Plates Reviews: Project Friday 17th February

The Irish Centre [or, half-heartedly, the ‘I Club’].

I hadn’t been since I played there for Leftback’s birthday almost a year ago-in the upstairs room, occupied by Plates at the time. Recent news that DJ Fett Burger & LNS were set to be playing b2b all night long there , left me eager to return.

Project, a night I had heard of through the “scenes" general chit chat, was one I had been meaning to go to since they put on Anthony Naples last year. This was their 3rd event since their launch in April, starting at The Lofthouse before deciding to venture a little out of the familiar city centre digs.

Early doors in the downstairs room [which could easily be home to a regular primary school disco], a few dancers were on the floor already. The back area, where a couple of 60’s living room sofas sit next to the bar, was also beginning to get moving.

Fett Burger & LNS were kicking off with some Italo Disco, recalling one from Quentin Harris, some lazy Detroit house and abstract rhythms whilst the room slowly grew in numbers. The Canadian pair soon sped up the flow of Chicago house bangers including Ron Trent’s ‘The Afterlife’ which helped up the energy levels in the room.

Throughout Fett burger was teasing us, tearing us back and forth from a comfortable club of dancers in Nottingham [via Ireland] to becoming part of a tribe, transported to white sandy beaches with the sounds of distant African drums and infectious melodies. After a couple of rums, the room appeared to be packed which was a delight to the two friendly founders, Joe Kelly and Kristen who found out they weren’t the only ones who could have a discussion about ideas on Nottingham’s diluted tastes and audience.

As the night grew older, both promoters and artists were comfortable with their turnouts and ahead of a full dance floor towards the Irish Centre’s famous 4AM light switch on, Roy Of The Raver’s ‘Emotinium’ maintained satisfied spirits where after I was escorted away to a very catering afters.

Written by Kate Webb