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Wednesday 04 July


Undercurrent culture and Printworks London go hand-in-hand. So where better for cult trainer expo, Sneakerness to make its first London debut?

With the event taking place in the midst of Summer’s blistering heat, Printworks’ Container Yard will offer epic space for guests to enjoy the capital’s heatwave. Enclosed by large black shipping containers, Container Yard channels Printworks’ urban look and feel. Brands wanting to share Printworks’ subcultural roots have space to spread their vision beyond the industrial warehouse walls.

As well as the chance to buy, sell and exhibit footwear and apparel, sneaker addicts can expect a rich programme of DJs, fashion talks, street food and brand activations from Crep Protect, Footlocker and Swatch. Representatives from adidas HQ will also be scouting the event for budding designers, offering the chosen innovators a trip to their headquarters in Germany. Join sneaker and brand enthusiasts from across Europe at Printworks London this weekend.


In Conversation with the London Sinfonietta’s Tansy Davies and Nick Drake 🗓

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Tuesday 19th June

In Conversation with the London Sinfonietta’s Tansy Davies and Nick Drake

The London Sinfonietta’s composer Tansy Davies and libretto Nick Drake have created a site-specific immersive opera at Printworks London. Taking place from Wednesday 20th to Saturday 23rd June, the performance promises to offer a groundbreaking look at a grieving father’s quest to connect with his lost daughter. We caught up with Nick and Tansy to discover more: 

Cave is set in an underworld of spirits.  You’re clearly interested in the limits between reality and non-reality. How much does Cave play with this notion of liminality?

Tansy: Cave is about Skin. The skin between life and death, the skin between humans and animals, the relationship between father and daughter. The cave goes through several phases of being imagined by the father whose lost his daughter and he’s remembering her. There’s a sense of things being apparently there, but not there. Half-there you might say.

Cave is also about the relationship we have with nature. The performance isn’t just about grief and loss. It’s about gaining through wisdom. In Cave we discover a portal into an ancient belief-system where humans understood life through interacting with nature much more. Caves were traditionally a place to seek survival, to solve problems and talk to nature. It’s a very positive message.

Did you choose Printworks as your venue because it reflected an ‘otherworldly’ parallel space?

Tansy: Printworks works well due to its vast sense of history. There’s been an activity in the space that has now past. It’s inhabited in a different way now. It’s grown a different skin. It’s like an urban cave. We’re trying to recreate a sense of a womb-like space- where the audience and performer come together to experience something intimate.

Nick: Printworks’ urban architecture is a beautiful context for what we’re trying to do.

Your main character in Cave is a Shamanic figure.  What role did Printworks play in the narrative set-up of someone who is caught between the margins?

Nick: He is a shamanic figure but he’s also a father who has come to this place because it’s very meaningful. He’s come out of a world that has been pretty much destroyed by what we now call Climate Change. So he’s also mourning the loss of nature. He’s come to this space because it’s the last place that meant a lot to both him and his daughter. He’s trying to bring her back for a moment. This place is a sacred place; a place of magic. It’s a place where the skin of the building speaks of ghosts and spirits. It’s perfect for us.

Cave builds connections between the characters and their environment. How well does Printworks work as a venue for performers to interact with the space?

Tansy: It’s a very suggestive space- it has a sense of a Cathedral in its dimensions. The acoustics are so good- it’s to die for really. It’s one of the best acoustics I’ve heard. So that’s the wonderful way that musicians will enjoy interacting with the venue.

Nick: It’s a very unusual thing for an audience to enter into a space like this. For our audience to come from the outside world and then find themselves in a dark cavernous space, it’s a brilliant situation for them to understand the cave context.

Fundamental to Cave are its live acoustics. How different do these sound in Printworks as opposed to a traditional venue such as a grand opera house or concert hall?

Tansy: Every performance space is difference. Every room is an instrument. You’re always playing a duet with the space. Printworks is entirely different to the rehearsal space. It’s soft yet very clear.

In an industrial-canvas like Printworks, how easy was it to transform the venue with your audio-visuals?

Nick: It works beautifully with a mix of live instruments and electronics. In terms of the look, the designer’s didn’t need to intervene with Printworks’ natural aesthetic very much. The building is the essence of the design. The performance area hums with the power of the building.

As an immersive opera being created by a whole Royal Opera team, Cave is clearly breaking ground. Is Printworks a space that is ripe for experimentation?

Tansy: It’s perfect for the piece. It’s a very flexible space that could be used in lots of different ways.

Nick: It’s great to experiment with opera and to take it away from traditional venues where you have a very defined audience. Taking away from those traditional environments and into Printworks allows the relationship between audience and performers to be more powerful and more intimate.

How did you find the logistics of putting on an immersive performance piece in a warehouse environment rather than a traditional theatre?

Tansy: It’s been very easy getting in and out of this space. Everyone here has been extremely helpful

New Music: June 🗓

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Friday 15 June

New Music: June


Special Request – Curtain Twitcher (Nina Kraviz Alice Was Here Remix)

Printworks favourite Nina Kraviz has remixed the title track of Special Request‘s EP ‘Curtain Twitcher’. Beginning with Kraviz’s hypnotic vocals which appear through a haze of soft glitchiness, the track sprawls into eight minutes of steadily progressing acid, swelling with anticipation and continually feeling on the brink of collapse before breaking into a pounding rhythm six minutes in.

Man Power – Heart for Yes. Like for No.

Following his closing set of the Charge Bay at Harvey’s Discotheque in May, Me Me Me label boss Man Power has released one of his strongest productions to date from new three-track EP Souvenirs. Instantly compelling, Heart for Yes. Like for No. is carried by an arpeggiating house melody that pummels underneath syncopated percussion and Man Power’s signature synthetic melodies before plunging into a concise, dancefloor-ready drop.

New Helena Hauff album revealed

Now globally regarded as one of the most forward-thinking and exciting artists on the electronic music circuit, Helena Hauff embodies everything that makes an incredible DJ; mixing unheard sounds from the EBM, electro, and techno underground that send dancefloors into a frenzy with a consistently uncompromising and unparalleled style, all alongside the steady creation of her own unique catalogue of productions.

This week, Ninja Tune leaked news of a new album, which will be her first full-length since 2015’s Discreet Desires.

For more new releases we’re currently digging, head to Printworks #NowPlaying on Spotify; five hours of music curated by us.

Printworks wins ‘best club’ in the Time Out Love London Awards – Interview 🗓

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Wednesday 02 May

Printworks wins ‘best club’ in the Time Out Love London Awards – Interview

Thank you London for voting for Printworks as the capital’s best club in this year’s Time Out Love London Awards. Thank you to all who’ve been with us from the beginning and all who continue to support us and help this incredible space develop into something even bigger…

Read the full interview with Printworks’ Head of Development, Matthew Johnston, below.

How long has the venue been open?

Printworks opened in 2017. A lot of our attention in the first year was on electronic music which hadn’t really been done in London on that scale before, but we also hosted a huge range of events and worked with some great artists and brands. We had food events and orchestras, ballet and cabaret, music video shoots and fashion shows, and launches for the likes of Gorillaz and Nike.

From the start, our ambition was to be a home for culture generally; not just electronic music. We’ve recently opened a 3,000 capacity live venue within Printworks which will match the standards of our electronic events, and you’ll see some really exciting stuff happening this year across the arts spectrum.

Although electronic music will always be massively important to us, there’s so much more that makes Printworks brilliant. We’re committed to being one of the best cultural destinations in the world; a multipurpose stage for musicians, collectives and artistic endeavours, with a focus on local projects and the community as a whole. Plus, we firmly believe that being fully immersed in culture and the community generally can only benefit our electronic shows. 

Have you got any regulars? What are they like?

We have lots of regular faces and returning visitors. As the venue has such a diverse offering, some events obviously attract different audiences, whilst others enjoy seeing Printworks in its many different facades. Generally in London we’re seeing that music lovers aren’t split between fans of electronic events or live gigs – they’re interested in both, which is really exciting.

Many of our shows at the weekend run through the day too, so plenty of people come to the venue for an entire day and into the night. We’ve got a great food and drink offering at the venue with a lot of good partners on board so people can come down early, have a drink and delicious food before seeing some of the world’s biggest artists through the evening.

What’s your favourite thing about Printworks?

Still for us it’s the potential. Even though we’ve already come so far, there’s so much more we can offer to people, artists and the community. It’s just such a remarkable place. The sheer scale and size alone presents so many opportunities in terms of production. It’s a 16-acre site and a former major printing facility for London newspapers. It’s packed full of original features and printing press equipment, and is the most fantastic place to host creative and immersive events. It’s been a challenge, definitely, but we are honoured to be guiding the building through this. There is genuinely nothing else like it out there.

What’s the best night you’ve had at Printworks?

This is a tough one as there have been so many. When we open the doors of Printworks and see the reactions of people coming into the venue for the first time it’s pretty special – it’s just such a rewarding feeling seeing thousands of guests enjoying the experience you’ve put so much into. The Hydra shows are always fun – and personally, they’re my favourite musically. However, I think the most memorable moment was finally seeing live music in the new live space at Printworks. It was a 12 month project that had a lot of bumps along the road, and many people said live music couldn’t happen in a venue like Printworks given its complexity. But we never stopped believing in what we were trying to achieve, and have a brilliant team who made it happen. Seeing it come to life and having amazing feedback from artists, promoters and guests alike made it all worthwhile and something that we’ll never forget.

Why do you think people love Printworks so much?

Although London is spoilt when it comes to incredible electronic music, Printworks does stand out. There are no other venues in the city – or country – that can offer a mix of world class artists and production in such an impressive industrial setting to the scale that Printworks does. People love the uniqueness and authenticity of the space and the programming, and the fact it has the newest tech on the market. And our day events offer something different too – and immediately went down incredibly well.

At Broadwick Live our background is as much in festivals as it is in events, and we are pretty obsessed with overdelivering on experience and quality.  And we know that one of the reasons people loved Printworks when we opened it last year was because it was so new and so different, so we won’t stop surprising people. Essentially, our passion and objective is for people to be continually blown away by Printworks.

How does it feel to be voted best club in London?
We couldn’t be happier. Thank you! London is best city in the world, with the most exciting culture and the most brilliant communities, and to represent and reflect that is the best feeling in the world.

Fuso E-Canter Launch Event 🗓

Monday 30 April

Predicting the future isn’t always easy. Not for Fuso London. Launching the world’s first fully electric-powered light truck at Printworks London, they revealed how utopian innovation can become concrete reality.

VIPs, media and industry experts enjoyed a first-look at the all-electric 7.5 tonne truck, the eCanter. As guests gathered in Printworks’ Vanway for the big-reveal, MD of Mercedes Benz and Fuso Trucks UK, Mike Belk spoke of Fuso’s ambition to participate in the active reduction of harmful pollutants. DPD, Hovis and Wincanton took delivery of the trucks, acting as early-adopters to showcase the eCanter in action. In one awe-inspiring moment, the trucks drove into Vanway, running through the dual presentation screens and down an aisle between the audience. Heightening the impactful scene, a live violinist accompanied the big reveal.

Potential customers and traders were offered the opportunity to test-drive the trucks for themselves. Trialling the eCanter in Printworks’ outdoor grounds, guests could envision the electric journeys of the future.

Printworks’ Publishing space offered an opportunity to take another look at the trucks in a detailed expo. With food and drink supplied by preferred partners Moving Venue, invitees could take time to discuss an exciting time of industry developments. Printworks’ vast industrial interiors became an ideal backdrop for taking-in eCanter’s innovative design in more detail.

Enquire now: or 020 8498 4934