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ENTER. At Space – Ibiza



If I was to describe ENTER. at Space in one word, it would be INTENSE. Everything from the omnipresent dot, to the barely lit rooms and the relentlessness of the music, comes together to create a powerful atmosphere. I went to Space for We Love and it seemed almost an entirely different club when I walked in a few days later. I’m still not entirely sure which room I was in and I usually have the directional skills of a particularly efficient homing pigeon.

People come to ENTER. to worship at the alter of Richie Hawtin. The black circle behind the DJ booth brings to mind some sort of Ancient civilisation worshipping a sun god. While the Essex boys make their pilgrimage to DC-10 to see Jamie Jones, the Made In Chelsea types to Pacha for David Guetta, the tech folk make their way to way to Space. While it may be blasphemous to some to mention David Guetta and Richie Hawtin in the same sentence, Hawtin is very much a ‘Superstar DJ’, albeit with a cooler haircut.

I think what the people who like tech have in the ‘credibility’ stakes, is that it’s a genre that is a lot harder to pretend to like. This usually means that the majority of the people in the room are there purely for the music. However, I can see ENTER. turning into a night where all the beautiful people flock to be seen. I’ll tell you who else isn’t there for the music: those creepy middle-aged men who look like they’ve taken styling tips from Paulie from The Sopranos. They are there, under the misguided notion that people want to have sex with them. They’d be better off spending that E50 entrance fee getting a handjob from a prostitute by the Hippy Market. The concept of sexual harassment has yet to reach the Balearics; can someone please run a seminar?

I quite enjoyed Richie Hawtin’s set as it goes with my metronome-esque style of dancing. However, I’ve realised after going to ENTER. that I’m not cool enough to like minimal tech and from now on, I’ll lace up my high tops with pride. He does put on a good show though I’ll give him that; the ice cannons blasting out, the sexy dancers on the podiums, and the bits of confetti falling from the roof. Another plus point was how dark the rooms were. I don’t think there is any need to be able to see someone’s face in a club. 

Ah, good old Maceo Plex. Never far down on a Warehouse Project or summer festival line-up, you know what you’re getting with him. We had to wait for what seemed quite a long night, to hear him play in the Terrace. A highlight for me was when he played Dustin N’Guyen’s remix of Kavinsky’s Night Call. I was flagging a bit by this point, but hearing this got my shoulders going again.

ENTER. was a little bit wasted on me, but I did like the intensity that Hawtin and his production team managed to create. If you’re a big Hawtin fan, make sure you get to Space on Thursday night, you’ll be in your element. 

Grahame Farmer

Grahame Farmer’s love affair with electronic music goes back to the mid-90s when he first began to venture into the UK’s beloved rave culture, finding himself interlaced with some of the country’s most seminal club spaces. A trip to dance music’s anointed holy ground of Ibiza in 1997 then cemented his sense of purpose and laid the foundations for what was to come over the next few decades of his marriage to the music industry.

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