Event Review – Labyrinth On The Thames Presents: Solomun
Labyrinth are an independent promoter, curator, and production company who have become synonymous with staging pioneering live music experiences in unique spaces. Fanatical about audience experience and the highest quality production, Labyrinth’s goal is always to create shared moments where sound, space, light and art converge – leaving lasting memories for all. Fearless in their curation of best-in-class talent, Labyrinth amplify artists at all stages in their evolution; from emerging talent through to world leading artists.
This summer Labyrinth also launched ‘Labrytinth On The Thames’, a six-date series staged on the UNESCO world heritage site of Old Royal Naval College, an archietectual centrepiece of Greenwich. With a dance floor set against the edge of the River Thames, fans can soak in the music of their favourite artists as the sun sets over the London skyline. A first for dance music, at a location that defies convention, whilst also in-line with Labyrinth’s mission of creating shared moments where sound, space, light and art converge together.
Headlining one of the six days was Solomun, the man of the moment, who has taken 2026 by storm with multiple sets at Tomorrowland, Ultra Music and EDC on the festival circuit, renewing his Pacha +1 Ibiza Residency, whilst also been on a recent remix rampage adding his own touch to tracks from artists including Caribou, Jain, K.I.Z, and Empire Of The Sun.
For those who opted for a standard general admission ticket for the Solomun marathon, this was worth the money in general as the area provided a lot of space, you didn’t feel packed into a small space, you had plenty of space to move around, and if you wanted to take a timeout you could sit on the rear stairs and oversee Solomun spin, the crowd vibe throughout the day was also friendly and happy to be in/around, you could tell attendees wanted to be there for the music, and not just ‘another Pi$£ up’ per say.
If you upgraded your ticket to the VIP experience you was treated to access to the ‘Painted Hall’ which was designed by Sir James Thornhill and painted between 1707 and 1726, this was so aesthetically amazing, feat. art paintings over the walls and ceilings of Kings, Queens, Mythological creatures, unbelievable. There was also comfy seating areas inside and outside for those needing a break or to chill-out, whilst the view looking into the crowd and the stage was great too. Having pop-up bars in the VIP area also meant quicker access to refills of alcoholic beverages too.
If you’re a proper music enthusiast and can afford to do it, the backstage ticket is a proper experience, you have a ton of space, access to bars and toilets quicker, close to the speakers and you can watch Solomun live and direct from behind the booth as he works the wheels of steel, and its mesmerizing to see an artist manipulate a crowd into a trance from the power of music and talent.
Being the warm-up artist for a name as big as Solomun is always a tough task, and there is a fine art in warming-up a crowd as a DJ too, no big bangers, plenty of grooves and good vibes, and this is what Labyrinth founder and resident DJ of 10 years Nick Castleman provided. Dropping tracks of various genre’s including Melodic, Progressive, House, and Afro House. This included tracks ‘Michael Simon – Mukasa’, ‘AME – Asa’, Jimi Jules’ remix of ‘Music Is Better’ and Marco Lys & Plaster Hands’ ‘Who Dares To Believe In Me’, kudos.
Highlights from Solomun’s set, including tunes signed to his Diynamic Music which went down a treat were GENESI’s ‘Hyper’, which features catchy vocals alongside a wobbling bass line and driving hi-hats, layered with twisting synths that set an energetic yet intense mood, whilst Adapter’s ‘Catchaman’ features swirling pads, a strong kick and a rap topline which carries a lot of energy.
Other Diynamic bombs that were dropped include Vintage Culture’s ‘Do You’ a peak-time weapon which hits hard; all rising tension and bold synths – there’s no easing in, just a sense that something’s about to lift off, whilst he also teased Max Styler’s upcoming ‘Every Night’, a confident, rolling cut charged by a powerful kick and wobbling synths, layered over a warm, driving rhythm. Its the kind of track that sparks the floor just as the night. settles in.
Another set standout from Solomun was his remix of German rap group K.I.Z’s track ‘Samstag Ist Krieg’ which translates to ‘Saturday is War’ – a play at rowdy nights out in Berlin. A deep and hypnotic beat pulsating like the capital’s U-Bahn going over rails paired with the vocals of Tarek K.I.Z that range from whispers to screams set a gloomy vibe right off the bat. Synthesizers start flaring up like emotions on an intoxicating bender, and then all culminates in a night-defining climax.
When Solomun also dropped the NOTION remix of ‘Chrystal – The Days’ this created a proper buzz in the crowds, the crowd was signing along to the vocals of ‘Do you think about the days when we sat down, smoking wine and drinking haze?’ before the undeniable Basshouse groove kicks in and makes you want to move. This further complimented ‘Girls Don’t Sync – Come Thru’ which carries Garage/House vibes featuring piano melodies, vocal samples and playful kicks. A SOLID 1-2 punch in Solomun’s set.
What I also appreciate about a Solomun as an artist is that I feel he disregards who you are/what you’ve achieved in Dance Music, if the tune from a fell artist is good, he will play it. Examples from his set include dropping ROLE’s ‘Chords Of Life’, a tune from a young Israeli producer with 6 tracks in his discography, and also a Buogo remix of Fred Again.., Skepta & PlaqueBoyMax’s ‘Victory Lap’ which came from a free remix opportunity from Fred Again.., who posted the stems online. These spins create hype for upcoming/unknown artists, a platform to build on.
Lastly, what makes every Solomun set such a unique experience is it it NEVER the same, nowadays you see big-name artists turning up to the huge festivals, mega clubs etc. and playing the same set, this is more of a ‘show’, and it becomes boring and predictable for proper music enthusiasts. Solomun separates himself from the rest of the pack by coming supplied with an armoury of ID’s inc. tracks not yet released via his Diynamic Music platform, and multiple unreleased ID remixes, always unique, never duplicated, Solomun, whilst his ability to play marathon DJ sets are golddust, he builds a story through sound, and always delivers euphoric moments.
Overall, I would rate my experience at Labyrinth’s ‘On The Thames’ series as a proper great event, combining a historic venue, easy access, a jolly crowd and a top-tier artist in the form of Solomun was always going to be a 10/10 event, I hope the series returns for Summer 2026, and I for sure encourage everyone to pre-register for his February 2026 show in London too – HERE!
