Sav Remzi: The Power of Music & Spaces to Bring People Together.

Sav with the late great Andrew Weatherall R.I.P.
Photo credit: Tom Oldham

The Power of Music: A Tool for Unity

Throughout our collective history, music has been a powerful force for unity. It’s an art form that enables expression, celebration, and transformation, ensuring artists have the ability to communicate their sonic message across divisions and generations. Sav Remzi, with his relentless passion for pushing boundaries, has always championed the role of music as more than just entertainment—for him, it’s a social and cultural glue.

Sav’s life’s work isn’t only in music production but also in understanding that music isn't just about sound. It’s about space. It’s about people. It’s about creating environments where individuals can share an experience, be it on the dance floor, at a festival, or in a recording studio. These spaces are where magic happens, where strangers become friends, and where culture is formed and reshaped.

Gilles Peterson

DJ, radio host, label owner and musical connector.

"Sav’s continued support of grassroots culture has been lifelong!
His ability to bring people together through music is legendary - his endeavours include creating iconic clubs, labels and events over over 30 years - legendary!"

‘Music is Love’ - David Mancuso’s Nuphonic London Loft Party.
Photo credit - Dave Swindells

Nuphonic Records: A Revolution in Sound

Founded in 1993, Nuphonic Records became one of the UK’s most influential labels during a pivotal period for electronic and dance music. At a time when underground music was gaining pace, Nuphonic was an incubator for the eclectic, genre-bending sounds that were emerging in the 1990s. The label was home to artists who were unafraid to experiment, drawing from a range of influences including house, jazz, disco, afro rhythm, techno, detroit, new wave and more.

One of the label’s first releases, Faze Action, captured the label’s spirit of musical exploration by fusing house, latino, disco and orchestral strings to create a multilayered soundscape that defined the 'nu house' movement and arguably the revival of disco.

The label also worked with acts including Idjut Boys, Ashley Beedle, Femi Kuti, Joe Clausell, Rocky & Diesel, Andrew Weathearall, Maurice Fulton and David Mancuso, whose pioneering approach to music production further cemented Nuphonic's reputation as a label that wasn’t afraid to take risks. Remzi’s talent lay in spotting innovative artists that would later define entire musical subcultures. In its ten years of output, Nuphonic’s catalogue became a timeless collection of tracks that continues to influence DJ’s and producers to this day, absolutely deserving of a new generation of fans.

The highly influential and historically important disco and electro-funk mix pioneer, Greg Wilson said of Sav and Nuphonic records, “Nuphonic, which Sav had initially launched back in the early-’90s, played a crucial role in helping bring about the disco renaissance that has continued to grow from strength to strength right up until this day, not least via the two ‘David Mancuso Presents The Loft’ box set compilations (1999 and 2000) and the London Loft parties, which did so much to bring this seminal New York DJ to the attention of a new generation of disco enthusiasts.”

Hour 6 of 6 recording of the first ever David Mancuso, London Loft party. 1999.

Nuphonic was born out of the same frenetically creative period for Sav during those early days in Shoreditch, and alongside the Blue Note club, the label became a seminal platform for burgeoning music and cultural movements. The synergy between the club and the label cultivated a vibrant scene that nurtured creative regeneration and exchange, leaving an enduring legacy that continues to resonate today.

Remzi's subsequent label, Tirk Recordings, set up in the early 00's quickly delivered several hit releases with the Mercury nominated darling pop of New Young Pony Club, the hard hitting krautrock-meats-hip-hop of Fujiya Miyagi, the revival of Greg Wilson's career with the 'Credit To The Edit' series, Richard Norris’s ‘Time & Space Machine’ project, The Una Bombers ‘Electric Chair’ and Chaz Jankel’s anthology album 'My Occupation'.

Dave Swindells

Ex Club Editor, Time Out and i-D Magazine

"The clubs that I wrote about and photographed for Time Out and i-D from the mid-1980s to 2009 were places where the music was the uniting factor bringing like-minded people together. For most of that time Sav Remzi has been one of the enablers – the party promoters, venue managers and record label bosses – who actually make such events happen. We listed the Red Eye in Time Out magazine where I was the Nightlife Editor, but I actually got to know Sav better through Nuphonic Records and subsequently at the Blue Note in Hoxton, a venue that was proactive in hosting many of the best club nights in London the late 1990s, from Metalheadz and Anokha to Stealth and Swaraj. Many years later Time Out was the media partner with Lovebox Festival in Victoria Park which Sav was also deeply involved in, and more recently I've been to many events at the wonderful House of St Barnabas in Soho Square where Sav was the Musical Director”

Squarepusher playing at Ninja Tune’s Stealth residency at the Blue Note in 1996 - a young Benji B and Aphex Twin look on.

Photo credit - Martin le Santo Smith

Blue Note Nightclub: A Temple for Music Lovers

If Nuphonic was about innovation in sound, Blue Note was about creating the perfect space for that sound to come alive. Blue Note, the iconic club in Hoxton Square, London, where Remzi took over in 1994 quickly became a haven for music lovers from all walks of life. Remzi's creative direction, together with his carefully curated team, established a landmark club for those seeking cutting-edge music and all-encompassing cultural enrichment.

Remzi reminds us that, "The definition of a ‘club’ is ‘a place where like-minds come together’... At the Blue Note my philosophy was always to make everyone feel at home, after all, it was their club not mine. We’d make sure drinks were ready on the bar before they even asked for it." It's this welcoming approach, together with a dynamic programming strategy that set the Blue Note apart from other venues.

Mode 2

Visual Artist

"Coming from Paris, I was plugged directly into the uniquely eclectic programme of the regular music nights of the best that London had to offer back then, thanks to Sav. People never had it so good, in my opinion”.

Mode 2 artwork inspired by many an evening at the Blue Note.
Image credit - Mode 2

Sweety Kapoor, Talvin's manager at the time, promoter & co-creator of Anokha, said of Remzi and Blue Note, “I remember Talvin (Singh) and myself going to the Blue Note to meet Sav to discuss moving Anokha there. Sav connected on a deeper creative level, and was on-board the mission! He said, ‘I’ve only got a Monday night available”. We took it, because with Sav we knew we’d found our spiritual home for Anokha. The Blue Note wasn't just a club, it was a mecca for cutting edge music and culture that was coming off the streets of London and UK, right there in Hoxton square, every single night at The Blue Note was iconic and influential, and the vibe was like magic walking in there.

That also only happens because someone like Sav was the heart of the Blue Note, if it hadn't been for Sav, we would have taken Anokha elsewhere. What he created at the Blue Note was a home for an army of creatives and a magnet for music lovers and artists gathering to be part of it; from Björk, David Bowie, Sinead O’Connor, Lee Scratch Perry to name a few. The Blue Note became the backdrop and incubator for what became hailed as the seminal and influential Anokha: Soundz Of The Asian Underground compilation album, that defined a movement, sowing the seeds for Talvin's Mercury Prize winning solo album that followed”.

Talvin Singh playing at his Blue Note residency, Anokha. Circa 1996.
Photo credit - Dave Swindells

Blue Note hosted a wide variety of events, from Goldie’s legendary ‘Metalheadz’ drum and bass nights to boundary-pushing electronic music collectives like Ninjatune's 'Stealth', featuring artists who would go on to greatly influence the broken, breakbeat and future jazz scenes.

When reminiscing on great times at the club in a interview, Goldie said, “I'd phone the DJs up, I'd wind 'em all up. I'm going, “I better hear some fucking good shit,” you know? I’d phone them and play them 16 bars of something, and people would go, “What the fuck’s going on?” And you’d put the phone down, and they’re like... “Are you playing fucking games again?” I’m like “Wait ’til fucking Sunday!” “Have you spoke to Scotty?” “No.” “Have you spoke to Lee?” “Nah, nah, he's got something dangerous.” “Really? What's going on? Tell me more!” “Nah, nah, nah. Wait ’til fucking Sunday!” I heard so many tunes in that place my brain nearly exploded.”

‘Goldie Whistle’. Metalheadz Sunday Sessions, the Blue Note.
Photo credit - Normski

Cleveland Watkiss in full flow, Metalheadz Sunday sessions, Blue Note.
Photo credit - Normski

Metalheadz became a significant hub for rapid innovation within drum & bass, creating a sonic aesthetic that was both gritty and sophisticated, forever altering the trajectory of the genre.

It was at Blue Note that pioneers such as Doc Scott, Fabio, Grooverider, Dillinger, Photek, Roni Size, Kemi & Storm, Peshay, Bailey, Cleveland Watkiss, LTJ Bukem all cut their teeth, testing their acetates to a jam packed dance floor every week; it's where the sound of drum and bass was being invented.

Remzi adds, "I remember clearly, within a few months, it was like Metalheadz had become the centre of the universe, earning its name 'Sunday worship' where we'd see the same avid followers week after week and queues stretching round the block right up to closing time, leaving those who couldn't get in even keener to get there well before doors the following week. Actually, no-one really minded waiting in the queue as they could hear the session vibrating through the walls from outside… We’d double the size of the sound system for Sundays with a bunch of 22” bass drives and then some!”. Remzi goes on to reveal that, “The Shoreditch landscape was far from formed as it is now, in-fact, the area was totally underdeveloped back then, just empty warehouses, squats and bombsites. We didn't realise it at the time, but we were inadvertently transforming East London, rewriting the map of music, and championing British art and culture in a profound way that echo's across the world to this day.”

Grooverider ‘laying it down’ at the Metalheadz legendary Sunday Sessions, Blue Note.
Photo credit - Normski

Meredith Coral, Metalheadz Promoter said, “I had the pleasure of being at the helm and the big man’s right-hand woman for Metalheadz Sunday Sessions at the Blue Note - what a ride it was… not least for working with the awesome team there… Sav Remzi was the glue that held it all together!!!”.

Metalheadz Sunday sessions was just the start of the week. Sunday followed into the weekdays with genre challenging residencies from the likes of; DJ Harvey's 'New Hard Left', James Lavelle's 'Mo' Wax', Talvin Singh's 'Anokha', Ninjatune 'Stealth', Andrew Weatherall's 'Blood Sugar', Gilles Peterson's 'Far East', Abashanti - i's dub sessions, Mark Jones’s ‘Wall Of Sound’, Alex Sparrow’s ‘Athletico’, Eddie Piller’s Acid Jazz nights and Dr Bob Jones’s ‘Soul Surgery’ all set to a backdrop from the pioneers of immersive visuals The Light Surgeons and art direction by Tom Hingston.

The later addition of the Blue Note Gallery and Ayurvedic cafe on the first floor further established a daytime subculture that allowed Remzi and the Blue Note team to flex beyond music into food, art, fashion and ‘multimedia’. It was this radical and ground-breaking programme of activity that combined into a vibrant creative hub that became the precursor for the Shoreditch we know today.

Dec 96 Blue Note centre spread in THE FACE magazine.
Photo credit - Laurence Passera

People of note (left to right): Neil Higgins (Wall Of Sound), Jenine McKay (Club Culture), Rory Carlisle of Dirty Beatniks (Wall Of Sound), Oli of the Herbaliser (Stealth/Ninjatune), Strictly Kev of DJ Food (Stealth/Ninjatune), Alex Sparrow (Athletico), Bob Jones (Lift), Talvin Singh (Anokha), Michael Gallagher (Athletico), centred Sav Remzi (Blue Note CEO), Eddie Pillar (Blue Note Owner), Wavy Davy (Club Head), Gilles Peterson (Far East), Doc Scott (Metalheadz), Kirstie McAra (Athletico), Paul Martin (Far East), Raf (Outafocus), DJ Brownswood (Far East).

The club was a vibrant cultural melting pot, frequented by visionaries and soon-to-be cultural icons - The likes of Tracey Emin, Björk, Damien Hirst, Banksy, Irvine Welsh, David Bowie, Lauren Hill, David Byrne, Lee Perry, Alexander McQueen, Jarvis Cocker, Madonna, Kate Moss, and the late great Andrew Weatherall and Howard Marks were regulars - all soaking up the scene, drawing inspiration, exchanging ideas and plotting their next great cultural contribution. Blue Note became London's meeting place for some of the most creative minds of the time — artists, musicians, and designers who would later go on to rip-up convention and transform the worlds of art, fashion and music.

Sav understood the power of creating inclusive, dynamic spaces where people could lose themselves in the music and transcend the ordinary.

‘Losing it on the dancefloor’ Anokha, the Blue Note, 1997.
Photo credit - Dave Swindells.

Blue Note wasn’t just a venue, it was a cultural crucible where people could freely exchange ideas and energy, literally sparking moments of raw creativity & collaboration that would go on to reverberate through the arts for years to come.

Rob Wood.

Creative Director of Music Concierge, ex editor - Jockey Slut and X-Ray Magazine.

“When you combine thoughtful curation with high quality audio, the power of music to emotionally move and connect with us is undeniable. Sav has used his passion and exceptional ears to create powerful communal music experiences ever since his pioneering days at Blue Note before moving on to festivals and more intimate spaces such as House of St Barnabas. An eye for design, attention to detail, and deep music knowledge also led him and Dave Hill to start the Nuphonic record label which was influential in the 1990s - championing new artists and celebrating purveyors of club culture history such as David Mancuso’s The Loft parties, Norman Jay’s Good Times sound system, and Andrew Weatherall. Whether introducing people to new or overlooked music, or bringing people together to rejoice in it, delivered of course with audiophile friendly sound, Sav has always been an innovator.”

Lovebox Festival: Taking Music Outdoors

Building on his success with Nuphonic and Blue Note, Remzi continued to push the boundaries of music events by co-founding the Lovebox Festival alongside Tom Findlay and Andy Cato of Groove Armada. Remzi facilitated Lovebox's relocation to East London's, then culturally dormant, Victoria Park, inadvertently casting the template for the urban festival format. What began as a series of small parties in 2002 grew into one of the UK’s most beloved music festivals, known for its eclectic lineup, vibrant atmosphere and diverse audiences.

Lovebox became more than just a festival—it was an embodiment of the values that Remzi had cultivated throughout his WORK at Nuphonic and Blue Note: inclusivity, musical exploration, and a strong sense of community.

With stages ranging from electronic and dance to indie rock, soul, and hip-hop, the festival celebrated musical diversity while maintaining a distinctive underground ethos.

Lovebox's meticulously curated lineups bridged mainstream appeal with niche, avant-garde acts, ensuring that the event stood out from other UK festivals. Artists such as Grace Jones, LCD Soundsystem, JK, Mark Ronson and Hot Chip performed alongside emerging underground talent, connecting urban festival-goers to an immersive experience that transcended musical boundaries without the cumbersome overnight camping stays. In the process, Lovebox became one of London’s cultural institutions, attracting tens of thousands of music lovers each year.

Remzi later followed this 'idea to reality' formula with OnBlackheath festival, this time teaming up with legendary producer Harvey Goldsmith CBE. OnBlackheath he added a 'lifestyle' angle fusing fine dining, curated street food, wine tasting and cocktail lounges as a backdrop to live music from the likes of Massive Attack, Grace Jones, Jarvis Cocker, Rodigan, Gilles Peterson, Erol Alkan, Primal Scream, Thundercat, Young Fathers and Neneh Cherry all on the same lineup.

*Neneh Cherry live OnBlackheath.*
*Photo credit - Sav Remzi*

Onblackheath poster artwork by Robert Del Naja.

House of St Barnabas: The power of music and spaces to fuel positive social change.

In 2012, Remzi channelled his experience and connections into founding the House of St Barnabas in Soho—a not-for-profit members club with a focused mission to break the cycle of homelessness. Once again, he shaped the programming to demonstrate the power of creative spaces to unite people in a common cause. Reflecting on this endeavour, he says, "HOSB was my chance to invite all my friends to join me in creating a more 'grown up' Blue Note for the modern age, where I used the beautiful Grade1 listed building, chapel and courtyard as a backdrop to amplify meaningful social change."

Gilles Peterson at House of St Barnabas.
Photo credit - Tom Oldham

Creating Spaces that Connect: The Essence of Remzi's Legacy

Across every project he touched, from Nuphonic to Blue Note to Lovebox and House of St Barnabas and much more besides, Sav Remzi’s work has been driven by a singular goal: to create spaces where music could bring people together. Whether through intimate club nights or large-scale festivals, Remzi believes in the transformative power of collective musical experiences.

His ability to curate spaces where artists, audiences, and creative minds could meet and interact allowed him to shape the musical landscape of the 1990’s right up to the present day. These spaces weren’t just venues for entertainment—they were incubators for cultural movements. At Blue Note, drum and bass found its spiritual home and cultural movements were born; at Nuphonic, new sounds in house and disco flourished, and incredible talents had a platform to call their home; at Lovebox, a wide spectrum of musical styles collided, attracting a loyal and diverse audience; and at HOSB, music, people, and spaces, delivered positive social impact.

Gilles and Sav ‘making it happen’. House of St Barnabas.

Photo credit - Tom Oldham

The Enduring Importance of Physical Spaces in a Digital World

In today’s music landscape, where digital streaming and online platforms dominate how we consume and discover music, reducing music to a commodity and lessening it’s vibrancy in the process, Sav Remzi’s work is a poignant reminder of the irreplaceable value of physical spaces to establish meaningful experiences, building community and nurturing creative energy. While digital platforms allow for unlimited access to music, they fundamentally lack the communal element that defined Sav’s venues and events.

If we think about it for a moment, music is at its most powerful when it is experienced collectively. Whether it’s the electric energy of a crowd in a nightclub, the shared euphoria of a festival audience, or the intimate connection between a DJ and a dancefloor, these physical interactions fuel the magic of music. They create memories, connections, and cultural movements that resonate far beyond the individual experience. Tom Findlay of Groove Armada says, “Sav understood that music isn’t just about the tunes, it’s about what happens when people come together to hear them. That’s where the real magic happens.”

Sav Remzi’s contribution to our cultural landscape is a testament to the idea that music, at its core, is about connection.

From his work with his record labels to his visionary foresights with gigs and venues, Remzi has always focused his philosophy around an ‘audio-first’ approach, where everything else is meticulously constructed around the sound to maximum effect. In doing so, Remzi has left an indelible mark on the UK’s music landscape. His ability to crate spaces that bring together diverse artists with environments that were designed to stimulate enjoyment and musical focus. His insistence on pushing the boundaries of sound and culture, have made him a true icon of the industry.

In a world where music is increasingly consumed in isolation, Remzi’s legacy reminds us of the crucial importance of shared spaces; those frenetic dance floors, dimly lit pulsating nightclubs, and vibrant festivals are all where music truly comes alive.

As his various projects continue to inspire and evolve, his output reminds us of the role that music plays in uniting people, sparking new ideas, establishing culture and building communities — an ethos that will undoubtedly continue to shape the future of music for generations to come...

Thank you, very humbly, to Sav Remzi for affording us the opportunity to write about his life’s work and passion - it has been an absolute honour…

Andy Oattes.

Frank Broughton.

Author/Journo

“Sav… a shining light in independent music.”

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