By Azzam Bilal 
HangupsMusic.com – London, the mist-shrouded heights of Alexandra Palace recently served as the epicenter for one of the most ambitious residency projects in modern electronic music. Over the course of two distinct weekends in September, the producer and DJ known globally as Fred again.. (Fred Gibson) transformed the iconic North London venue into a living, breathing celebration of club culture, collaborative spirit, and musical heritage. Titled "USB002," the residency was more than a series of concerts; it was a high-octane curation of the sounds that have shaped the contemporary UK scene, punctuated by appearances from some of the most influential figures in dance and rap history.
The final stretch of the residency, which took place on Thursday, September 26th, and Friday, September 27th, solidified the event’s status as a historic moment for the city. While the first half of the residency earlier in the month had already set a high bar, the concluding nights saw Fred again.. lean into the element of surprise, culminating in a performance that will likely be discussed in electronic music circles for years to come. The "USB" concept, named after his ongoing series of club-focused releases, emphasizes the raw, spontaneous energy of a DJ set where tracks are tested, mashed up, and shared in real-time. This ethos was felt throughout the cavernous halls of "Ally Pally," as thousands of fans witnessed a masterclass in curation.
The undeniable climax of the residency occurred on the final Friday night. Rumors had been circulating throughout the day after Fred again.. shared a cryptic yet tantalizing update on social media. He revealed that he had spent the entire week sequestered in the studio with a collaborator to prepare a completely unique, one-off performance. The mystery guest was none other than Thomas Bangalter, the legendary French artist and one-half of the defunct powerhouse Daft Punk. Bangalter’s appearance was a rare occurrence; since the dissolution of Daft Punk, his public musical ventures have been selective, often leaning toward orchestral and conceptual works. His return to the DJ booth alongside Fred again.. marked a significant bridge between the golden era of French Touch and the modern "Life" era of Fred’s discography.
This was not the first time the two had shared a stage—having performed together in Paris last October at the Centre Pompidou—but the London set felt like a deepening of their creative partnership. The performance was a meticulous blend of nostalgia and forward-thinking production. The duo treated the audience to a series of exclusive edits and high-energy mash-ups that demonstrated a profound technical synergy. One of the standout moments involved the seamless integration of Daft Punk’s "Aerodynamic" with the gritty, high-speed bars of D Double E’s "Victory Lap 5." The juxtaposition of Bangalter’s signature vocoder-heavy synth work with the quintessential sounds of London grime perfectly encapsulated the spirit of the residency.
The technical prowess on display continued as they fused the timeless "Harder Better Faster Stronger" with Fred’s own emotional anthem "Delilah (pull me out of this)." The setlist challenged traditional genre boundaries, moving from the political soul of Gil Scott-Heron’s "The Revolution Will Not Be Televised" into the R&B club energy of Usher’s "Yeah." To close the night, the pair brought the house down with a triumphant rendition of "One More Time," preceded by the iconic "Jack’s House" vocal sample by Chuck Roberts—a nod to the foundational roots of house music that both artists have championed throughout their careers.
Before the Bangalter-led finale, Friday’s programming was already a heavyweight affair. The lineup reflected Fred’s deep ties to the London music community. Joy Anonymous, the collective known for their infectious "Human Again" ethos and close collaboration with Fred, provided a sense of communal joy that has become a hallmark of these shows. They were joined by the Mercury Prize-nominated Berwyn and the indie-punk troubadour Jamie T, whose appearance added a layer of raw, narrative songwriting to the electronic backdrop. Perhaps most impressively, the 2023 Mercury Prize winners Ezra Collective took the stage, bringing their vibrant fusion of jazz and Afrobeat. They were joined by the legendary Kano, a pioneer of the grime scene, for explosive performances of "T3 Wheel-Ups" and the classic "P’s & Qs," bridging the gap between instrumental virtuosity and lyrical mastery.
The preceding Thursday night was equally stacked with talent, focusing heavily on the lineage of UK bass music and grime. Fred again.. welcomed back several guests who had become staples of the residency, including JME, D Double E, and Blanco. However, it was the "back-to-back" (b2b) DJ sets that defined the evening’s underground credibility. In a move that felt like a tribute to the foundations of dubstep, Fred shared the decks with the "Mount Rushmore" of the genre: Mala, Skream, Benga, and Coki. For fans of the original Croydon sound, seeing these pioneers together in such a grand setting was a profound acknowledgement of the music that paved the way for the modern bass scene.
Adding to the Thursday lineup was Lou Noor (formerly known as SICARIA), who had previously joined Fred during his intimate takeover of Corsica Studios. The evening also featured a surprise appearance from French pop icon La Roux, who joined Skream on stage during his celebrated remix of her hit "Going In For The Kill." The presence of Durrty Goodz further reinforced the night’s dedication to the intricate lyricism of the UK grime circuit.
To understand the full scope of the USB002 residency, one must look back to the opening nights on September 12th and 13th. Those initial shows set the tone for the marathon of guests that would follow. The first weekend saw Fred again.. collaborating with a diverse array of artists, including the legendary electronic duo Underworld and Mike Skinner of The Streets. The inclusion of Underworld was particularly poignant, as their influence on the UK rave scene is immeasurable, and their presence alongside newer stars like Nia Archives and Hamdi highlighted the generational continuity that Fred strives to foster.
Nia Archives brought the breakneck energy of jungle and drum and bass to the palace, while Hamdi and MPH showcased the evolution of UK garage and dubstep. Other notable appearances during the first half included Headie One, the Argentine duo Ca7riel & Paco, and the multifaceted talent of Jamie T, who appeared across multiple nights. The sheer volume of artists involved—ranging from underground DJ icons to Mercury Prize winners—transformed Alexandra Palace into a microcosm of the global music landscape, curated through a distinctly London lens.
The USB002 residency represents a pivotal moment in Fred again..’s career. It marks his transition from a producer known for intimate, diary-like albums to a curator capable of orchestrating massive, culturally significant events. By bringing together disparate genres—grime, jazz, techno, and house—under one roof, he has created a space where the "USB" isn’t just a storage device for tracks, but a metaphor for a shared musical library that belongs to the community. The inclusion of Thomas Bangalter was the final piece of the puzzle, a symbolic passing of the torch and a reminder of the enduring power of electronic music to surprise and unite.
As the lights dimmed on the final night at Alexandra Palace, the impact of the residency was clear. Fred again.. did more than just play his hits; he curated an experience that honored his influences while pushing the boundaries of what a modern electronic show can be. From the heritage of Daft Punk to the future-facing sounds of the UK underground, USB002 was a definitive statement on the state of dance music in 2024. For those in attendance, it was a rare opportunity to see the walls of a traditional concert venue torn down, replaced by the spontaneous, inclusive, and electrifying energy of a global block party.