Photo Credit: Alex Williams
Invisible Wind Factory is the brainchild of the creative team from behind the recently-closed and much-missed Kazimier and not only is it one of the newest venues in the city, it’s also one of the most exciting. It’s clear too that the team intend to keep it this way; not simply content with leaving the pre-built brilliant and inventive lighting installation as it is, they’ve opted to change the layout for every event hosted.
This was the second night in the ENRG series and indeed the third time that I had visited IWF (see: http://lsradio.co.uk/musicblog/2016/10/15/rbma-presents-club-cosmos-w-moodymann-invisible-wind-factory-8-10-16/) and each time has been unique. For this event, the regular beams of sci-fi inspired light rings that have since become a mainstay behind the stage area were complemented by rows-upon-rows of suspended light spheres that stretched right from one end of the venue to the other and seemed to reach endlessly into the cavernous warehouse space above to glow in sequence to the music.
Unfortunately, I missed ENRG resident Blehrin’s opening set but arrived just in time to see the star-of-the-night, The Black Madonna take to the spaceship-like DJ booth just after 12:30.
The Black Madonna proved herself to be an eclectic selector of tracks and weaved through many genres with ease over the course of the night. While still gauging the crowd she started off proceedings along a fast-paced and bass-heavy tech-house edge to get the crowd warmed off, she then moved into a more tribal direction (two-minute conga solo anyone?) before the set piqued with a stream of disco edits with the likes of Michael Zager Band’s ‘Let’s All Chant’ and DJ Spen’s remix of ‘Bad Luck’ all making an appearance.
However, the real emotional high point for me came with Todd Terje’s edit of the Chic classic ‘I Want Your Love’. Its extended build up with a looped rubbery bassline and hints of the sweet vocals locked in the crowd without giving the game away until it was too late and the chorus dropped sending hands flying into the air!
With the audience in the palm of her hand, The Black Madonna closed off her set with a selection of harder techno cuts to lead the energetic late-night crowd into Peggy Gou’s cosmic broken-beat closing set as she left the stage to rapturous applause.
The theme of the night was Kinetic Energy, and it’s safe to say just from looking at the groove of the feet, the sway of the hips, and the shapes cut by the hands on the dancefloor that there was plenty of it at IWF that night.