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We Concur Launch with Mano Le Tough, Clockwork, Mind Against and Job Jobse – Crucifix Lane, London



A rare night out with the girls saw me leaving the boys to go to Plex whilst I shimmied over to Crucifix Lane for the inaugural We Concur

My first impression as I walked in was how warm it was inside – not too hot but the last time I went to Crucifix Lane, in the winter, it was beyond freezing and we needed our coats on.

There had been talk of a special lighting rig by the promoters but it was nowhere to be seen. I very much doubt anyone would have said anything, as the lighting that was provided was still pretty good. That central light at Crucifix Lane is a great feature even on its own.  Lighting was accompanied by subtle, minimal projections by Anomalous Visuals.

The sound too, unlike previous visits, was top notch. Not too quiet as with the last time I was there and not so loud my ears were bleeding. This time it was just right. I am a fussy Goldilocks when reviewing and I was a happy bunny at We Concur.

Job Jobse started as I arrived, playing a great, relaxed pace house set to start the night off in a good laid back mood. I noticed that his build-ups are painstakingly gradual and I was getting little impatient but the drops into great disco synths and electric guitar riffs were worth the wait. As the set got deeper and more energetic, the place filled up nicely. A crowd of twenty to thirty something’s enjoyed a packed dance floor by 1am. The last half an hour of Job’s set was filled with double bass strings, big vocal tracks and party vibes, ending to great applause.


I am not one for smoking these days but I was pretty hot and wanted some fresh air so joined the gang outside. Situated in a residential area, the venue are hot on keeping the noise down outside so, it’s one in one out and a lot of shushing in the smoking pen.  I question once again why anyone bothers!

Back on the dance floor, Berlin based duo Mind Against (Life and Death) were delivering some deep, epic soundscapes that made the whole space feel like a cathedral packed to the gills with big beats, sexy powerful heavy melodies and some tough tribal swing. This set was brilliant, I loved it and it pretty much blew the roof off. 

Mind Against were followed by Clockwork, bringing in some deeper, booming beats, with a more mechanical, chugging bass and swirly glassy organ melodies. A well crafted set full of pumping melodic techno. There were some amazing hands in the air build-ups, dropping into slamming, broken, funky, tough beats much to the delight of the thronging crowd. Clockwork effortlessly moved between light hearted party tracks to filthy bangers, keeping the crowd’s attention with great variation. All this and we’d not even seen the headliner yet!


Mano Le Tough took to the decks and brought us back from slamming 4/4 into the disco arena, via some rhythmic didgeridoo filled bass lines and hypnotic vocals. Travelling onwards into electro with sumptuous female vocals and some steel drums melodies, we were all pretty happy customers. Although I had preferred the previous sets there was no standing still to these tunes and we all danced right up to the cloakroom curfew.

Crucifix Lane’s cloakroom arrangements leave a lot to be desired. Crammed into a room that is not large enough to hold even half the coats for a full house, everything is put into bin bags and piled up with numbers attached and takes a bloody age to scramble through at the end of the night. There is a huge second room that is under-used right between the dance floor and the exit, so it is beyond me why they don’t screen half of it off and make a proper cloakroom. It’s such an easy thing to sort out and then the place would be an ideal venue. Knowing this we got out coats half an hour before the end of the night and left – shame to miss the end of a stonking set but more hassle that its worth to battle the end of the night coat queue. 

Hats off to We Concur for a highly successful first night. I believe the next one will be in September and I advise you keep your eyes peeled because if this one was anything to go by, September can’t come round soon enough. 

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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