On Saturday 7th March 2026 I was behind the visuals at Drumsheds for Drumcode’s third consecutive sold-out London show, this one marking 30 years of the label. Three rooms, a 15,000 capacity venue, and a lineup that included Adam Beyer b2b Chris Avantgarde, Bart Skils b2b Marco Faraone, Cassian b2b Kevin de Vries, Eli Brown, Kasia, Linska, HNTR, Kaufmann, Oscar L b2b Victor Ruiz.
Drumsheds is Broadwick Live’s warehouse complex in Meridian Water, north London. It’s not a subtle room. The X Room alone operates at a scale that makes you very aware of how your content reads from 30 metres away and how it holds across extended periods without becoming wallpaper. The brief here wasn’t a freeform VJ set, it was structured visual support for a precisely programmed techno event across multiple rooms, timed to a lineup that ran from 1pm to 10:30pm.
My role was VJ, operating across [room/s] for the duration of the event. [Add your specific rig here: software, sources, hardware, signal chain etc.] The scale of Drumsheds means any sloppiness in content selection or pacing gets exposed fast. When the room is packed and the energy is locked, it also means getting it right lands properly.
Drumcode turned 30 this year. The label has been running since 1996, founded by Adam Beyer, and has spent three decades being one of the most consistent forces in techno. The Drumsheds shows have been a natural fit, venue and label both operating at the same end of the market: serious production, serious capacity, no filler. ’24 sold out, ’25 sold out, ’26 sold out. Round three.
The lineup structure meant the X Room in particular had a clear arc across the day, with earlier slots building into the Beyer b2b Avantgarde close. Matching visual pacing to that kind of programming is one of the more interesting parts of a long day event compared to a standard club show. The crowd that’s there at 2pm is often a different energy to the crowd at 9pm, and the visuals need to track that without lurching.
Drumsheds had some upgrades for the 2026 season, including a refined d&b audiotechnik system and a redesigned Room Y running an in-the-round setup. The backstage bar being opened to attendees this season also changed the movement patterns inside the venue slightly, which is worth knowing if you’re doing production there.
