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Solomun turns two Alexandra Palace nights into a three-hour film
The three hours inside the film are the real story. Solomun still trusts a room enough to build patient, unhurried sets, and he refuses to cut one down into a highlight reel.
Alexandra Palace sold out twice for Solomun this year. The second night, 7 February, only exists because the first filled fast, and the film documenting it, released 23 July on his own YouTube channel, spends three hours making the case for why.
Three hours, uncut.
Two full houses in one venue in one year, and Solomun answered the second with the plainest document there is. Not a highlight reel. Not a press release with a stock photo. The set itself, unedited, released the way it happened, because a room that sold out twice earns exactly that.
We'll say it plainly. This is old-school DJing, the kind built to breathe and trust a room enough to stay with it rather than drag it through a set. Nothing here rushes toward a peak because a clip needs one in ninety seconds. Nothing gets trimmed for pacing because three hours is a long sit. Solomun built his name on exactly that patience a decade ago, and the film argues it's still the strongest thing he does.
It covers the final three hours of the 7 February night, in order, with the room still audible through all of it. That's the choice that matters. Most artist-made concert films cut down to a highlight run. Twenty minutes of peaks, stitched together over drone shots of the crowd. This one keeps the shape of an actual set instead: the long stretch where nothing dramatic happens and the floor just stays on it, the slow build a highlight edit would have cut for time. Trimming it would have made a tighter trailer and a worse document.
Two sold-out nights means plenty of people who wanted in and didn't get a ticket. For them, this isn't a clip to skim on a commute. It's the closest they get to having actually been in the room, run time and all, and it deserves to be watched that way.
Inside it, the live premiere of "Raider on the Storm," a new single with Inéz, out 7 August on Diynamic. It runs 3:13. Against three hours of set, that length is almost the joke of the release — a whole night compressed down to barely enough time to build once and let go.
Solomun played the track live before it existed as a release, then put the film out two weeks ahead of the record landing on Diynamic. Anyone chasing the single's origin story doesn't need a press cycle for it. It's already there, timestamped, inside the film.
Inéz isn't a new name on a Solomun record. She sang "Prospect" on Nobody Is Not Loved, his first album in close to a decade, released in 2021 on his own imprint, NINL. Pairing with her again for the track that closes this film isn't a fresh collaboration wearing a reunion's clothes. It's a return to the one record where the patient, unhurried Solomun already proved it clicks on tape and not only at four in the morning.
The new single lands on Diynamic, his main label, not NINL, the imprint that carried the original Inéz pairing. NINL was built for the album. Diynamic is where the thing that came out of one night at Alexandra Palace belongs. Call it a sequencing choice as much as a creative one.
Three hours of one set asks a lot, and it's supposed to. A film with no highlight edit and no runtime concession puts you where the room actually was. It asks you to sit with a set the way an audience does, not skim one the way a clip lets you. That's the format doing exactly what an unedited three-hour set should do: there's no highlight to summarize in a set built to avoid having one.
Watch the film and hear "Raider on the Storm", both live on Solomun's own channel rather than folded into a label roll-up. Follow him on Instagram to see where the third Alexandra Palace night gets booked, because on this evidence, there'll be one. Inéz is on Instagram too. If "Prospect" is the only track of hers you know, this one doesn't repeat it.