Future Music Festival @ Randwick Racecourse, Sydney (04/03/06)
Whoever thought of this one is surely in line for a pay rise: recreate the successful Two Tribes formula in a uniquely “Sydney” context – the outdoor daytime event. Rebranding at its most effective. I have been tempted by previous Two Tribes line-ups, but scared off each time by the prospect of spending time in soulless black holes like the Showgrounds at Homebush. So imagine the delight and glee – the best line-up of any major event to hit Sydney in years, and a prime venue in which to enjoy it.
The first thing to hit me was just how damn civilised the whole thing was. No line at the gate, a friendly and low-key police presence, not a portaloo in sight, no scrambling for tiny pockets of shade. Instead we were treated to bars as far as the eye could see, copious toilets, plenty of shade and seating, and lush green grass. Even before you consider the line-up, it’s looking pretty good. The crowd was an eclectic mix, and it was great to see the shorts and heels set, the ravers, and everyone in between, coexisting peacefully. I’m not certain of the final numbers, but the crowd size was just right to achieve the festival vibe without the nasty side-effects.
Every outdoor event needs a signature track, and for the inaugural FMF that honour was taken by Trentemoller’s obscenely good remix of Royksopp’s What Else Is There. It was spotted no less than 4 times across different arenas, but to be honest I could have heard it another 10 without complaining. Remix of the year anyone? Daniel Croccetti had the honour of playing it first, as he kicked things off in the Sweetchilli/Global Underground room with some tight, techy prog. He was damn good, and reminded me how much I really should pay a visit to Sweetchilli again soon.
Outside on the Kink/Subliminal stage, the crowd was assembling, both at ground level and in the grandstand. Tocadisco started proceedings with his own remix of The Egg’s Walking Away, and when I returned toward the end of his set, he had the crowd eating out of his hand with a tidy selection of Euro-flavoured electro house. It was then time for a brief foray into the Sublime/Godskitchen arena to catch Technasia. They were playing hard, perhaps too hard for the mid-arvo timeslot, but it was the sort of proper techno we don’t hear enough of. In a dark nightclub I would have been the happiest boy in the world. I must add that the sizeable crowd disagreed with me and were absolutely lapping it up. Despite my best intentions to move around and sample a bit of everything, the Air stage held me captive for much of the day. I truly believe dancing on grass is one of life’s true joys, especially when accompanied by excellent tunes, friends, and plenty of vodka.
Dylan Rhymes worked his beloved Ableton hard, throwing down a marvellous set of sassy, dirty, house-y Dylan Rhymes-ish stuff, including All Night Alright and an awesome rendition of Salty. Ali B was, as usual, amazing. I severely doubt whether this man is capable of playing a bad set. The tried and tested Stanton’s mix of Drop The Pressure had even my Mylo-hating friend dancing, but the star of the show was a monstrous mashup involving Pump Up The Volume and Dolly Parton’s “Oh Lord Won’t You Buy Me…” Also causing major happiness (in my corner at least) was Adam Freeland’s massive remix of The Doors’ Hello I Love You. Exciting, unpredictable, and the kind of set that reminds me what I love most about music. Breaks guru Lee Coombs continued the theme of excellence, playing a funky set that was perfectly suited to twilight on the grass.
I was very interested to see what Coburn would have to offer, given they are a fairly unknown quantity with an interesting musical history. But alas, by 8pm the Bang Gang arena was closed and deserted. There are plenty of rumours flying about as to what happened, but whatever the cause it was a shame. There was enough variety and quality in the line-up for people to play “choose your own adventure” if you will, assembling a line-up which suited their tastes and mood. Rhymes, Ali B and Coombs personally made my day, but for the next person it might have been Armin and Schulz. But I’m sure all would agree that it was an absolutely top class party. Randwick is a unique and wonderful venue for an event like this, and I dearly hope it happens again.
Future may have just taught a few Sydney promoters a thing or two with this event. The line-ups of our other major outdoor dance events this year have been decidedly limp, lazy and uninspired. Hopefully Future’s bar-raising effort with Future Music Festival will reinvigorate the Sydney scene, make punters demand more, and lead to more bold and innovative programming from local promoters. Either way, Future have won the hearts of Sydney, and we can’t wait to see what they do next.
