- With The End's closure imminent there seem to be fond farewells taking place every weekend at the central London club. In November it was James Holden and his Border Community imprint's chance to say goodbye to the venue that had been such a fitting host over the past two years. With Ellen Allien and Nathan Fake joining Holden in room one, the residency seemed set to get the send off it deserved.
Photo credit: Jon Hickman
As ever with big nights at The End, the queue wrapped itself round the block, making our advance tickets an invaluable asset. Down in the subterranean arches of the club it was a surprise to see Holden gracing the decks by midnight. Word spread fast and soon the masses abandoned AKA and the lounge, turning the main room into a bustling dance floor. Maybe it was the early time slot, but Holden's set just didn't seem to be working the crowd. It didn't help that the label head was going through a disappointingly tame record selection. Throughout a subdued set, the biggest crowd reaction met The MFA's "The Difference It Makes"; undoubtedly great, but six years old. Perhaps Holden can be forgiven for being nostalgic on such an occasion.
In the lounge a hardcore collective were zoning into a marathon set from Border Community favourite Kieran Hebden. His productions as Four Tet might not always be the most club orientated, but as a DJ he clearly knows what playing The End is about. He rocked the lounge all night with a quality set of electro, house and techno.
Back in the main room, Nathan Fake had come on and was showcasing a rather different sound from what was heard on his debut artist album. His live set was awash with dark, throbbing techno, which, judging by the hysteria, was just what the crowd wanted. Meandering through the dance floor it was easy to spot pockets of younger clubbers—sometimes a rarity at The End—which is no bad thing. If the scene is going to progress young blood will be required.
Photo credit: Jon Hickman
Surely one of the major draws for clubbers of all ages was the allure of Ellen Allien. The Berlin scene is undoubtedly in vogue at the moment and the chance to see one of its true stars was not to be missed. With this in mind there was plenty of expectation when the BPitch boss entered the DJ booth at half three. With her straight hair and simple style Allien looked every bit the Berlin poster girl, but it was the music that did the talking. Meeting somewhere between the melody of Holden and the menace of Fake, Allien's techno and minimal graced The End's legendary sound system for one final fling, never to be repeated. Her name might not have been top of the bill, but it was a headliner's set.