In a city as cosmopolitan as Manchester, it’s easy to take for granted the global music scene on our doorstep, and how much more vibrant it makes our own. Whether the artist hails from just down the road or, in Dom Dolla’s case, from 10,000 miles away, that mix is what keeps Manchester’s music scene alive.
For his only British headline show outside of London this year, the Grammy-nominated Australian producer and DJ brought the energy – as well as his Aussie charm and phenomenal moustache – to Depot Mayfield for two hours of non-stop genre-blending beats.
Entrusted with the duties of warming the crowd up for the night was a mix of international and homegrown talent. Kicking things off were Manchester’s own Jordan Villa in Archive and Urbi in Concourse – both early in their careers yet already making waves in the city and beyond. Neither are strangers to The Warehouse Project; Urbi made her debut last year before even releasing a single track.
The energy stayed high as Berlin’s LOVEFOXY and the UK’s Love Remain followed. Both draw heavily on the golden era of classic house, channelling euphoric piano riffs and rolling percussion that brought early smiles to the dance floor. Amsterdam-based Young Marco in Archive followed, with Liverpool’s Paige Tomlinson taking over the Depot, both newer names but impressive nonetheless, with their sets marked by rhythmic experimentation and underground grooves.
Even with Dom not taking the stage until 1am (and the last entry being at 10pm), the crowd’s energy seemed not to dip – a testament to how strong each of the earlier acts held the room.
Montreal’s Tiga brought his signature edge, blending electro-house with darker, driving techno moments which raised the intensity perfectly ahead of the headliner. The shortest set of the night came from Skream and Krystal Klear‘s back-to-back set. The blend between their broad sounds, disco, house, and techno, made for an incredibly tight and seamless collaboration. Skream returns in November for Nia Archives’ headline set, so this was a nice sneak peek of what is to come.
Dom Dolla’s arrival felt effortless – no grand build-up or hesitation, just an instant surge of energy. He launched straight into ‘Dreamin’ with vocals from Daya, a hypotonic and rousing track which builds with intensity. The track centres around the idea of whether perfect memories are real or merely a mirage: perhaps a fitting metaphor for Dom’s intent with this set.
A marked difference from his last Manchester appearance at Parklife 2024 was the length of his set. 30 minutes of festival-friendly classics was swapped for two hours of his signature genre-blending. Perhaps most impressive is how Dom Dolla’s shift in style never alienates the crowd – his seamless transitions ensure there’s something for everyone. Take, for example, his remix of Chappell Roan’s ‘Good Luck, Babe!’ – not the kind of track you’d expect to hear alongside his heavier, bass-loaded selections.
The balance was spot-on: melodic house and danceable beats sat alongside originals, remixes and reworks. His club hits – ‘Define’, ‘San Frandisco’, ‘girl$’, ‘Saving Up’, and ‘Take It’ – remained clear crowd favourites. But, equally, he wasn’t afraid to twist and layer them into fresh forms. Dom Dolla is firmly establishing himself as a key figure in international electronic music, and his growing list of awards and nominations only reinforces that.
Dom Dolla’s career started out behind the decks at house parties with friends – a humble beginning to which many aspiring student DJs in Manchester can likely relate. Back then, as he recounted to Rolling Stone, it was a “selfish endeavour,” playing whatever he fancied. His focus has obviously since shifted: this time, it was all about the crowd, and they responded well.
Visually, it was a stunning production. The lighting pulsed and shifted with each drop, plunging the crowd into shadow before bursting into strobing colour. At times, the darker moments gave the space an almost introspective atmosphere, heightening the unity of being connected by music.
As dedicated fans have probably grown to expect, those who stick around until the end are rewarded. This time was no different, as the crowd was treated to the second-ever live performance of ‘Miracle Maker’, featuring a surprise appearance from Clementine Douglas whose vocals feature on the track. London unsurprisingly got there first at his Alexandra Palace performance, but Manchester’s was still one worth remembering.
A swift exit into the night revealed a crowd buzzing – tired, sweaty, and satisfied. Dom Dolla’s headline show proved that Manchester continues to be one of the best places in the world to experience international talent at its finest.
