After attending eight incredible Warehouse Projects in the last few months, it was time for my final stop at Store Street before the events come to a close on 1st January 2018. I wanted to leave the event on a high, but at The Chemical Brothers, something wasn’t quite right…

On paper, it was great. The legends that are the Chemical Brothers played a vibrant and eclectic mix of songs from midnight until 3am in the main room, and Andrew Weatherall and Sean Johnston impressed room 2 with their ‘A Love from Outer Space’ set. Yet, it wasn’t all there. Perhaps I missed the best parts, or maybe it was the surprising demographic of music fans settled in Store Street that had me on guard for the majority of the night. There were times where I was the youngest in the room by approximately 30 years. An office Christmas party kind of vibe. It felt odd and I felt out of place.

I can’t blame the acts though. Daniel Avery who played from 3am to 5am brought summer vibes to a cold December night. There were massive drops – particularly in title track Drone Logic from his 2013 album. Avery’s productions have been unique and interesting since his beginning in electronic dance music in 2012, when the FABRICLIVE 66 compilation was released. He’s appeared on Resident Advisor’s “Top DJs” poll ever since. Fairly new to the scene, the British DJ and producer has took much of his inspiration from the Chemical Brothers.

The Chemical Brothers, who quite confusingly aren’t related but are instead university friends, have been playing a radical mix of acid house, techno and hip-hop since 1989. Along with The Prodigy, Fatboy Slim and New Order, they were pioneers at bringing the big beat genre to the forefront of pop culture. The Manchester duo, comprised of Tom Rowlands and Ed Simons, have had six number one albums and two number one singles.

Their Warehouse Project performance saw them tease the huge hits that first catapulted to them to fame. ‘Galvanize’ and ‘Go’ were victorious riots that proved why the duo are still so celebrated thirty years on. “Wide Open” had a triumphant mid-song climax, and funk-enthused “Taste of Honey” has a buzzing bee cameo, celebrating Manchester’s own worker bee logo.

Unfortunately, the light display sorely disappointed. What Bicep did at their November 18 performance in the Store Street venue is what I was expecting, but what I got was a sporadic semi-decent splatter of bright blue lines. It felt like this laziness had been catered for the older audience who might not care as much as younger eyes. The atmosphere after 2am was at its lowest, being able to move so effortlessly through the three rooms isn’t what Warehouse is about. Half the fun is being in a crowd jam-packed with leery fans chanting along to every track.

Don’t get me wrong, The Warehouse project event was good, but I might have to bring my mum and dad along next time.

The Warehouse Project is open on selective nights until 1st January 2018. Some tickets still remain. Find more information here.

One Comment

  1. Your review is sickeningly ageist. Believe it or not, we over-30s also found it underwhelming, with the light “show” being more like a disappointing market town Xmas lights switch on than the laser fest such a headline act deserved. Your ideas about what the older folk want are barmy and inaccurate. Were you just embarrassed to be on drugs near your parents’ friends? Get over yourself.

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