Got to Public Life @ 7:55, with a few minutes to wipe off the sweat, grab a water and collect myself before I started spinning. Nick and I split the first two hours of our set into thirty minute chunks. I offered to go first, and struggled a little with battle-style tables and a crazy cross-fader that slid all over the place when you didn’t even touch it. After my first (slow, around 110 bpm, maybe up to 120) set, Nick suggested we move the tables horizontally. Light bulb number one. I played two Moodymann tracks, and Nick played a Theo Parrish remix and one of our mutually favorite Theo Parrish tracks, ‘Falling Up’ (he played the whole damn thing too). 🙂 So I got back on, and felt marginally more comfortable, and a few friends had arrived, and a few others wandered in. Then after that next bit, in which I went properly east coast with my housing (and jacked it up to 125-128ish), and a few fuck ups with the cross fader, Nick suggested we turn it off. Lightbulb number 2. Actually, I had looked all over this mixer for the on/off switch, and it was in a totally unlikely spot in the upper left-hand corner (sort of), just to the left of the Channel 1 EQ’s. WTF??? Anyway. That was sorted. As I got off, most of the posse arrived, and Nick really got into his 2nd half-hour, throwing down some Relief gems and the like. It was really nice. Everyone loves that shit. Then we opted to go two-on/two-off for the last hour, which was fucking wicked. We both had an awesome time, fed off each other, and totally jacked the crowd to hell. It was really fun. Played a bit of techno, but mostly just house with depth and considerable energy, at a pretty fast tempo. Finished with “Who’s Pussy is This”.
Afterwards, Brendan and Guy came on for their Ableton + scratching debut, which was nice. Most of the Brixton massive and the extended family headed off to Lost, leaving Mark, Steve and I there with a suddenly fairly-vacant club. The set was quite interesting, with a ton of great moments, but overall it was far too intense for me in that state. Cutlass Supreeme finished up with a really nice set of ghetto tek, booty and drum ‘n bass, all worked together nicely, with some really good scratching in parts.