- Paris's reinvigorated nightlife owes a lot to a new generation of promoters, but we shouldn't forget the work WeLove Art has done over the past decade. Best-known for hosting electronic music in unconventional locations, they are responsible for some of the most memorable events of the '00s, among them a Pantha Du Prince performance at the Aquaboulevard swimming complex, and Richie Hawtin's ambient set in front of Anish Kapoor's Leviathan at Le Grand Palais.
For their latest venture (their first following a year-long break), WeLove took over an intimate former factory that's been converted into a corporate events space. The venue had a laid-back feel about it, with a large mezzanine overlooking an appropriately sized dance floor. On the second floor, various chill-out salons housed digital art installations.
After a warm-up from WeLove's music curator Clément Meyer, Matthew Herbert took to the decks for a three-hour set. The English producer hasn't played many shows in France in recent years, and you could sense the excitement in the crowd. Surprisingly, Herbert lent on a warehouse-ready sound that felt at odds with the venue's atmosphere. But towards the end of his set, he turned out a medley of his own tracks and remixes, using the occasion to drop his remix of Serge Gainsbourg's "Bonnie & Clyde."
Ben UFO took over at about 3 AM. Taking his usual wide-ranging approach, the Hessle Audio co-founder toyed with the crowd, repeatedly letting the energy rise and fall. Switching between acid bangers and exhilarating disco cuts, his set hit its peak when Floating Points' "Nuits Sonores" filtered out from the Funktion-Ones. As soon as the first bars hit, the crowd erupted, their cheers carrying on long after the track had finished. Continuing to move seamlessly between the genres, Ben UFO kept the dance floor packed until the early hours of the morning. Playing on past his 6 AM cut-off, he was clearly enjoying himself just as much as the audience.
Photo credit: Maxime Chermat