Dekmantel is the festival that always gets it so right

Call Super - Selectors, Sunday

Call Super on Sunday evening stands as our favourite selector to grace the aptly-titled stage. Over the course of three hours he touched upon everything from ambient to breaks, sometimes in quick succession, thriving off the timespan allotted. It’s a shame more of the festival doesn’t take place at night because the Selectors stage is breath-taking in the dark, with the enclosing trees illuminated by colourful lights and the branches of the grand willow tree in the centre hanging above the dance floor like Mother Nature’s chandelier. The most memorable mix occurred in Call Super’s final half hour. Just as the sun was setting and the location turning magical, the immersive synths and sweeping strings of Digital Justice’s ‘Profit (No Till)’ swelled mystically. It was a real moment, catching everyone in introspection at the beauty of the scene. Then out of nowhere Stanton Warriors’ fiery UKG remix of ‘Jump N’ Shout’ by Basement Jaxx was brought in, breaking the trance and sending the crowd into fist-pumping, floor-hopping raptures. It was a blend that could only be reached in a lengthy set that charted extremes, which the Selectors stage provided in abundance.

Marcel Dettmann - Boiler Room, Sunday

If you thought picking an end-of-day set was hard on Friday or Saturday then Sunday was looking like an absolute minefield. Motor City Drum Ensemble made his debut over at the main stage as a headliner but after Dixon's rampage the night before, we didn't fancy another helping of big arena action. Klock was rolling out the thunder in the UFO but after we caught some of him earlier in the day, we weren't up for the darkness of the techno tavern. So it was outdoors for Dettmann, Dozzy or Digital Mystikz. All good shouts as with all of the acts playing but we opted for techno savagery of Dettmann and the post-haircut German powerhouse absolutely delivered. He's a safe bet but that doesn't make him a boring one, whether he's playing mechanical techno, melodic side-winders or the occasional thunderous house track, he does so with a prowess that most other selectors do. Cool, calm and calculated, he whipped the Boiler Room stage into a frenzy like we hadn't seen all weekend. The lights were down, the system was pumped up and the tunnel was almost impossible to get into. Slap bang in the middle of his set he threw down Liberty City's classic 'If You Really Want Someone' and the place hit lift off. Those chords, that vocal and Dettmann's militant head bump typified the sorts of risks and classics you can throw down in Boiler Room. A triumphant end to our favourite festival of the year.

Funster is Mixmag's Digital Music Editor, follow him on Twitter

Patrick Hinton is Mixmag's Digital Intern, follow him on Twitter