Rob Swaine, resident DJ and co-promoter of Curriculum Clubnights, assesses the Friday night debut party at Public Life.
It's the night before Curriculum debuts at Public Life in Shoreditch and I'm putting the final touches to the last promotional podcast with promoter Dickon Stone. It's due for release the following morning. The anxiety has already manifested itself in both of us. The sign-off line sounds a little bit like this: "The Clubnight is tonight at Public Life! Come down! We're going to get really sweaty. Or if you're listening in hindsight, with the night having already happened, then you missed out!" Immediately stepping back from the microphone and we start to question the validity of this statement. It's so easy to think negatively, even when you're confident in your product and passionate about what it is you're aiming to achieve. We agree that to get two people dancing would be a success.
Arriving at Public Life at half seven and it's still blazing sunshine outside, the pub no more than twenty metres away is so full that people are spilling out into the street, and the mini park opposite is home to a vast throng of those who can't quite afford the hefty London drinks prices but still want to get in on the summer action. Mixed emotions ensue: on the one hand, there are loads of people out and about, what with it being the same night as the Stag and Dagger. Surely some of them will stroll in to check out our night? But on the other hand, why would anyone want to spend their early evening in a disused converted toilet when the weather's so delightful outside?
We stick with the plan and kick off the DJ sets at half eight courtesy of Trol23, laying down the perfect reggae and dancehall warm-up set. It's exactly what we'd envisaged, the only problem being that very few people have taken advantage of the free entry before ten. We witness several suited ladies and gentlemen, fresh from the City, stroll nervously down the Public Life stairwell, frown, then leave as fast as they came. It's time to think positively; at least we're getting a walk in crowd, even if they're not quite the open-minded individuals we're hoping for.
Ten o'clock comes and Dickon hits the decks, spinning forty-five minutes of East African hip hop. To my surprise, people begin to come in, the dancefloor fills, and people are dancing with drinks in their hands, showing no signs of uncertainty or confusion. This means they've paid to come in, are intrigued by the night and have instantly liked what they're hearing. Dickon and myself begin to relax, breathe a sigh of relief and vow to enjoy the rest of the night. The whole purpose of the night is to have fun after all, but it's equally important to us that other people enjoy themselves too and share our musical vision.
Half an hour into my set and the baile funk seems to have done the trick. Nothing gets a party started like the sound of angry Brazilians shouting favela filth over Miami-bass-influenced beats. From then on out, the dancefloor is practically full, but most importantly it's highly energetic, constantly moving, breaking a healthy sweat. The evidence of which can be found dripping from the ceiling onto the CDJs infront of me. As I switch it up and begin to play more world-music-influenced percussive house, I see a large number of unfamiliar faces shuffling around in front of the DJ booth, giving the thumbs up and showing their support for the music.
As Beat Takeshi closes the night with half an hour of pounding carnival rhythms and wonky midget house grooves, we're left with a dancefloor of close friends. It's the perfect end to a successful night. Not only did we manage to lure our unsuspecting friends to a refurbished toilet, but we also managed to coax in some strangers and play them a plethora of music from around the globe. Every forehead glistened with the proof that we have something special to dish out, and as a result, we'll be back very soon with some exciting new sounds.
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