Darkside at Liberty Social. 200 tickets sold in two minutes - for a DJ set on a Wednesday night. An event page crowded with people asking to buy tickets. A limited door release, but the question is how long it'll take for the queue to stretch around the block. Someone posted on the event page at 2:45 that afternoon, "Damn, 250 people lined up already. Stay at home guys and gals." A pretty hyped gig, to say the least.
I arrive at around 11.30. Locals TK are warming up the dance floor with some hot conga beats. The place is absolutely jam-packed. Jaar and Harrington take the stage to loud applause. For those who've come early to queue, it's been up to six hours hanging here waiting for this. After a long, atmospheric opener, the duo kick off with some slow, cumbia-style house beats. Harrington is serious and single-minded, in a strange juxtaposition to his bouncy ginger hair. Jaar, on the other hand, seems to be more openly enjoying himself - flashing his dark, mysterious smile into the crowd and at times closing his eyes and losing himself in the music.
Jaar drops Poolside's laid-back cover of 'Harvest Moon'. It's beautiful, and perfectly gets the vibe of the night:
"I'm still in love with you
I want to see you dance again
Because I'm still in love with you
On this harvest moon."
I turn to a girl next to me and ask if she knows who Neil Young is. She shrugs and keeps dancing. Oh well. I wonder how old Neil would feel about his song being played in a tight, sweaty club, lit with multicolour lasers. I like to think he'd get it, somehow.
The night wears on and the packed crowd thins out a little. It is a school night, after all. The duo's slow house groove gives way to a more eclectic mix, with some bassy tunes and gangsta beats. One of the highlights of the night comes in the form of James Blake's 'Wilhelm Scream'. Will that track ever lose its anthem status?
By three o'clock, it's pretty much dirty techno with the occasional oddity thrown in, like Daphni's remix of Cos Ber Zam's 'Ne Noya'. I go outside for a cigarette and get trapped in a boring conversation about architecture. I'm looking for a polite escape when suddenly a freight truck begins reversing into the laneway. The bouncers come over and start shooing everyone out. Perfect. I slink back into the club.
It's just the hardcore types left now. They've called last drinks half an hour ago and everyone who's still raging is rolling on the night's momentum. We'll all be calling in sick tomorrow morning. Behind the decks, Jaar and Harrington show no sign of slowing down. I, on the other hand, am spent. It's a quarter past four and I have to be up early. As I leave the club, I cast a last glance back. Harrington, illuminated by a warm spotlight, is leaning backwards with his eyes closed. It's been a good night.