- Already responsible for the Melbourne shows of two vastly different artists in 2012—Spain's techno heavyweight Oscar Mulero and Paris via Berlin's Alexkid—Capacity returned in September for its third instalment of the year, again bringing something entirely different to the city. Simply named after the capacity of the host venue, the latest edition of the unique series saw Detroit prodigy Kyle Hall make his heavily anticipated Australian debut in one of Melbourne's most celebrated underground venues, Brown Alley.
Why unique? By eliminating promoter-DJs and "industry" tickets, as well as carefully picking local talent for extended sets, the experienced heads behind Capacity strive to shift the focus away from sales and unwarranted hype, and place it firmly back on the musical performances of their acclaimed guests.
This all-too uncommon approach had a clear impact on the evening right from the beginning. There was almost no line out the front of Brown Alley—a venue known for its painfully slow door management—and once inside the cavernous hall of the main room was virtually empty, with only a handful more outside in the rooftop garden. The crowd did build, slowly, as local Andee Frost showcased his extensive knowledge and skill with a three-hour warm up set. Winding between obscure gems and soulful cuts, the experienced vinyl DJ provided a steady yet engaging platform for the main event.
Still far from crowded, the main room had filled significantly by the time Hall stepped up to take control of the decks. Although lauded for his versatile production skills, to say that his age and his hometown, as well as accolades from the likes of Omar-S, Mike Huckaby and Rick Wilhite, haven't influenced the hype surrounding Hall would be remiss. As such, Hall certainly had big shoes to fill for his first appearance in Melbourne, and it was clear from the first track that the visibly energetic 21-year-old would do his best to keep the musical programming interesting throughout his five-hour journey.
Commencing on a deep tip, each of his selections became more attention-grabbing than the last. He had the devoted crowd captivated as he worked his way through raw-edged, undulating mid-ranges, wonky, frenzied basslines and inventive, sometimes jarring percussion with clean and dynamic mixing. Aside from the occasional chord-heavy house groove to provide some euphoric relief for the eager punters, Hall gradually progressed into heavier territory before toning his selections back down towards the end of his fifth hour, ending the night with an appropriate air of smoothness.
All in all, it was difficult to decide whether Brown Alley, due to its size and the turnout, made for an inappropriate choice of venue or, given Capacity's overall aim, was actually the perfect context for the performance. The refreshing concept behind the night meant that everyone in attendance was there for the right reason—the music—and that there was plenty of room to enjoy it. At the same time, it was difficult not to feel as though the vibe may have suffered for not being in a more intimate setting.