Part One by Lee Hodkinson

333's 'Invitation To Dance' promised much on paper, upstairs saw DJ sets (Hot Chip and Alan from The Rakes on the bill) whilst downstairs the bunker offered performances from some of the hottest rock and electronic acts under the heading 'The Homecoming'. The contrast of the two rooms successes quickly became apparent: upstairs turned into a mass of hyperactive limbs waving to 'Baby Got Back'; with the invite's suggestion of dressing 'Mexican' proving a hit; cue painted moustaches, sombreros and at least one man - sized chili thrown into the frivolity, whilst downstairs seemed destined to struggle; 'sound check will just be another 5 minutes' was the mantra most overheard, the curse of poor sound quality reigned and most in attendance appeared out for a regular Friday night spent shouting over the music at the bar rather than to witness a night filled with exciting young talent. After all, it's not every day you get to see cool - ass Kyp Malone (or just in case, his doppelganger) chillin' in a corner.

San Francisco's rock four - piece Scissors for Lefty are riding high, recently signing with powerhouse Rough Trade, but tonight won't be remembered as their crowning glory. Lead singer Bryan's vocals were frustratingly overpowered by the guitars and even their meatier up-tempo moments (reminiscent of labelmates The Strokes) failed to bolster the crowds' enthusiasm.

Next up were Bricolage, whose charming mix of dandy stylings and tight riffs (exemplified on 'The Waltzers') were once again scuppered by the 1 - 2 punch of less than desirable sound quality and the apathy of the chattering bar - proppers. DFA's darlings Prinzhorn Dance School ushered in a darker feel to the evening. Their stop - start drums, off - kilter guitar licks and combustible, shouty vocals would easily command a crowd more focused on the music, but tonight even their theme tune 'Monster' was lost.

Overall, the evening felt mismatched and for the most part seemed more 'going home commiserating' than 'home - coming celebrations'.

Part Two by Prue Watson

After a four month invasion of America and Mexico, the Queens of Noize are back in a glorious homecoming, ready to throw their weight behind a bunch of new bands and Djs, and tonight they proved they are back with a refreshed flare, innovation and enthusiasm. In a Mexican themed shenanigan, Tabitha and Mariead present An Invitation to Dance in Shoreditch's 333. As if you needed one with 3 floors of live music and DJ sets exposing a mixture of indie and electro tunes. The crowd was littered with celebrities as the inveterate duo blasted out a setlist of the strangest mix of music -not that the songs were strange in the sense of being unknown or peculiar- but they played a random array of completely danceable songs such as Blondie's 'Heart of Glass' and M.I.A. Oozing vitality and holding the crowds energy, they fluttered their fake eyelashes and danced around the decks as though in front of their bathroom mirror. They attracted the attention of almost all of the club's punters but this was more because of their notoriously outlandish behaviour rather than their choice in songs.

Adding to the superb melange of Djs was The Horrors' Spider Webb, joined by the fluently stylish and charismatic Noel Fielding of the Mighty Boosh, who swaggered by the Dj booth radiating both rock n roll and comedic flair, attracting more attention the main man himself. Spider Webb is the most interesting of The Horrors, playing the organ and dancing as though in a sketch for Monty Python. But tonight, although captivating the crowd and displaying a stimulating mix of tunes creating a 'show' rather than a 'set', he lacked his usual eccentricity and the live act downstairs seemed to enthuse the audience with greater exhilaration.

Before launching into their UK tour, Hot Chip stopped by to woo the crowd with their electric fusion of funk and pop. The Chips' took the crowd on a musical tour of their own, celebrating the physical intimacy set up by the previous Djs. Iconicically 'geeky chic,' Hot Chip have been commended for making 'homely' records which is directed straight into their Dj set. They do not try to be pretentious (as Russell Brand was, parading himself at the side of the Dj booth all evening, loving being famous) nor do they try to be something they are not. It is this charm that entrances the crowd and gives them a lease of life that Spider Webb began to loose.

The 'after-party 'disco stupidity was supplied upstairs in the Mother Bar by Alan Rake who rushed over from Shepherd's Bush Empire after one of their most important gigs yet. Banging out Sham 69, Bowie and The Jam, Alan Rake held the Mother Bar with a sense of pride without appearing smug. Bouncing off adrenaline from the night's gig, Britain's soon-to-be main rock n roll star shined through his self-effacing demeanour, leaving the crowd wanting more and more and more…

The Djs all captivated a drunken, lively, hip-twisting audience who had an intuition for what the crowd wanted and a spectacular taste in music. Although the Queens are not playing as regularly as before, the night holds well for a concoction of prodigious live bands and fanciful Dj sets showcasing the most interesting new music.