On one of the sunniest days of London’s Spring, ravers were enticed into the drafty, reclusive murk of an old newspaper printing facility. Printworks, which we previously reviewed last Autumn, is the layperson’s imagining of a warehouse rave; cavernous ceilings overhang a tantalisingly long tunnel, rendered all the more discombobulating by its relatively compact width, but any enduring lay romanticisms disintegrate against the soundsystem’s simplifying, rib cage-shuddering sonic boom.

Since we last attended the venue have invested in an even more sophisticated lighting system, with their overhanging rigs and oscillating lasers emboldened by angled boards skimming between crowd-exposing luminescence and the Tokyo neon sheen which typified Nathan Fake’s pulverising live set. Fake’s hour long run kicked the day into sixth gear; as while Chloe and Dolan Bergin’s early sets were eclectically propulsive, most of the early entry ravers were understandably making the most of the sun in the smoking area, so Fake’s 17:00 high octane techno performance was the carrot which whisked the punters inside.

He was followed by Motor City Drum Ensemble’s lighter funk, diving wholly and unrepentantly into the vocal-centric house and disco in which he’s made his name; although there was an unfortunate issue with the bass levels for his set so that it not infrequently drowned out the soaring instrumentation behind it. Thankfully this was resolved for Mano Le Tough’s dextrous, consistently surprising, effortlessly satisfying 19:00 slot. Le Tough mixed in fleeting cameos from Eagles & Butterflies’ gorgeous ‘The Last Dance (Sunrise Mix), discriminated and backgrounded the melody from Moderat’s ‘Therapy’ (I think…) against a principal 4/4 beat, and occasionally let a track fully unfurl, like Bicep’s instantly canonical ‘Kites’. It was thrilling, unexpected, incisive, expansive, just really bloody good.

This was Koze’s album launch party of course, and his climactic stint was predictably strong – and given his multifarious legacy – predictably wide-ranging in its track selection. Techno, soul, hip hop, and straight edge house flirted seamlessly, with delicate peaks mediated by protracted, steady grooves, never overbearing. The final hour was utterly euphoric, brief flourishes of Moderat’s ‘Bad Kingdom’ and recent populist favourites filtering into one another before Koze unleashed his Big Three prime cuts; ‘XTC’, ‘Pick Up’, and his edit of Lapsley’s ‘Operator’. For this run-in the crowd, as they say, went off. 5000 thronging dancers utterly lost in the percussion and strings and nostalgic wilts of stilted voices. It was collective joy, unanimous delight, and a shining, radiant apex even as the sun had long set outside the steely walls.