AVA London Conference has long championed a mix of music, dance music culture, education, showcasing tech, as well as hosting an array of industry leaders giving insights and demos on the latest trends and tech in electronic music. As always, this event was an exhilarating blend of insights, innovations, and reflections on the evolving landscape of electronic music, technology, and cultural spaces. The panels, keynotes, and discussions offered deep dives into not only the music industry but also the cultural shifts happening within it.

The 8th edition of the AVA London Conference took place this year in the lesser-known wings of the British Library, which housed numerous conferences and panels between March 20th and  21st, 2025. The evening portion of the events were held in the central London hub, The Outernet, Hackney’s east-end, EartH, and the relocated east London super club The Cause. The action-packed schedule included prolific artists doing panels, talks, and interviews, including FKA Twigs, Annie Mac, Jayda G, Underworld, Marcel Dettman, Kojaque, Paul Wooldford, Saoirse, Jaguar, and Lorenzo Senni. From sharing artist experiences to the vision of the future of dance music and deep conversations of disappearing and reconstructing queer spaces, there was plenty of though-provoking, heart-warming, and hopeful conversations.

Simultaneously, there has been masterclasses in production held by Ski Oakenfull, from Point Black Academy, as well as NONOTAK’s Visual Arts Masterclass, and further talks held by industry leaders on how to beat burnout in the electronic music scene, how to take your brand internationally, the importance of brand partnerships and how to find these opportunities, pathways into the music industry and informative panel sessions about how to take your music ‘from the first beat to the big hit’.

Wrapping up each evening, there was a choice of a film showcase with a panel ‘Music’s Leading Role in Film,’ and a film screening of ‘In Camera’ in partnership with MUBI in the Pigott Theatre of the British Library, while in Hackney’s EartH Hall, Erika de Casier and Kojaque did a show with Mechatok producing a live show.

The Friday evening session saw a very curated performance by Ryoaji Ikeda and Marcell Dettmann, wrapping up with a live show under his concert label ‘Under My Own Shadow’. The Saturday section of the conference saw an all-night long event with X Club, LSDXOXO, Juice Romance, Body Clinic, Inside Moves, and Marion Hawkes.

There was something for everybody, whether you are starting as an electronic music DJ or producer, for music enthusiasts, or industry workers. This conference is a financially friendly alternative to the Amsterdam Dance Events, International Music Summit or Miami Music week conferences and is a recommended event to those indviduals looking to pursue electronic music as a career as over the years there has always been a good mix of industry professionals both from in front and behind the stage at this event.

Thursday morning kicked off at 11 AM with an opening keynote with the infamous dance electronic music duo Underworld members, Karl Hyde and Rick Smith. This was a heartfelt and nostalgic journey through the band’s decades-long career, telling the story of how it all started. From their humble beginnings to their collaboration on iconic tracks like ‘Born Slippy,’ both artists offered a glimpse into their creative process and personal relationship. They discussed how their collaboration has evolved over the years and how they continue to push boundaries in both music and visuals. Their passion for creating meaningful work while adapting to technological advances was truly inspiring. A pertinent point that remained was a ‘cost to caring’ and how you can never release a song unless it’s been revised, reshuffled, left, picked up again, digested before it can be released to see the light of day.

Hyde’s relaxed approach and Smith’s meticulousness were contrasted in their approach to creativity, but both highlighted the constant learning process that drives their work. Their reflections on the significance of their fans and how live audiences continue to be a source of energy and inspiration showed that even after decades, their work remains deeply rooted in the joy of making music. Their perspective on visual arts in their performances is that it should remain separate; their music is enough with a few light installations, and the extravagant visual performances with the likes of the Sphere  in Las Vegas should be left at home on the TV.

In the following panel, Munroe Bergdorf led a powerful discussion on ‘Re-Queering Dancefloors’ with guest speakers O.Jordan, Jaguar, Tom Rasmussen & Tom Merhtens, urging straight and cisgender artists to collaborate with queer artists and and communities in order to bring visibility and a place to rise for queer artists and performers. Besides this, the importance of civic responsibility is ever-present to make the change and preserve queer culture from capitalistic benefit. This involves showing up to your local LGBTQIA+ spaces, buying drinks at a gay bar, attending festivals, gigs, raves of queer artists and ensuring advocacy is in the heart of all intentions. The panel underscored the necessity of mutual support in preserving queer culture and ensuring safe spaces for everyone. As sober spaces and mutual aid projects rise, the conversation turned to how the community can keep these spaces alive amidst political uncertainty and growing hostility.

FKA Twigs’ session may have been most popular. The 3 PM one saw the entire auditorium filled out, with every attendee fully engaged in the artists’ incredibly airy and inviting presence. The keynote, which was hosted by Nadine Noor (Pxssy Palace), brought a thoughtful perspective on technology and art and an intimate glance into the performer’s intricate mind, and a glimpse of everyday artist life, such as being able to hold an interview shortly after coming off stage performing as an alien being. She shared how it can be a tall order to switch between being an artist and a performer in expression to being a name, a brand that needs to sell and do things according to their contract. FKA Twigs discussed how AI, despite being an intimidating force in the creative industries, is now inextricably tied to the artistic process. The discussion on “deep fake” technology and its potential to redefine artistic identity was eye-opening.

Twigs also spoke on the delicate process of creating art in the age of social media, exploring how artists can maintain authenticity while navigating the pressure of visibility in the digital era. While it is necessary, she expressed an apparent disgust towards technology and how she feels that in today’s day and age, we are mostly caught in a cycle of regurgitation rather than maintaining independent thought and striving to be the world’s biggest thinkers. When discussing her music and going through different phases of all her releases such as her studio album ‘Magdalene’ and ‘Usexua’ and talking in more detail about her songs ‘Drums of Death’, ‘Sticky’ and and ‘Girl Feels Good’, FKA Twigs presented an interesting notion of ‘Kiki & Bouba’ – a phonetic identification of sound that is within the perspective of a the listener. Whilst this has been a linguistic concept for some time, the artist admits that this is something that has been floating around on TikTok for a while. Throughout identifying each song, each moment within a song as ‘Kiki’ or ‘Bouba’ and even identifying herself as more Kiki – we learned that both states can coexist even within a song, a sound or a personality. Further to this, she shared her intentions as a performer to push boundaries in her dance choreography, to move the body in a way that can be somatic, that can be feminine, sexy but also not sexual, finding the right balance that expresses power, meticulousness, expansiveness, and being dynamic.

The afternoon was wrapped up by a presentation and educational masterclass by Point Blank Academy teacher Ski Oakenfull, who cleverly deconstructed and re-constructed Underworld’s famous track ‘Two Months Off’ within a space of just 25 minutes using Ableton Live. For music students, music nerds, and enthusiasts alike, this has been an excellent demonstration of the artistic process within the production of music, the consideration of layers, loops, sampling, the use of synthesizers, and ripping vocals with the incorporation of AI. If this wasn’t educational, this was undoubtedly very cool.

For the Thursday night crew that did not have work on Friday, the evening programme held a mix of live performances and film screenings in partnership with MUBI. The panel featured experts from the film industry, touching on sound and production hosted by Tarsza and featuring the award-winning composer of the blockbuster ‘The Substance’ and ‘Aftersun’ music supervisor Lucy Bright and Naqqash Khalid, who also screened his directed film ‘In Camera’. Meanwhile, Danish singer and producer Erika de Casier opened the show at EartH Hackney with her moving vocals in an intimate performance, followed by Irish rapper Kojaque leading an energetic and powerful show, with Mechatok closing with a live performance.

Friday kicked off with a mix of live panels discussing ‘The Future of Music & Clubbing’ with Emerald Lewis, followed by keynote Interview with Toyin Mustapha and Major League DJz and Gay Times hosting a keynote interview with the rising talent horsegiirl representing for the queer community and reflecting on her journey from artist profile inception to being the most demand artist of the decade, thanks to the relentless support of her community among having a unique artistic expression.
‘Creators in Session: Designing World Class Experiences’, sponsored by ticketing platform EASOL saw a industry-leading panel of experienced professionals, namely Kaz Brown, founder of Dankie Sounds, Dekmantel festival founder Casper Tielrook, artist-booker for Sonar Festival Ikram Bouloum and Trust Recordings label owner, DJ and producer Saoirse and founder of Body Movements queer dance festival. This was an informative and eye-opening, and insightful discussion of all the unique experiences each professional has when producing festivals and creating cultural hubs, and how they integrate AI and VR. Kaz Brown shared that before Dankie Sounds became successful, only starting in 2020, there was a gradual growth that started with just 50 people, mostly supporters such as friends and affiliates showing up and showing support. Eventually, when taking the event to Ibiza and hosting a 3-day 2000-person event with headliners such as Calvin Momo and with Black Coffee jumping behind the decks, there were a lot of challenges to find the right venue and gaining the stamp of approval from Spanish authorities, alongside shipping their own sound systems from the UK. With smaller events like SoulCity that only had a capacity of 300 people and a growing presence on the island, Dankie Sounds is committed to creating access for underrepresented communities in the electronic music space. Brown’s commitment to amplifying Black voices, alongside DJing partnerships and collaborations with global brands like Nike, exemplifies how dance music can be a catalyst for cultural exchange.

Casper Tielrooj, founder of Dekmantel, took the stage next, sharing his journey of starting small and growing into one of the most revered electronic music festivals globally. The importance of building a “healthy ecosystem” with innovation and sustainability was a recurring theme. As the festival moves into new cycles, he emphasized the need to constantly innovate and review, making sure that each year feels fresh. The event’s focus on local artists ensured they had an obvious presence, reserving spaces for local artists to close each stage each evening. Sustainability also shines through, with a growing dedication to creating spaces that are both environmentally and socially responsible.

Ikram Bouloum, artist booker for Sonar, shared insights from the long-running festival, now celebrating its 32nd edition. The event has always been about more than just music—it’s a festival that connects local and international collectives, fosters innovation, and explores the intersections of music and technology. The multidisciplinary approach of Sonar, with its collaborations with universities and researchers, allows for an immersive experience that transcends the boundaries of music. The lineup this year, featuring the likes of Mochakk and Peggy Gou, was described as experimental, showcasing how music can be reimagined and presented in novel ways.

Saoirse shared a compelling look into the creation of London’s leading queer electronic music festival. The discussion underscored Body Movements’ dedication to crafting a safe, accessible, and inclusive space for the LGBTQ+ community. The artist highlighted the importance of ensuring both financial and musical accessibility, creating a protective environment for vulnerable groups through harm reduction and welfare initiatives. By uniting various queer collectives, the event fosters a sense of community and introduces attendees to new artists and dance floors.
The festival balances well-known international acts with emerging talent, focusing on local artists and maintaining a gender balance in its lineup. This approach allows it to educate its audience and promote new voices in the scene.

The festival’s production is characterized by a gritty, DIY aesthetic, blending industrial elements with natural surroundings. Sound and lighting quality are paramount, and the festival collaborates closely with community members to achieve this vision. Saoirse openly discussed the financial challenges faced by the festival, including significant production cost increases that led to a modest ticket price rise. She emphasized the need for transparency and integrity in communicating these changes to attendees. Despite the logistical stress, she noted that the satisfaction of bringing Body Movements to life is immense. The festival’s commitment to accessibility is further demonstrated by its pay-it-forward and low-income ticket options, which contribute to a diverse and vibrant dance floor experience. This approach reflects the event’ core mission: to nurture the queer electronic music scene while prioritizing community, inclusivity, and social responsibility.

Ned Beckett, the founder of LittleBig Agency, imparted his knowledge on effective Talent Discovery and Artist Development alongside Georgia Taglietti (IGNAC / AFEM / Laurent Garnier). Having represented influential figures like Aphex Twin, Ryoji Ikeda, Holly Herndon, and Lorenzo Senni, Beckett has played a pivotal role in shaping careers within the electronic music scene. He elaborated on the processes of identifying talent, elevating artists to new heights, and ensuring long-term success in a constantly changing industry.

Additionally, prominent electronic musician Paul Woolford, also known as Special Request, served as the guest speaker on the ‘No Tags’ podcast. Journalists Chal Ravens and Tom Lea engaged the artist in an open discussion about underground music and pop culture. This session at AVA London was highly anticipated.

Finally, Italian producer Lorenzo Senni contributed to the programme by presenting a revised version of his masterclass titled ‘The Architecture of Intensity,’ focusing on his production techniques using Logic. Known for deconstructing the climactic build-ups and vibrant synthesizer arpeggios characteristic of ’90s trance and hard techno, as well as incorporating hardcore punk influences into his work, he emphasized the use of repetition and isolation in his production methods.

Techno pioneer Marcel Dettmann participated in the club and conference programme by conducting a keynote interview with emerging DJ and panelist Vanessa Maria regarding his latest live project, My Own Shadow.
The ‘Kneecap – Managing Mayhem and Breaking the Fourth Wall’ panel discussion featured Dan Lambert, manager of Kneecap, alongside the film’s director, Rich Peppiatt, and its producer. This candid conversation offered unfiltered insights into the challenges and triumphs of managing the explosive Irish rap duo and bringing their story to the big screen.

The session was marked by its raw and direct nature, making it both enjoyable and humorous. Rich Peppiatt shared his experiences directing the boisterous group, highlighting the importance of immersing himself in Irish culture and language. He discussed the difficulties in assembling an all-Irish production team and the tough decisions made during editing, including cutting the film down from its original 2-hour and 40-minute runtime. The process of choosing which scenes to cut, often referred to as “killing babies,” was particularly challenging.

Dan Lambert recounted the serendipitous pub meeting that led to his involvement with Kneecap and described the whirlwind of managing the band’s rising fame while simultaneously promoting the film. The panel provided a unique glimpse into the intersection of music management and filmmaking, showcasing the energy and cultural significance of their journey.

The discussion underscored the film’s role in revitalizing Irish heritage in contemporary music and culture, while also highlighting the logistical challenges of balancing the band’s touring commitments with film promotion activities. The unfiltered and honest dialogue made the session not only informative but also entertaining, offering attendees a genuine and humorous look into the world of Kneecap.

The evening session concluded at Here at The Outernet with an extraordinary audio-visual experience delivered by the renowned Japanese experimental artist, Ryoji Ikeda and a live performance by Marcell Dettman.
Ikeda’s performance on the underground grand stage was nothing short of mind-bending. The space was transformed by monochromatic, rapidly-moving visual projections that seemed to defy the limits of perception. Accompanying these visuals was an auditory landscape filled with unique, often unclassifiable sounds. Attendees were immersed in a world of unfamiliar tones, frequencies, and high-pitched noises that challenged conventional definitions of music.

This intense and jarring performance served as a fitting finale to a conference that had consistently emphasized innovation and experimentation. Ikeda’s work exemplified the spirit of AVA London, demonstrating how artists can push the boundaries of sound and vision to create experiences that transcend traditional categorizations.

Following this incredibly intense brain-flossing, Marcel Dettmann, the acclaimed techno innovator and Berghain fixture, unveiled his ground-breaking live project My Own Shadow. This performance showcased a stripped-back, raw aesthetic, blending shadowy textures with mesmerizing loops and an introspective ambiance. Dettmann’s performance style for this project was fluid and organic, avoiding pre-set arrangements in favor of an evolving, spontaneous set. He crafted a distinctive and engrossing experience by incorporating modular sounds, field recordings, and real-time processing. This new venture demonstrated the artist’s artistic range, diverging from his usual DJ sets while still maintaining the dark, intense atmosphere he’s renowned for. My Own Shadow aimed to push the boundaries of sonic exploration, reflecting his continued evolution as an electronic music pioneer.

All things considered, the AVA London Conference was a success and offered a diverse, relevant, forward-thinking, and if not an educational, then definitely fascinating conference, and was an excellent networking event for students, enthusiasts, music lovers, and industry professionals. It would be said with confidence that you walk away learning something new or discovering a new artist or having a new perspective and understanding on the intricacies that lie in the deep and ever-expanding world of electronic music.

With the festival industry in the UK and across the globe struggling as the cost of living crisis is ever-evolving, it is certain that the market hasn’t been more competitive than now. Getting the balance right between ticket costs, down payments on services, staffing, rental of the spaces and land, toilet rentals, DJ rosters, managing tight and exclusive guest lists, and ensuring that you’re not pricing out your customers while also delivering an authentic musical experience to all – it’s no easy task. It is safe to say though – that Houghton has absolutely nailed it. And this festival really is – a serious party. Perhaps my perception is warped, after all, I am no spring chicken anymore and have seen many concerts, gigs, and festivals; too many to count. At some points, I wonder if there is a limit that I am approaching, that there is an element of becoming complacent but also generally more comfortable and being more able to say “no” to the FOMO. I am pleased to report that there is just so much more to see and hear and there are more ways to be impressed.

Where to even begin? Perhaps to give a nod of approval to the vast and attuned organization. It is no surprise given that you have  Craig Richards behind all of this. What started as a 7,000 strong festival in 2017 has now with popular demand expanded to 12,000, and of course, this comes with more demands to please all. There has been a vast increase in glamping which was easily observable upon entrance with more people choosing home comforts for the long weekend of festivities. Services have been elevated with different options available both in glamping and camping arrangements, tightened security, and overall great cleaning and waste management. If there’s one thing UK festivals struggle with and are good at, is to make a mess and this has been carefully monitored with sites being actively managed for environmental impact which is really refreshing to see. Safety has also been at the forefront with reasonable measures to ensure everybody is having a great time. Excellent choice of food options open from early mornings to night and costs very reasonable given that festivals have always caused an ache for the wallet. Water available everywhere. Well-stocked bars with a special place in my heart for the Mezcaleria who also have the smiliest bartenders. On the note of staff, across the board from all staff from security to food vendors, everybody has been in great spirits adding extra icing on the cake.

The artistic expression of this festival is also unique in its collaborations. Steel structures designed by Craig Richards and fabricated by metal artist Rory Nelson scattered between the beautiful landscape around the serene Goose Lake, stages, and pop-up tents and vendors. Trippy walkway structures out of Siberian Larch (Podmakers), welded metal sculptures (Antonia Beard), and private collections of the landowners engage and excite. Lights adorning the waters in the evenings (Squid Soup) while iridescent sounds come from an illuminated ‘mushroom tree’ – cascading between glimmers of light and twinkling organic sound sources offered a moment to pause and respite between the energetic stages of the Pavillion and Earthling stages. An audiovisual trip on the benches, a moment to observe and engage with nature which is an overarching theme in this gathering. The placement of the festival in the grand estate lands of Houghton Hall with its endless rolling hills, sycamore trees, and grasslands makes this festival particularly attuned to the land and the quintessentially British naturescapes England has to offer. While this festival is primarily focused on an incredible curation of art and music – the nature aspect plays a pivotal role in merging the energy of creativity and passion for artistic expression. The setting is ideal and carefully thought out placement of art pieces and structures like the Armadillo Arts Pavillion by Unknown Works and the Orchard adorned with hammocks in between the trees provides serene spaces for tranquility and an opportunity for relaxation and rehabilitation. There is simply something for everyone here – from saunas, massages, gong baths, and even a little hut to have a cup of tea. The Orchard Dome had also become a downtempo escape in the evenings with audio-visual entertainment – more performances from Natural Symphony Live and other artists giving a luminous and peaceful trip away from the more energetic parts of the festival. In fact, it is safe to say that there is simply isn’t enough time to do it all. There is just too many juicy things going on. This leads me to the most obvious part of the experience – the music. The rumors were true – this really is the best festival for electronic music in the UK. There were so many “Wow!” moments, it was a little hard to distinguish which was more of a highlight. This brings me back to the previous point where I once thought there was a limit to what can be considered ‘new and fresh’ and impressive. The variety of artists and music was next to none, each set bringing truly its A-game with the Saturday and Sunday line-ups was a clash of the titans in terms of favorites. There were certain moments where you just didn’t think there could be any further peaks. Some sets you just didn’t want to end. Some sounds I never heard in my life. Others left me covered head to toe in goosebumps. I never wanted to stop moving. Sunday saw me clock over 70,000 steps. I thought you only lost toenails running marathons. I wouldn’t be surprised if I have some kind of a low-key fracture to one of my toes from all the stomping around. Initially, upon inspection of the line-up, there were a lot of unrecognizable names to me. Another indicator that I am probably getting on a bit and a little out of touch. One always gets a little apprehensive when they are served something new as it may mean you might be left a little disappointed. But this was far from the case with Houghton.

Each year, the curation of the line-up is meticulously put together by Richards and his team and in this concept, you can be certain that there is a fair balance of the usual suspects as much as fresh and emerging talent. In each edition, we saw the likes of Ben UFO, Ricardo Villalobos and other members of the RPR Soundsystem, Margaret Dygas, Nicolas Lutz, and The Ghost, but we were also presented with wonderful debut artists such as Donato Dozzy, You Su, Josey Rebelle and Object Blue. This year was no exception with rising stars such as Dopplereffekt, Mala, Actress, Grace Sands, Sherelle, and over 100 other artists.

For those keen beans who were able to move in on Thursday – they would have caught an opening set of Hammer followed by Craig Richards at the Derren Smart Main stage, while UVA, Kinetic, Anwar, and Lukas Wigflex opened the Warehouse. An all-female line-up by Ellie Stokes, and Hannah Holland opened the Tantrum stage during which time Silverlining, Bobby., QUEST warmed up the Pavillion while Rob Mello, Felix Dickinson and Prosumer fired up Earthling. Unfortunately, the Quarry was “unwell” this year which saw a re-jig in schedule and Alex Downey playing in the Outburst instead proceeded by Electro Elvis, LMB, and Transparent Sound in Live. The cute tipi-style tent stage Stallion was graced by the presence of Jonny Rock and Horse Meat Disco while the Old Gramaphone opened with Remi Mazet & Maybe Laura followed by Jake Manders and Wayne Holland. Giant steps opened with Amit & Aneesh, DJ Himitsu, Cameron, and Juan Blanco all warming up the festival for the Friday sessions and providing a break before the real 24-hour music festival was to kick off.
 Friday 10:00 am: the frolicking began with Present Shock II by United Visual Artists (UVA) opening access to their audiovisual installation at the Warehouse blending technology and art broadly exploring the relationship between light, space, and time by the use of synchronization as a way to challenge perception. Meanwhile, James Massiah opened the Darren Smart stage while Harri Pepper, Greg Paulus, and Amit & Aneesh opened the Pinters stage, Hamish & Toby at Tantrum, and Craig Richards with Donna Leake doing Reggae sets at the Pavillion. Bas Ibellini warmed up the Earthling stage while Chez de Milo, Not An Animal, and John Tejada got the Outburst tent going. Mr. Shiver, Shy One, Tama Sumo & Lakuti with Colleen Cosmo Murphy D started bringing in the funky vibes at Stallions, while the Old Gramaphone hosted the likes of Double Agent 7, Miles Wonderfulsound, Steve Rice, Kem and Chris Sullivan, and big names such as Bill Brewster, Tristan Da Cunha and John Gomez at Giant Steps. Meanwhile, the Sculpture Garden tours have begun offering revelers an opportunity to learn more about each of the artists who presented on the festival grounds.

We arrived and caught a very fun and sun-light kissed set of Saoirse who as usual, founder of the Body Movements Festival made an excellent debut of energy for what was about to come. By this point, the rest of the ten thousand-and-something guests started arriving and settling into their respective campsites filling up the dance floors on all corners. The evening sessions across the stages saw the likes of Move D and Prosumer at Stallions, an absolutely crazy set by Joy Orbison filling out the Derren Smart main stage from top to bottom. The Transendence Orchestra, Daniel Avery, Sam Morton, and Santaka among others at the Pinters Gigi FM, The Ghost, Gene on Earth, Francesco Del Garda, Craig Richards playing a darker and more ambient set to previous ones seen thus far, followed by Convextion and Ogazón, Call Super and Ben UFO at The Pavillion. Personally, Earthling had me the whole night with Raresh playing an amplifying ditzy and high energy with some high-end minimal and tech-house sounds blended together to create a very upbeat and engaging set getting everyone’s dancing shoes firmly buried into the forest dust. Voigtmann who followed after delivered an equally tasty set that got us all ready for bed by 3 am to savor our energy for the bigger days to follow. 
 Meanwhile, the not-so-secret Terminus stage was only getting amped up and with a very hard-to-get hold of the unannounced line-up, they started their 24-hour marathon leaving no rest for the wicked. Buried deep at the back of camping with occasional warning signs of its exclusivity and limited capacity, it sure did give some exquisite new Berlin party feeling, wondering how big this queue was going to be – and if you had it in you to make it in. Whispers throughout the festivals echoed that the wait could have been as long as three hours, and without surprise.

The 500-person capacity amphitheater much like the other stages had a unique setup, in a descending valley that led you down from a forest trail into a circular dance floor with sound systems surrounding you. The sound isn’t just crisp – it is better than divine. Arguably the best sound system in Houghton. Could it be because most of the sets are also exclusively vinyl? This secluded stage had a non-stop roster of artists playing from day to night and night into day with special sets by Jonny Rock, Silverlining, Marinn, Sugar Free, Craig Richards B2B Nicolas Lutz, DJ Masda, Vlada, Sonja Moonear, Bas Ibellini, Borja S, Kinetic, Junki Inoue, Carrau and Z@p.
Saturday took no prisoners with an all-day megatron of a line-up leaving everyone fully satisfied given it is simply impossible to clone yourself and be in multiple places at the same time. Overhearing conversations from fellow dancers, everybody was blown away by every set. You didn’t want to leave or move onwards to see something new. Each and every artist captivated you. 
 In my case, I started “brunch” at the Tantrum stage with a very joyful, funky and naughty vinyl set by Dr Banana. Lots of experimental sounds with great breath-holding drops all in synchronization with the technicolored TV screens on top of each other behind him. Tech-house and acid mix with a twist of the unexpected vocal.
 Following this, I was amazed by the duo performance of comedian and musician Reggie Watts and old-school house titan John Tejada performing under their artist duo ‘Wajatta’ which once again brought a fresh perspective on electronic music performance. In the increasingly as well as singing along while Tejada dropped classic after classic including my favourite ‘Sweat (On The Walls)’. 
I was very excited to see Sonja Moonear’s name on the roster after being moved by her set many moons ago at Timewarp in Mannheim. She absolutely did not disappoint with her set at the Pavillion although her set took on a more ditzier and bouncier vibes dropping tracks such as ‘TAN-RU – Keep Reachin’ and a more heavier ominous and playful at the same time and vocal-sexy ‘Bizarrere Inc.- Playing with Knives (Quadrant Mix)’. This session set the precedent for me for the things to come. We then moved on to a newly discovered by myself DJ Manfredas at the Outburst stage who truly was a highlight for me. This Lithuanian artist not previously known to me really gave me a run for my money. In fact, Manfredas is a bit of a local here in his hometown of Vilnius running radio shows, a record-shop bar, and his own party nights. Judging by this set – really successful ones too! His 2.5-hour set had me dancing and moving in ways I haven’t done in a long time. It is absolutely certain that I’ll be there at one of his ‘Smala’ club nights sometime soon. In the meantime, I am eagerly awaiting the possibility his set was recorded so I can relive those juicy, techy, often unexpected and jittery drops.

As soon as Manfredas’ set finished, I was quickly washed away into the crowd to catch the second half of Red Axes’ Live set which was a trip on its own. Once again, an undiscovered artist duo that had the teenage goth in me rejoice with glee. A wonderful surprise to my earbuds, a welcome uniqueness to the music with heavy industrial undertones, guitar riffs – at one point I was certain they were playing metal. What a creative approach to music! Drums, guitar, bass guitar – full riffs, industrial ringing, swooshing high-pitched sounds, and meaningful lyrics to songs. The crowd was roaring and dancing – maybe even moshing? No pogo though thankfully. The punks are not dead. Most part of this performance featured their heavier acoustic tracks along the vines of ‘Teroof’, ‘Flawless’, ‘The Watkins’, ‘Sticks and Stones’ and ‘Hey’. Red Axes also did a very impressive DJ set the following day at the Earthling stage that left my fellow superfans speechless. Ones to keep an eye out for.
 Afterwards we were treated to a dose of what can only be named the “triangle of needs” by Panagea at the Earthling, with the Identification of Music Group on Facebook relentlessly churning out track IDs as universally voted one of the best sets at Houghton. Absolutely relentless offensive of rolling beats, high hats, and riveting basslines. One could not stop to catch the chance to breathe with unreleased weapons such as ‘Whine and Clutch – Y U QT’.

Meanwhile, Zip had everybody equally dancing crazy at the Pavillion, with more moody and minimal tunes such as ‘Andrade – Get Away from the Pressure’, more vocal smashers such as ‘Zed Bias – Shell the Again’, an epic remix of Joy Orbison’s Flight FM mixing ‘Races’ by IPC over it and friendlier more twinkling starry songs for the sunrise such as ‘Random Factor – Broken Mirror (Freaks Turning Orange Vocal)’ and ‘Blue Boy – Funky Friday’. The sunrise took care of an absolutely perfect set by Margaret Dygas who got the whole crowd blissed out to the maximum. Watching the sun creep up behind the trees and the lake while she played songs Deetron’s ‘Can’t Love You More’, Nina Simone’s ‘My Baby Just Cares For Me’ and a dreamy remix of Michael Jackson’s ‘Wanna Be Startin’ Somethin’.

Sunday morning continued with a beautiful set by The Ghost in the cozy and fully-packed Stallions tipi stage with blissful groovy funky and disco tracks all thrown together like the delicious refreshing salad you needed after an all-nighter. Featured tracks were unreleased Ortarix, ‘Movin’ Souls – Nonstop Juggelin’ (Hey Gringo)’, covers of Santana’s ‘Oye Como Va’, ‘Kisses’ by Miss Monroe and ‘Lava Lava’ by John Spring. In the meantime, the rest of the stages presented with the likes of Mr. Scruff, an ambient set by Midland, Vera, Dresden, Higher Intelligence Agency, Enrica Falqui, and Maybe Laura. The evening once again had a fierce competition between artists Moodymann, Nightmares on Wax Soundsystem, XDB, Rhadoo, Palms Trax, and Optimo closing out with some incredible sets.

Meanwhile at the Terminus, we finally jumped in on an opportunity where we moved quickly in a swift 40-minute operation and got greeted to a very spooky and alien set by Kinetic with some juggling beats. A welcome change from all the euphoric notes of the morning and sizzling daytime, this evening was full of journeying acid overlays and ambient dark techno grooves. Following this and even more trippy mystical and dark set was played by Junki Inou who saw us ready for the final acts of the night.

With a very competitive end of the night between Ricardo Villalobos, Hunee and John Talabot, we made our way to Outburst and planted ourselves firmly next to the left speaker at the front for Talabot’s absolutely insane set. Again, for me a highlight – at one point a friend and I holding onto the railings and rocking all over the place with some crazy drops and tunes. The Catalan mastermind truly took us on a journey of all corners of music, with taking us through remixes of Pet Shop Boys (possibly a Shep Pettibone mix), minimal stompers like Maetrik’s ‘Sexus’, old school minimal and progressive tracks like ‘Steps’ by Greenman and dark ambient like ‘Stoicism’ by Main(Void) and closing with the delicious ‘Yummy’ by Voodoo.

For some the party didn’t stop there and Carrau and Zap would save the final last drops to close out this magnificent endeavour that was Houghton Festival. By this point, many had already departed for their Monday responsibilities and the lucky last would have enjoyed the last few shakes before all the magic – like many good things in life – would have to end.

Overall, Houghton easily gets my 5+ stars. Despite its exponential growth since its inception, this is truly a masterpiece of an event. It is carefully curated with exquisite sound systems and attracts a very wholesome community and vibe. What I found particularly worthy of brownie points is the general lack of phones flashing into artists’ faces and phones out in general. Was it the lack of reception perhaps or that people were generally here to dance and fully immerse themselves into the music and the experiences that this festival had to offer? In any case, the crowd was very comforting, charming, polite, safe, and very low-key. The lack of costume certainly took the pressure off, and you can literally turn up however you like. You are not there to ‘check-In’ or get tagged in pictures. You are not there to livestream your experience. You are there to fully unplug and check out. There are no overcrowded ‘it’ crowd DJ booths. In fact, some stages completely lacked a DJ booth and even press did not have access to enter. You are there to simply be fully engrossed and enveloped in the music. That was exactly what we did, and I have returned to London with my heart full and inspired beyond what I could have imagined with a whole deck of songs to shop for which I missed to do at the Trevinos shop in situ.

This festival has stolen my heart and without a doubt, I will be back. This time making sure I’ve got a couple of extra days to decompress in the picturesque scenic countryside and National Parks of Norfolk.

Until we meet again!

As the rain clouds were starting to disperse and a double rainbow graced the skies of a humid and warm evening over the hill of San Jose, Cova Santa was warming up to a magical evening as we made our uphill ascent up the multi-layered club. The familiar strips of purple and blue lined the premises with decorative lanterns, wicca chandeliers and hanging vases of spilling pink wisteria flowers – a familiar inviting dazzling branding decor of the All Day I Dream concept.

Photo Credit: OFFBrandProject

Above the entrance, lay a walkway to the secret stalactite cavern. An outlandish wine cooler of the dining levels above, or a mystical escape buried deep under the main stage of the building, stalactites stone stairs leading you deeper down into the cooler calm and quiet. 6 flights of stairs below a stage and a few chairs were adorned with purple lights and 360 views of dripping mineral icicles. We were told by our lovely hosts that on occasion some secret performances and ceremonies were held here – and no wonder. The space held something quite holy and peaceful and was perfectly secluded from all the mischief that happens above.

Pipi Ciez took the stage first, and his performance was nothing short of mesmerizing. His signature dreamy and melodic soundscapes resonated perfectly with the setting sun, creating an ethereal vibe that captivated the crowd. The blend of deep house and progressive beats ensured a seamless flow of music, inviting everyone to dance and lose themselves in the moment with his signature track. The DJ’s ability to curate a musical journey is unparalleled, and he undoubtedly lived up to his reputation as a master of the decks and it was obvious that he was having a great time doing so.

Lee Burridge followed with an equally exceptional set, taking the energy level up a notch. His unique fusion of tribal rhythms and soulful melodies set the dancefloor on fire. The crowd responded with enthusiasm, moving in sync with the infectious beats. Burridge’s performance showcased his profound connection with the audience, effortlessly guiding them through a diverse range of emotions. It was evident that both artists had a genuine passion for their craft, and their sets left a lasting impression on the partygoers.

Moving on to the culinary experience at the Gastroclub & Mixology located on the upper deck, I was treated to an extraordinary dining affair. Welcomes with Malibu-soaked pineapple canapés and hickory smoked Cova Santa-branded bread to excellent Mezcalitas and delicious variations of the classic ceviche, the food, and drink do live up to the hype. The restaurant’s elevated position offered breathtaking views of the mountainous Ibiza landscape, providing a serene escape from the dancefloor – yet with perfect views of all the dancing going on downstairs. The menu featured a delightful array of dishes, creatively prepared with fresh, locally sourced ingredients. From delectable seafood delicacies to vegan delights, the restaurant catered to a diverse range of palates. The attentive staff and impeccable service further elevated the dining experience, making it a delightful highlight of the evening.

At 11 pm, honoring the sound curfew, the performances moved indoors to the clubs beneath and the night continued with sets by Jim Rider vs Tommy Raffa, Facundo Mohrr, and Rodrigo Valdovinos. With a perfect start-to-finish experience, it is safe to say that Cova Santa is a beautiful space to bring together beautifully curated sounds, drinks, and food experiences and kindred spirits who seek the same kind of musical and spiritual journey.

Photo Credit: The Drumsheds London

While many promoters have had the green light and opportunity to go ahead with a huge scale music event, not everything was that simple in 2021. Threats of new Covid-19 variants, ever-changing legislation on testing, and Covid status QR codes meant lots of music events stood at the mercy of last-minute changes to restrictions and cancellations dictated by the Department of Health. December 2021 saw the largest wave of infections no thanks to the milder, but more contagious Omicron variant in the United Kingdom which meant yet another setback for the events industries leading to many pre-planned events getting postponed.

The Hydra was not alone in this situation, forcing the promoter to postpone their sold-out ‘Not To Be’ event that was due to take place on December 18th. In January, The Hydra announced their new date and location via their Instagram with a lengthy, heartfelt apology explaining the difficulties that were endured to bring such a special event together that would honor both the headliners and the vision of the show. With a few amendments to the line-up (as some artists were not able to make the new date), the show was confirmed to take place at the incredible The Drumsheds venue that was also going to close its doors forever after their last hosting show on the 29th of January.

Despite the 11 days notice, the show firmly remained Sold Out with many keen fans scratching around for tickets, resulting in a whopping 10,000 people filling up the space to the brim. It has been a while since one has seen an event this busy with revelers directed in snake queues to enter different units and more porter potties than at a festival. This venue truly is geared towards a mass gathering. The last time I recall such an experience was TimeWarp. The incredible hangar-esque 4-unit warehouse towered high on the horizon beyond the IKEA of Meridian Water, drawing an unusually mature hipster crowd from all angles. It’s no wonder that the entrances were already flooding with partygoers as early as 1 pm which is a rare sighting for a day rave. With headliners such as Four Tet, Floating Points, John Talabot, Joy Orbison, Ben UFO, Carl Craig, and Moodyman, it’s no wonder people wanted to get in early doors and secure their spaces.

While warm-up guest DJs OK Williams & Gabrielle Kwarteng opened the floor in the smaller Unit 9, NTS Radio regulars Portuguese sweetheart Mafalda and multi-talented Zakia got the arrivals moving with an eclectic mix of tech, tribal, jazz, and naughty breakbeats. By 3 pm, the audience was steadily trickling into the venue and Sofia Kourtesis and Bella Boo took over the decks at Unit 9 starting with an ass-to-the-wall techno set, mixing in all kinds of naughty vocal tech such as ‘Kassian – Aerial’ and breaking it up with Latin American sounds such as Adam Port’s edit of ‘Eme Lelu’ by Quim Manuel O Espirito Santo. Following the pair’s 2-hour combined set, in come Tsha & Effy making way to the heavier pumping techno, throwing in mega tracks like ‘Clouds – Chained to a Dead Camel’, acid tracks by Gallegos (such as ‘Blue Mountain’) and even mixing in Masters at Work’s infamous ‘Work’ and even a cheeky trappy edit of Never Let You Go (Sammy Virji) by Hamdi. It was a surefire way to get the crowd all revved up for Joy Orbison’s and Ben UFO’s insanely dark and mysterious ethereal techno set.

Tsha & Effy

Meanwhile, John Talabot & Violet in Unit 5 got things going with the biggest disco ball man has ever seen, paving the way for a euphoric set for Motor City Drum Ensemble’s Danilo Plessow and Jennifer Cardini, dropping tunes by Armand Van Helden’s ‘I Want Your Soul’, CLS’s ‘Can You Feel It’, and closing with a throwback 90s track in THK – France (Mars Mix). And then began the clash of the titans: Joy Orbinson & Ben UFO hit the ground running with ethereal heavy techno tunes along the lines of Fiyahred’s ‘Anyway (Do It)’ while Jon Hopkins went progressive with ‘Some Polyphony’ by Petter, and then down the acid road of Client 03’s ‘Wavelife Dayjob’. By this point, both spaces have started to fill to the point of no return. It was a choice between going to get another drink or going to the toilet – or losing your spot, as you can tell that everybody was there for the night’s most anticipated finale of Four Tet B2B Floating Points and Carl Craig & Moodyman in Unit 9. It was a difficult decision to commit to one performance and I’m sure many have found themselves in the same position – but you just can’t have your cake and eat it.

However, my choice to settle in Unit 5 did not disappoint. Being a big fan of Kieran Hebden’s music over the years but never having the opportunity to see him play live, my expectations were set high. For those who don’t know, Fout Tet’s music has taken many venues, festival headlines, and countries by storm. The Grammy-award nominee has created a unique and highly accessible sound that has become a popular household name in indie electronic music culture, infusing jazz, hip-hop, drum machines, ambient vocals and eventually fusing all and everything in between – basslines, heavy basslines, and organic sounds. The excitement was real, only to be compounded by analog-synth-piano-master Floating Points (Sam Shepherd) to be taking behind the decks with him. Shepherd equally holds a big title in the electronic music world, also taking his unique explosive and often exciting and unpredictable DJ sets from dancefloor to festival highlights.

The two masters made the closing set for the last ever event at The Drumsheds worth talking about, with an incredible mix of visual art, blue and red strobe, neverending casting laser lights all over the hangar walls while mixing up all the genres you could think of. At one point, I heard a reveler wail ‘This is the best day of my life!’ as Four Tet dropped his regular banger, but still-unreleased mysterious bassy female-vocal led progressive bassy dubstep track that sent goosebumps all over my body. This masterpiece was swiftly followed by familiar vocals of ‘Luminee’ by STEDIT, ‘Never Leave You’, and even a surprise appearance of Swedish House Mafia’s remix of The Weeknd – Sacrifice. Other memorable tracks include Bby – Overmono, MPH – Locked In, Floating Point’s remix of Skepta’s ‘Back To Basics’, and Kölsch’s mix of Gui Boratto’s ‘618’. The set itself was an exciting mix of jungle, bass, garage, house while also mixing in the classic indie signature sounds. One minute you are getting low, the next your arms are thrown up in the air in ecstasy. It is precisely why this event was a hit sell-out event: there was something for everyone and everyone could find something they could enjoy.

As London continues to lose major music venues, this was an inspirational day out to remind everyone that music needs spaces to evolve, to be enjoyed, and to inspire next generations and keep the nation dancing. Although it was my first visit to The Drumsheds, I know it will be a memorable day with plenty of fresh tunes to awaken an otherwise grey and glum January 2022. Hopefully one day we are able to relive more events of such epic proportions curated by The Hydra and Broadwick Live in equally large venues alongside Printworks.