London’s not exactly a city short of music venues or exhibition spaces, and while there have been countless new ones that have popped up (and in some cases shuffled off) in the bourgeoning East End in recent years, few seem to have nailed it in terms of curation and location quite as much as Oval Space. Now, with a fresh batch of events just announced and a brand new year stretching before them, Defected’s Ben Lovett spoke to some of the people behind the venue about the reasons for its success.
“This is very much a project” so opens Hannah Briley, Music Curator for arguably London’s hottest events space right now – Oval Space. “Every passing year represents a new phase of that project, nothing ever sits still. We’re in a fluid process, whereby we test new things out, learn and refine as we go along. And so far things are going well.”
More than well, considering how far Oval Space has impacted beyond its otherwise quiet patch of east London turf over the past two years. “We launched in the Cambridge Heath area [within striking distance of east London’s existing cultural hotspots Bethnal Green, Hackney, Hoxton and Shoreditch] because it was less residential and had great transport links” Oval co-founder Jordan Gross takes up. “A couple of friends told Daniel [Sylvester, fellow co-owner] and I about this great space in a great location with amazing potential. We saw it, liked it, decided to invest a bit of money, and then the ride began.”
Gross was in the middle of selling his own technology company. Sylvester, meanwhile, had a background in property which he was able to put to good use. What was formerly a disused medical supplies factory home to the occasional squatters’ rave has now been transformed into a gold standard mixed-use arts and events venue. With chameleon-like grace, Oval Space morphs between legendary club dancefloor to high-brow corporate presentation via art exhibition (the Space includes an art gallery), film showcase (there is a cinema) and culinary test bed (rotating pop-up restaurants.)
“The first year was all about us getting to grips with being a venue” Briley explains. “It was a steep learning curve; there was so much to learn, not least from an operational point of view.” Gross concurs: “Opening venues in London that involve loud music and lots of people is probably the hardest thing you can do. Naivety was our friend in the early days, because we didn’t realise just how many challenges were ahead. The red tape, the compliance, the licensing...it all costs so much time and money. It’s like pushing water uphill. We’re in a good place today but there are certainly more challenges ahead and we need to be ready for them.”
Oval Space has always presented itself as versatile but there remains a slight tendency by others to align it, first and foremost, to electronic music. In truth, the venue’s short history throws up countless examples of cutting-edge club-geared party – its opening weekend, back in April 2012, was actually headed by Francois K, Danny Krivit and ‘Joe’ Claussell’s Body & Soul experience.
“As time goes on I think you’ll see our musical programming getting more and more experimental. Next year, for example, there will be a series of events inspired by classical music and, before that, jazz. There is an electronic edge to much of the programming we put on but we don’t want to be viewed as an electronic venue. Our music is, in a word, diverse. Look at Chapter 1 [Oval Space’s current season of in-house events]. It features everything from the techno of Robert Hood and hip-hop of Evian Christ to deep house via Dennis Ferrer and live performance by Kollektiv Turmstrasse. We can do DJs and live acts up to 40-piece orchestras.”
Understandably, the music programme has taken some time to bed in. Originally, Oval Space offered itself up to external promoters before recognising it could more faithfully pursue its unique goals by introducing an in-house events team as well. “That’s given us a significant edge” Briley indicates. “Some promoters only work outside of venues, and don’t get to develop anything because they’re always moving around. Others only work in-house and never experience outside promoters bringing in new ideas and new crowds. We’re unique because we have the best of both worlds now...we’ve learnt this.”
There were, Briley says, a few “truly bad” experiences en route to programming harmony. “Early on, the parties didn’t always entirely click which was heartbreaking. Operationally, there were things to iron out too. The building has changed massively since day one. We didn’t have a proper ventilation system for the opening weekend and everyone was absolutely drenched in sweat. We replaced one length of wall with windows, which added light and an urban aesthetic what with the gasworks right outside. Terraces were built, and a mezzanine. All of it enhanced the experience.”
Musically speaking, Oval team tried out four different soundsystems before settling on their current one – the d&b audiotechnik V Series/J Series – and whilst that shows sterling long-term pragmatism it did create nasty short-term headaches. “The sound was inconsistent in the early days and the crowds didn’t always get that we were testing it out with a view to perfecting it, and why should they? They were simply there to dance and have a great time, but the only way we could truly test out each system was in a live situation.” Of course, now that Oval Space has settled on d&b and said set-up is rocking ‘n’ rolling, the team is making further (and “final”) additions. The project continues to progress.
“We’re two years into all of this, and there’s another eight to go” Gross clarifies. Oval Space has a 10-year lease and must be out after that to make way for planned residential development. Gross, Sylvester and team are already contemplating “venues two and three” but their immediate focus remains fully on venue one. Gross views Oval Space’s unique situation as a huge plus. “Most nightclubs don’t last beyond 10 years so the lease works out well” he begins. “But make no mistake we’re sitting on a ticking time bomb and in every way that forces us to do our very best. We won’t sit back, we’ll test, experiment, push forwards. We’ll use what we learn here in our subsequent venues.”
Is Oval Space making money? If not, will it do so before its time is up? Investments, surely, will need to be returned.... “With these sorts of things you don’t make money early on; it’s all about getting your volumes up,” Gross replies. “I hope we’re successful in the end. Regardless, things are going well now. Our events in March are close to selling out; Chapter 1 has had fantastic sales.”
Gross continues: “We’re in a seriously, seriously competitive market so we have to do things extremely well, putting great attention into everything from the cloakrooms to the food, on top of the music and entertainment. Daniel and I never believed that we’d suddenly be in the middle of the hottest parties in town but things have just gone extremely well for us. There’s been all the hard work to realise something different with Oval Space but then the size and nature of the venue has scored, and timing-wise, we’ve been able to introduce an exciting new concept off the back of several closures in London and just when London’s music scene has shown itself ready for something even more edgy. We’re not here to be trendy...that works for a year or so before you fall on your arse. The team here constantly looks forward to the ideas that we feel we give our customers the best and truest experience possible.”
Mind impressively of its own, Oval Space has ignored the London club scene’s recent predilection for festival-style line-ups. “Line-ups in the capital seem to be getting bigger and bigger, probably because of the competition. But that’s not always good” Briley suggests. “I’m concerned for the industry if everyone is moving to having these festival-scale club events on a regular basis. It needs to be quality not quantity.”
That’s a reality that the Space’s target 25-45-year-old audience is seemingly getting in spades. “We always said we wanted a slightly older crowd,” Briley confirms. “The kind of crowd that’s been to many clubs before and, now, has different, higher expectations. We have the warehouse aesthetic but none of the grime...the toilets are clean, everything is organised; in the future guests will be able to go for a nice meal before their entertainment. We’re offering a much bigger, wider-ranging, higher quality experience here. This isn’t just a dancefloor.”
In March, Oval Space opens its café, Plump, in one of two buildings being leased directly opposite. The snappily named Oval Office – where the team works – sits above it; a neighbouring restaurant is planned, though a series of pop-up diners has been successfully sating appetites for the past year or so. During the day, Oval Space welcomes big (corporate) brands for photoshoots, launches, fashions shows and exhibitions. Names include Prada, Google and Dazed & Confused; not to mention Little Boots, who shot her latest music video there. All bases are covered.
“Because of the wide range of things the venue can do, we don’t need to open as a club...as one thing...every Friday and Saturday. That’s good because we never fall into a rut, and can constantly refresh” Gross says. “Our own team are organising some amazing events and the outside promoters are being pushed in the best possible way to the edge of their comfort zone. We encourage this; we can see a gap in the market for radical thinking.”
Considering how many different ‘spaces’ actually exist beneath Oval roof, are there plans to more emphatically integrate dancefloor with, say, gallery or cinema? “We’ve started to dabble,” Briley remarks, “but I think we want to master the music first; do one thing really well before spreading our wings further.”
For all Oval Space’s delicious creativity there is common sense and caution too – a healthy balance. “Daniel and I have both been in and around clubs before” Gross concludes, “and Daniel has experience of controlling risk in business. We’re on sure footing. To be honest, it was after standing in the booth at last October’s Innervisions party that I fully realised what we had here. The music was amazing, and the crowd out of this world. It was the most incredible party. Really, we’re only just getting started.”
Words: Ben Lovett
Dennis Ferrer plays Oval Space 1st March - buy tickets
More details on Oval Space can be found at www.ovalspace.co.uk .
