The Warehouse Project has announced details of its opening season party this autumn, with brand new stages and a headline performance from Jungle.
And the iconic clubbing series will expand beyond the walls of Depot Mayfield this year, also taking over spaces at the Star & Garter pub, Temperance Street, the Plant Room at Freight Island, and the roof above the venue.
The opening party for The Warehouse Project 2024 season – known as Repercussion – will be headlined by Bonobo and Jungle, along with a massive bill of other talent from the electronic, house and techno worlds.
The day-to-night party takes over three rooms at the enormous building near Manchester Piccadilly, Depot, Concourse and Archive within Depot Mayfield, and will kick off the months-long programme of music that draws hundreds of thousands to the venue.
Set to take place on Saturday 14 September, Repercussion will welcome master of electronic Bonobo, fresh off his Outlier showcase at The Warehouse Project’s first ever Australia edition.
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Then British dance project Jungle will round off their enormous world tour at WHP, a couple of months after they’ll headline Sounds of the City at Castlefield Bowl.
The line-up for Warehouse Project’s main stage, Depot, also includes Peruvian DJ, producer and vocalist Sofia Kourtesis; DJ Seinfeld who is known for his sweeping emotive cuts and creative samples; the emerging Austrian-born, Manchester-based salute with an upcoming debut album via Ninja Tune; alongside the mysterious act that has burst onto the jazz-house scene berlioz (DJ); NTS radio host Tarzsa and Mancunian Rich Reason.
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Credit: Sophia J CareyCredit: Graham Joy PhotographyWarehouse Project has announced its 2024 opening party, with a headline performance from Jungle.
The unique 360° booth at Concourse is set to welcome a blend of cross-genre sets, curated by Honey Dijon.
The line-up features Major League DJz who has been referred to as “amapiano’s global ambassadors” by DJ Mag; DESIREE with her soulful cuts and deep African infused house; and Josh Caffé who has crafted an assured reputation in the underground house and techno scene.
All alongside Rhythm Section’s founder Bradley Zero, Parisian DJ/Producer and multi-instrumentalist Chloé Caillet, and The Warehouse Project’s longest-standing resident, Krysko.
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Under the archway at Archive, the city’s music venue YES takes over the stage to celebrate contemporary UK club music.
Manchester’s very own Anz is set to lead the way, alongside sets from some of underground heroes Hamdi, Bakey, Love Remain, Aletha, Tañ, and Jim Bane.
Brand new for this year at Warehouse Project will be the On The Roof stage, a loft space with rare views of the Manchester skyline from the rooftop.
Warehouse Project 2023. Credit: Supplied
The intimate space will welcome a set up hosted by Luke Una presents É Soul Cultura, who will be DJing alongside the likes of deep house pioneer Chez Damier, Chilean artist Paula Tape who returns after her Boiler Room set at Repercussion 2022 and Manchester’s own rising star, DJ and Producer, Joey T.
Luke Una’s curation for É Soul Cultura has became one of Manchester’s staple parties in recent years, throwing in an all-welcome attitude and bringing in the free party spirit into the scene.
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Extending the stage to adjoining Temperance Street, Manchester-based party collective Habitat will present their biggest street party with Dutch artist Jarreau Vandal headlining alongside JAEL and Taylah Elaine, plus Habitat residents Yung_omz, AK Gramm, Tone Rarri, and all hosted by one of Manchester’s favourite presenters Faro.
Manchester’s legendary music pub venue, Star & Garter, is set to play host to the city’s newest online community radio station Crop Radio, with a line-up of grassroots acts from in and around Manchester.
Also participating at Repercussion, the Plant Room at Freight Island is another celebration of the expansive local underground heroes. With acts from SNO, Mikey D.O.N, Levi Love, Me Gusta Collective, Sam Redmore & Joe Motion, and Shimrise.
Pre-sale ticket sales go live on Thursday 30 May from 10am.
General ticket sales go live on Friday 31 May from 10am.
A beautifully chaotic Thursday night – Rossi. at YES Pink Room for BRITs Week 2026 for War Child | Review
Harry Quick
There’s something beautifully chaotic about watching Rossi. take over a room the size of YES’s Pink Room on a midweek night in Manchester.
No towering LED walls. No Ibiza sunset backdrop. Just low ceilings, flashing pink strobes, and a crowd packed in tight enough to feel every kick drum in your ribcage.
For a DJ who has commanded renowned venues across the globe like Space Miami, Hï Ibiza, and Manchester’s very own Warehouse Project, it felt almost mischievous seeing him in a space this intimate on a Thursday night.
If you were lucky enough to grab a ticket to this instalment of the BRITs Week 2026 for War Child fringe events, you could tell early doors that whoever had one was more than ready to turn up for him. When Rossi. stepped behind the decks, taking over from the talented Olive F, who set the tone for the evening, and once the headphones were firmly sat on his curly locks, he eased us in with a rolling, groovy opener – not so subtly dripping in snippets of his biggest and best tracks. We’d have to wait for those.
His sound sits in that sweet spot between underground grit and polished punch. Tech-house, but with his own East End character. The drums feel tight and deliberate. The basslines don’t just thud, they glide.
To start us out, we were hit with a few dancey vocals filled with his hometown of London’s Grime influence, all the way to Frank Ocean’s ‘Lost’ at 125 bpm. Within minutes, the pink room was in full swing.
From there, the set unfolded like a guided tour through the different shades of Rossi.’s catalogue. Underground favourites like ‘U WONT SEE ME’ slipped into the mix with a knowing reaction from the very keen lads at the front. ‘FREAK IN THE SHEETS’ followed later, cheeky and rhythmic, drawing that half-grin from dancers absolutely going for it at the front right.
It’s easy to forget how far he’s come. A decade ago, he was carving out space in the underground. Now he’s headlining globally recognised parties like Circoloco, Music On, Paradise, and Fuse, and launching a world tour that’s been tearing through the UK, Ireland, Europe, and the US. Yet here, there was no arena ego. Just a cheeky lad going back to his roots like he’s on his CDJs in the bedroom.
Mid-set, he began to lift the energy. Brighter synths edged in with the odd jangly finger floater for good measure (that’s what I’m calling that dance move anyway!). The percussion grew punchier. The room, already warm, never quite tipped into sweatbox territory. Strangers were dancing together. Drinks were abandoned on ledges. I had realised I’d bagged the perfect vantage spot overlooking things on the ledge, in prime view of a truly fortuitous occasion.
Rossi. at YES for BRITs Week 2026 for War Child / Credit: Holly Pimlott (Supplied)
Then came one of the night’s real eruptions. ‘High On Me’ – his breakout collaboration with Jazzy – landed like a spark in dry grass. The track, which stormed into the UK Top 20 and racked up over 20 million streams in a matter of weeks, felt enormous in a room this size.
Arms shot up. Lyrics were shouted back. For a few minutes, YES felt like the epicentre of British dance music or maybe a flashback to a ruthless TikTok doom scroll session.
But what impressed me most was the pacing. Rossi. didn’t sprint through bangers. He let grooves breathe. He allowed tension to stretch before unleashing the drop on almost every occasion. Teasing in a little snippet of an upcoming track, a few minutes before we could revel in it in full. It’s the confidence of someone who’s sold out 2,500-capacity headline shows – even breaking ticketing systems with demand – yet still understands that the magic is in the build.
The talented Olive F supported and set the tone for the evening / Credit: Holly Pimlott (Supplied)
As the final stretch approached, he nudged the tempo upward… and he was about to drop some serious crowd pleasers.
LEDs dampened. Darkness fell. The murmurings of ‘Lady – Hear Me Tonight’ rose in unison with the crowd’s curiosity. It didn’t take long until the entire gaff was going mental. Just pure, euphoric house music.
And to finish, with his headphones resting against the decks and mixing all said and done, he pressed play on the swan song. As ‘These Sounds Fall Into My Mind’ echoed around the room, the speakers hardly needed to be playing anymore. When he finally eased out, it felt less like an ending and more like an enticing warning shot for the summer ahead… hello, is that Ibiza calling?
Rossi. at YES wasn’t just a warm-up for this Saturday’s big BRIT Awards, it was proof that no matter how big the stages get, he thrives in the arm-flaring closeness of a proper club room.
Global headline DJ. Underground heart.
Featured Image – Holly Pimlott (Supplied)
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Olivia Dean proves she deserves all her flowers with a captivating performance for BRITs Week 26 for War Child
Clementine Hall
BRITs Week 26 for War Child continued in Manchester last night, with Olivia Dean taking over a beautiful candle-lit Albert Hall… and it was a night we won’t forget.
I don’t need to tell you how utterly brilliant Olivia Dean is.
It’s something I’ve known for years (humble brag), but luckily it seems the entire world has caught on over the past few months.
I’ve been lucky enough to see Olivia five times now, and from watching her joyfully shake here banana-shaped maraca on a small stage at Glastonbury in 2023, to swishing her olive green satin gown at one of the country’s best venues last night – her indisputable talent remains.
Images: The Manc
The Art of Loving, her sophomore album, came out in September last year and features global hits ‘Man I Need’ and ‘Nice to Each Other’.
The record is a perfect analysis of love in all forms. Her heartfelt yet humoured lyricism explores its constant ups and downs, but perhaps the most prominent theme of love throughout is self-love.
And this is so clear as we watch Olivia beam from ear to ear as she makes her way through a setlist that is a celebration of her entire discography.
Of course, we heard all the fan favourites from the new album including ‘Lady Lady’ and ‘So Easy (To Fall In Love)’, but we were also treated to some of her older songs like ‘Echo’ and ‘UFO’ that initially brought her into the limelight.
A highlight for me was Ladies Bathroom which saw the gigantic disco ball hanging above us kick into gear, which as you can imagine at the gorgeous Albert Hall was a real sight to behold.
The entire evening underlined why smaller, grassroots venues are so bloody brilliant and deserving of our support now more than ever.
Image: Supplied
No pushing, no overcrowding, we were all there to revel in Olivia’s greatness and we all knew how lucky we were.
This was no doubt a very special show, a complete one-off in aid of BRITs Week 2026 to raise money for War Child, which Olivia joyfully announced that we had raised £270,000 for that night.
It’s no surprise that Olivia Dean is one of the most exciting artists in the world right now, oozing class, charm and impeccable talent.
We’ll be watching with our fingers crossed as she attends the BRIT Awards on Saturday evening with an impressive (and very well deserved) five nominations.
If you’re lucky enough to have tickets to her upcoming tour then just know how much fun you’ll have, but you’ll never have as much fun as Olivia does on that stage.
You can find out more about the remaining War Child performances here.
Daisy Jackson -
29th May 2024 
