What do Terry Farley, Hilit Kolet, and Stuart Patterson all have in common? Well… asides from being stalwarts of the London house scene, they are all playing at the seventh edition of Campo Sancho next month, the small festival with a massive attitude just an hour from London.
Terry Farley has not only been a solid house selector over the years, lynchpin of the Boys Own movement and Faith collective, Farley is a commentator on youth culture, street fashion and the beginnings of the house movement across the pond in the warehouse clubs of New York.
Hilit Kolet seems like she is just bursting out onto the scene, but this lady of house has been plugging at it since back in the day when she learnt the ropes behind the counter at London’s iconic Black Market Records. When she remixed Laurent Garnier’s ‘Crispy Bacon’ she really made a mark, now fresh off her Mixmag Lab at IMS, Hilit Kolet is taking the scene by storm with her vibrant and energetic DJ sets.
Stuart Patterson is also a kingpin part of the Faith House movement, he has been a club promoter extraordinaire for over two decades, with the infamous Lodge going way back in the day for those in the West London know, putting on parties under the West Way and running the legendary East Village in Shoreditch, he was responsible for attracting and securing the bookings of luminaries that no one else could book. Stuart Patterson is to this day, a DJ that continues to make dancefloors rock with his soulful Detroit tinged selections and his ability to drop a tune at just the right moment.
In the run up to the tidiest little festival in the UK, we get this trio of talent together for a little chat.
TERRY FARLEY ASKS HILIT KOLET
Working behind the counter at the most male dominated London record store must have hardened you up to daft lads underestimating a female DJ behind the decks. Tell us about that time.
Ha, you’d have thought so hey.
I worked at Black Market Records during its last 7-8 years or so. I was there day in day out, full time thing, helping Goldie run the show pretty much. I was doing everything from managing the website to online and offline marketing to putting on the shop’s legendary in-store events to stock orders to jumping behind the counter, as you know, because you used to come in every week Terry.
Black Market specifically was better than other shops, I think it was one of the first places in the London scene that actively pushed for diversity, but as a woman, you were still bound to get a double and a triple check from some of the customers…
Things have improved massively since then, but I’ve recently learnt that we still have a lot of work to do because some people just can’t get their heads around a non-male playing music for entertainment purposes, or maybe they’re still desperately trying to gatekeep the scene, or maybe a bit of both. Not in my household however… My daughter was three years old when she woke up one day and asked: mummy, can boys be DJs too? My answer was – only if they’re very, very, good and have a woman pushing them.
What was the first track you ever worked on as a solo artist?
I’m not sure, I was kind of just jamming when I first started producing. I did some mashups, some edits, some 16 bar loops that I never finished, sampled bits off my vinyl collection, this kind of thing. I started producing when I managed mine and my ex’s high-end recording studio, it had a custom Neve 5116 and a massive synth library, so I also spent a lot of time just trying to get my head around the essence of sound synthesis. And re-cabling stuff, of course…
What makes a great festival to you Hilit?
The music, the crowd, your crew that you hang with, not wearing your best shoes (note to self). And the music. Again.
What vocalist would you love to collaborate with ?
Candi Staton, Dua Lipa, Neil Tennant, Grace Jones, Mary J Blige, Missy Elliott….. Hmmm my daughter too but that’s already on.
What do you think are three things that would instantly make ‘the scene‘ better ?
No phones in da club. More clubs, less festivals and DJ booths on dancefloor level rather than stage. A different mayor for London. Well, that’s four!
STUART PATTERSON ASKS TERRY FARLEY
Who’s your dream artist to release on our Faith label?
A toss-up between a deep as fuck four tracker from Ron Trent to a double A side dark drums outing from Danny Tenaglia.
Boats, beaches or dark basements?
Maybe a boat in a flooded dark basement. Kinda like that old boathouse in jaws. Seriously though.. I do love a boat party. There’s something about them that puts the crowd straight into the groove… So, a boat party but when the winter comes we go back underground.
Do you think London’s still got the swing and please elaborate?
London’s always got the swing. Sadly, there’s so many dark forces making shit harder for us all. But it’s always brightest after the storm.
Why is your love of a fanzine so strong ?
Fanzines are a way for ordinary people to express themselves. It’s niche whatever your fanzine’s about. I love niche and I love holding an actual printed article in my hand. It’s our thing isn’t it.
Which gig (apart from Sancho obvs) are you looking forward to the most this year?
Campo Sancho and dancing to Laurent is an obvious one .
I so enjoyed the DEFECTED Malta party last year – we seemed to attract a like-minded crew of dancers under the stars so yeah excited about that. Oh…. and the Croatia boat with that loon from Stockport Luke Una. 💜
HILIT KOLET ASKS STUART PATTERSON
How would you describe a Faith party to someone who’s never been?
An inclusive party for absolutely everyone, well, as long as you are friendly, love to dance and know great music.
Yes, we are the ‘older generation’ now, but more and more youngsters are coming as hopefully they are feeling the music and welcome.
We always insist on at least two rooms as our crowd go from soul boys to techno heads. Plus, I always want a venue with a socialising space as we have lots of old friends that want to catch up as well.
Alongside your hat as a DJ, you’re also wearing one as a promoter – what do you look for when booking your events?
Venue wise – as mentioned, at least two room plus somewhere to chill/catch up with mates. DJ wise, a mix of the up and coming and revered talent that have shaped us. Reasonable bar prices (tough these days), friendly security and enough toilets for the ladies.
How do you feel about the current state of London’s nightlife and what do you think can be done improve it?
London still is one of the leading cities for clubs and dance music. I understand the need for licensing and safety but maybe a few more legal all night spots would help. Not sure what the nighttime tzar is up to?
Councils in areas that need more nightlife should be more helpful as well. Also tell people that move into nightlife areas then start moaning about noise at the weekends to get a fucking grip.
You were one of the very first people I met when I just moved to London. Do you have any recollection of that time at all (I have, erm, very little!)?
Ha, errr hazy but of course I remember hanging out, but people often ask me about those times and I gotta admit those were weeks of 4/5 gigs, weekend long parties, and not a lot of sleep, so yes a few things are remembered but a lot more not. Probably for the best..
Please can you re-open the Lodge?
I do get asked that a lot. I have really mixed feelings about The Lodge. On one hand, lifelong friendships were made, people met there and got married (and had kids). I got to programme daft shit like ‘Lodgestonbury’ on Glastonbury weekend with the mini James Brown band and a beach party when we filled the inside with sand.
For a 150 cap venue to get the likes of Quentin Harris, Iz and Diz, King Britt, Norman Jay, and Trouble to DJ, plus bands like Tortured Soul to play live doesn’t happen these days. On the other hand, there were sleepless nights (not self-induced) with worry and plenty of money lost.
People saw the busy weekend nights but those midweek nights with two people in were painful. At least it led to East Village which was a success and definitely a step up.
Current favourite set opener, set pick time track and closing track?
Open with Alex Kassian’s version of E2-E4, peak time Session Victim’s Screen Off, and close with Unknown Artist’s – Messiah.
Campo Sancho takes place from 26 – 28 July and you can get your tickets here. Check of the full line up and listen to Stuart’s mix for Sancho below. See you in the magic field x
