Solomun Turns His Sold-Out Alexandra Palace Nights Into a Full-Length Film
Solomun has turned his two sold-out nights at Alexandra Palace into a full-length film, shot from inside the crowd, with guest turns from K.I.Z, Antony Szmierek and ATNA.
Solomun has released a full-length film of his two sold-out nights at London’s Alexandra Palace, and it takes a different route from the usual live recording. Instead of a fixed view of the booth, the documentary sits the viewer inside the crowd and follows the night as it moved across the Great Hall. It premiered on 23 July via his official YouTube channel.
The shows took place on 6 and 7 February 2026, with the second date added after the first sold out.
Inside the Great Hall
The film builds its perspective from the floor rather than from a distance. It cuts between close shots in the crowd, wide views of the hall and aerial drone sequences that show the full scale of the production. For these nights the Great Hall was rebuilt into something between a warehouse rave, an art installation and a live concert, with stage, floor and visuals treated as one piece. The venue, long tied to large electronic shows, reads almost as a character in its own right.
Guest turns and unreleased music
Several of the night’s peaks make the edit. German group K.I.Z appear for Solomun’s remix of their track “Samstag Ist Krieg”. Antony Szmierek previews an unreleased song, “Life Affirmer”, made with Solomun. Inéz of the German art-pop duo ÄTNA premieres “Raider on the Storm”. Around these moments the set runs through a stretch of unreleased Solomun material, an early look at music still to come.
A busy season for Diynamic
The film lands in the middle of a full summer. Solomun +1 is back at Pacha Ibiza every Sunday through October, now in its 12th straight season and 14th year. 2026 also marks 20 years of his label Diynamic Music, one more milestone in a run that keeps moving between big rooms, club residencies and one-off shows.
The TA View
Documenting a club night as a film, told from inside the crowd rather than from the stage, is a small but telling shift. It puts the dancefloor at the centre of the story, not just the artist on it. If more headline acts take this route, the live electronic release starts to read less like a souvenir recording and more like a piece of filmmaking with its own point of view.
