- Housed among a sprawl of converted warehouses along the canal behind Temple Meads train station, Bristol's Motion has been continuously tweaked over the years. Formerly a skatepark, the mammoth venue now boasts (at least) four rooms and various courtyard spaces, plus its own esteemed event series, In:Motion, a southern, headsier version of Manchester's Warehouse Project. This past bank holiday weekend, Motion presented one of its most ambitious events to date: a day party spread across all the club's open-air spaces, with a suitably stacked lineup. Though all three spaces have previously been used for events, this was the first time they were all open at once.
The expansive front courtyard—now known as Container Yard—was already buzzing when I arrived. A ticketing ploy meant that those who had purchased cheap early birds had to be in before 2 PM, which ensured the party hit its stride early with a dedicated crowd. Axel Boman warmed up as people reconvened with friends and milled about getting drinks. The Swede appeared in as joyful a mood as ever as he dished out tunes that matched the balmy afternoon, like Florian Kupfer's "Post Present" and Earth People's "Dance (Beats Mix)." Because it was the Saturday of a long weekend, the crowd—which ranged from exuberant teens to hardened ravers—seemed up for getting raucous, and Boman's cheesier selections (Snap's "The Power") were also gleefully received. Joy Orbison took over at around 4 PM, opening with Daniel Maloso's punchy "Ritmo Especial." For the next two hours, he weaved between Afrobeat (Leonce's "Click Clack feat. Divoli S'vere"), sublime house (Silicone Soul's "Right On!") and some of his own cuts ("Rite Ov"), reaffirming his position as one of the scene's most reliable DJs.
At the rear of the venue was Back Yard. Flanked by tall stone walls and distinguished by corrugated steel and barbed wire (not as imposing as it sounds), this was where the darker sounds went down, courtesy of Tobias., Midland and Daniel Avery. My favourite space, though, was Lock Yard, a cosy gravelled plot next to the canal. Once a small marquee in the smoking area featuring local DJs, it's since been kitted out with a proper stage set against a strangely scenic industrial backdrop. It was here that Octo Octa played live at sunset to a small yet effusive audience. For me, hers was the set of the day: tracks from her outstanding recent album, Where Are We Going? shone brightest, particularly the euphoric "Fleeting Moments Of Freedom (Wooo)."
The only inside space used during the day was home to Monolithic, a striking immersive LED installation from international collective squidsoup that was accompanied by pre-recorded sets from some artists performing on the day. People were invited to nestle under suspended spheres of multicoloured light, zoning out to ambient selections from Daniel Avery, Octo Octa and a handful of local DJs. It was a nice addition to the party, offering a welcome breather from goings on outside.
The day's unmistakeable headliner, Jeff Mills, stepped up to Container Yard around 8 PM. An early airing of "The Bells" appeared to cause groups to leave in droves, meaning it thankfully never felt too packed. Though ethereal techno, such as Etapp Kyle’s "Nolah," defined the set, Mills played funkier than I've ever seen him. Basement Jaxx classic "Fly Life" morphed into what sounded like a loop from Mr. G's "Black Breds," followed by a 909 workout that occasionally dropped slightly out of time—a refreshing reminder that The Wizard is still only human. I spent most of the set dancing next to a middle-aged couple in sunglasses, who were having the time of their lives. On the other side of me, a young, blonde, Lithuanian guy passionately fist-pumped and bounced up and down for the entirety. When my friend asked him why he'd come all the way to Bristol for the party, his response was simple. "Are you kidding? It's fucking Jeff Mills, man!"
The only inside space used during the day was home to Monolithic, a striking immersive LED installation from international collective squidsoup that was accompanied by pre-recorded sets from some artists performing on the day. People were invited to nestle under suspended spheres of multicoloured light, zoning out to ambient selections from Daniel Avery, Octo Octa and a handful of local DJs. It was a nice addition to the party, offering a welcome breather from goings on outside. The day's unmistakeable headliner, Jeff Mills, stepped up to Container Yard around 8 PM. An early airing of "The Bells" appeared to cause groups to leave in droves, meaning it thankfully never felt too packed. Though ethereal techno, such as Etapp Kyle’s "Nolah," defined the set, Mills played funkier than I've ever seen him. Basement Jaxx classic "Fly Life" morphed into what sounded like a loop from Mr. G's "Black Breds," followed by a 909 workout that occasionally dropped slightly out of time—a refreshing reminder that The Wizard is still only human. I spent most of the set dancing next to a middle-aged couple in sunglasses, who were having the time of their lives. On the other side of me, a young, blonde, Lithuanian guy passionately fist-pumped and bounced up and down for the entirety. When my friend asked him why he'd come all the way to Bristol for the party, his response was simple. "Are you kidding? It's fucking Jeff Mills, man!"