After a hiatus throughout the pandemic, The Warehouse Project have returned for the 2nd half of 2021 with an armoury filled of epic events. This year the venue has seen some changes, it now holds 10,000 people, all the rooms have received a technical revamp, and there has been an addition of some key facilities such as extra bars, toilets, chill out areas and lockers. It is clear to see that The Warehouse Project’s iconic Depot Mayfield has returned this year to reclaim its position as one of the UK’s best venues.
Saturday 9th of October saw the disused railway depot play host to one of the most dynamic and diverse lineups we have seen this year. The grand venue made use of their 3 unique rooms to showcase a wide variety of acts from different roots of underground music. At no point did any two rooms sound the same, and each stage saw a special mix of unique b2b sets and Warehouse Project debuts alongside staple names in the scene.
Located at the far end of the Depot Mayfield is a tall and narrow room with walls and a ceiling showing off its original brickwork as it arches up and over the crowd. Located at one end is a raised stage equipped with spot lights, lasers with a flat led screen that displays a mixture of lucid patterns as well as a strobe effect that takes over the whole room.
Early on, this stage saw a handful of up and coming artists playing a variety of breaks, garage, techno and house. Jim Bane opened up the stage before Mr Mitch took control as the crowd packed out. The only live set of the event came from the talented Welshman Koreless playing a mixture of electro and breaks. Following this was a disco and funk packed set from Totally Enormous Extinct Dinosaurs before the true drum and bass legend Goldie took to the decks playing a mixed set of jungle, breaks and dnb. Closing the stage were two ladies who are taking over the scene show by show. The Boiler Room speciality, Sherelle, played a set of garage and high tempo breaks before Jossy Mitsu took full control, ending the night at the Archives.
The Depot Mayfair’s 2nd largest room is a large wide open space with raised stages behind the decks and along one side. The raised platforms create another wall keeping things packed in at the front with more space further out, a good combo for dance music. With the ability to go around the back of decks available for VIP, the energy in the crowd flows all the way around this room. Mix that energy in with a giant disco ball, colourful light displays and a varied lineup and you have this epic room.
Opening the day for the Concourse room was a one of a kind, 5 hour b2b2b set from non other than Ben UFO, Floating points and Four Tet himself. The trio played a progressive set packed with melodic house, techno, and disco that welcomed ravers into the venue before picking up the pace later in their set, ready for the next act; Hunee. For anyone who doesn’t know, Hunee is the Korean spinster who brings his own unique style playing a mixture of house, disco and techno to every event he plays, a perfect match for this event and the Concourse room.
Up next was a mixed set filled with melodic, progressive and minimal techno from the New York producer Anthony Naples. Turning up the tempo before the closing set was the infamous Joy Orbison. Hopping between fast paced house and funky techno, his set certainly got the room moving just in time for a special b2b from two more artist who are killing it at the moment. Closing the Concourse room was a special energy filled house, breaks and techno mix up from the talented TSHA b2b with EFFY, an awesome end to a spectacular room.
The Depot Mayfair’s main room has made quite a name for itself over the years. Its large open design, striking pillars throughout and immense light shows have helped don it as one of the UK’s most famous stages. Throughout it’s time the Depot stage has played host to an impressive array of talent, and this show certainly added to that list. Opening the stage saw a melodic set from WHP resident DJ Aletha followed by the talented Avalon Emerson. Up next was ANZ who brought with her a mixture of the best in breaks and garage before passing over to Champion who kept the pace high with more garage blending in and out of deep bass-lines.
Switching the pace in the main room was the German producer Boys Noize. Famed for his electro and techno releases, his return to the Warehouse Project saw a set filled with four on the floor techno and dark electro tracks. Following Boys Noize was another unique b2b from 2 acts who have made a name for themselves over the years. Special request (Paul Woolford) and Chloé Robinson (Barely Legal) is the ultimate pairing that tore the Depot stage apart. Mixing blends of techno, garage and breaks saw an eclectic set from the pair, all before a garage legend took to the stage. DJ EZ took full control of the main room with his fast paced, scratch and loop garage style. Keeping the tempo high with a mix of old school and new dubby garage, the long time DJ certainly raised the roof before the final act of the night.
Closing the Depot stage saw a 2-hour set from the man himself, Four Tet. With other rooms closing earlier than the main Depot, the crowd packed out and Four Tet certainly delivered for the final show. His set was an eclectic mix packed with new music, including some unreleased remixes. In combination with his unique break and techno style was a specialised light show. Making full use of the Depot stage’s set up saw ravers fully immersed into melodic build ups with beautiful techno drops. An outstanding performance from Four Tet to close a weekend of his ‘curated by’ shows.
The remainder of The Warehouse Project’s 2021 shows can be found using the link here.
Credit to Jody Hartley for his amazing images – more of his work can be found on his page here.
Also to Lee Anthony for his epic videos – more of his work can be found here.