Audiojack land at Hastings’ Blackbox for a special three-hour set to support small clubs

ON Saturday 3rd May, Audiojack land at Hastings’ Blackbox for a special three-hour set to launch The Night Bazaar’s monthly takeover. 

Supported by the Night Time Industries Association, we’re shining a spotlight on the crucial role of small clubs and live venues still feeling the pinch post-pandemic.

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Expect a deep dive into house music as Audiojack (Richard Burkinshaw & James Rial) take control, dropping big tracks from their own back catalogue alongside sets from myself, Jim Rivers, and Mark Dickson.

The Night Bazaar presents… BLACKBOX – For more information click HERE.

Blackbox in Hastings isn’t just another venue. It’s a reminder of what dance culture was built on: an intimate room, a powerful sound and a space where the DJ is close enough to feel the crowd, and the crowd is free enough to lose themselves in the music. These are the rooms that shaped artists like Audiojack and they’re the places where, even two decades into their career, they still find their most meaningful moments behind the decks.

Ahead of their set, we caught up with the duo to talk about the role of grassroots venues in today’s scene, the tension between authenticity and algorithms, and why 2025 might mark a turning point for them as touring artists.

“Small venues like Blackbox have always played a vital role in our journey,” they reflect. “In the early days, it was in these kinds of spaces that we first felt the magic, connecting with the crowd, feeling their response, letting it guide the music. That unspoken conversation between DJ and dancefloor is something you just can’t replicate in a giant arena.”

Like many aspiring DJs, they once chased the big bookings. But over time, the allure faded. “Big venues are impressive, no doubt, but they often feel more like concerts than clubs. Everyone’s facing the DJ. It’s less about dancing with each other, more about watching a show. In places like Blackbox, it’s still about community. The party is the people.”

That distinction, the gig vs the show, is one Audiojack feel strongly about. “We play gigs, not shows. There’s no pyrotechnics, no theatrical build-ups—just music. The entertainment is in the groove, not the gimmick.”

But as nightlife culture becomes more focused on shareable content than shared experience, those kinds of nights are getting harder to find. “Most grassroots venues are struggling. Back in 2005, there were over 3000 nightclubs in the UK. Now there’s under 700, and it’s dropping fast.”

The result? A fragmented scene, with fewer places for new artists to emerge and for real club culture to flourish. 

“We’ve lost those regular, local events that once made the UK scene so unique. What’s replaced them feels more polished, but less alive.”

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Despite their international touring schedule, Audiojack’s favourite memories still stem from the underground. From Back to Basics at Stinky’s Peephouse in Leeds to Revolver in Melbourne and Smartbar in Chicago, it’s always been about the vibe, not the size.

“It’s the local community that brings these places to life. That can’t be manufactured.”

Their approach in clubs versus festivals reflects this ethos. “At a big event, we’ll go more dramatic, a higher energy, more drops. But in clubs, we can take people on a journey. We can dip the energy, build it back up, go deeper. Places like Stereo in Montreal really encourage that. Six-hour sets aren’t unusual there.”

Recently, the pair hinted that 2025 might be their last year touring as a duo. It’s not a retirement, far from it, but a realistic shift. “The cost of touring with two people has become too high, especially with everything happening in the world right now. From wars to inflation, the climate crisis to celebrity culture, it’s a lot. We’re lifelong DJs, and we’re not stopping. But the format may need to change.”

Their future lies in more studio work, self-releases, and a greater focus on royalties and licensing. “Whether it’s one of us or both behind the decks, it’s still 70% Audiojack music. Same record box. Same vibe.”

Off the dancefloor, Audiojack are also lending their voice to the ‘Make It Fair’ campaign, a response to proposed UK legislation that would allow AI companies to scrape copyrighted music without consent. They contributed to the silent protest album Is This What We Want, which features recordings of empty studios and spaces.

“This isn’t just about copyright; it’s about the future of creativity. AI has its place, but not if it’s replacing artists without permission. That’s theft. Plain and simple.”

They’re open to using AI as a studio tool, but only within ethical boundaries. “Use it to clean your house or track your sleep, not to remix human creativity and call it your own.”

So, what’s in store for the Hastings crowd at Blackbox?

“A three-hour ride through groovy, dancefloor-focused house music. Most of it made by us, some of it unreleased, with a few private edits for good measure. All mixed live, no pre-sets, no automation, just two ears, four decks, and a whole lot of feeling.”

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