Spearhead Showcase – which looked to be a washout with the rain pouring down. But this didn’t deter the Bristol faithful, whose unbreakable spirit was typified by one girl putting her poncho on and poking holes through the back of it to drape her Rapunzel like ponytails.

The standout crane yard set came from Serum, whose reputation for creating some of the most furious and questionable sounds in drum and bass is undeniable. The floor-shaking echo caused from tracks like ‘Black Metal’ and his remix of DJ Sly’s ‘Quarter Pounder Bass’ prompted hordes of people to flock to his set and resulted in the security team closing off the area.

Motion’s indoor area acted as a much needed escape from the both the elements and the chaos outside, but it provided yet another headache selection with showings from The Time is Shadow Demon and a special b2b set from Crissy Criss and Mampi Swift – a deadly little and large combination with the ability to lay down an astonishing seven deck mix.



The front yard consistently drew the biggest crowd of the day and played host to a tyrant of jump up dnb including Mollie Collins and Logan D & Majistrate, but it was the return of Clipz who got the crowds talking. Performing as Clipz for the first time since opting to instead pursue his world-renowned Redlight alias in 2009, he opened with brand new music – demonstrating his returning intention to conquer what he once started.

As darkness descended on Motion, all attention turned to the front yard as revelers surrounded the marquee in anticipation of DnB supergroup SASASAS - a group who have proven a Zara Larrson track can be turned into hard-hitting jump up. With a sea of people on shoulders, Mackey Gee and Phantasy’s ‘Let it Shine’ opening provoked a raucous wave of cheers and set the electric tone of a performance littered with rewinds and hilariously catchy bars.

Bringing proceedings to a stylish close on main stage was the legendary DJ Hype, who not only mesmerised the audience with his famous vinyl-scratching ability, but also through playfully chopping up live samples to tracks such as Noisia’s “Dead Limit”, which left the crowd watching on in owe as he defied DJ set logics.

Photos courtesy of Sarah Koury / Entirety Labs

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