Dizzee Rascal bounces on unannounced, spouts spatter rhymes over The Power and dives into the delirious crowd. The hulking Stamina MC adorns Hypercaine with a voice as luxuriant as a Maybach interior. During Skyhiatrist, Rizzle Kicks skank atop the speaker stacks. Faced with the dance producer's eternal dilemma of how to turn a solitary studio music into a visceral live spectacle, dubstep pioneer DJ Fresh – one quarter of drum'n'bass supergroup Bad Company – opts to throw surprise guests at the Koko like the Mark Ronson you wouldn't want imprisoned for aggravated smugness.

Fresh is the man responsible for the first ever dubstep No 1, last year's merger of soul bellows and rampant rave pop that was the Lucozade ad tune Louder. He has emerged from 16 years in the backroom as the ultimate dubstep host, a fulcrum and figurehead of this sprawling, unfocused scene. Tonight, Ms Dynamite speed-raps over Gold Dust, mini-Beyoncé Rita Ora recreates her gutsy vocal on the R&B mash-up Hot Right Now, and Fresh's entourage – full band, MC, mohican-wearing diva and array of club scene glitterati – repeat his mantra to "keep the party moving". Clad in angelic white, the man himself bobs behind a raised keyboard, throwing triangular hand signs redolent of Jay-Z's Roc-A-Fella diamond. He clearly aspires to a similarly imperial level: "We're bigger than hip-hop-hip-hop-hip-hop-hip" goes the loping synth fritz of Hip Hop. His music warrants it, an unflagging barrage of energised arcade beats and bass whoomps that keeps Koko in a frenzy for the full hour.

A disco tinge to new single The Power, a frazzled remix of Coldplay's Paradise and some lighter-waving theatrics in the soul ballad intro to Louder suggest that Fresh's forthcoming third album, having already produced two No 1 singles, might boast the accessibility and populism to break dubstep into the arenas. For now, though, as the punter at the back of the room bleeding from the head and still raving will testify, this party will keep moving to the point of coma.

Contributor

Mark Beaumont

The GuardianTramp

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