Carnivale

Fresh on the heels of New Years Eve carousing, Summafieldayze was the perfect veneer to the celebratory seeing-in for 2007. With some concerns over the weather being unusually unpredictable, I was extremely gratified to wake up to a charmingly beautiful day – the sun shone brightly with a mere few clouds to stall the glare (never mind the early shower). The potential of seeing BK, Freestylers, Mylo, BodyRockers, Kid Kenobi & MC Shureshock, Judge Jules, Switch, TV Rock, Mousse T Bob Sinclar and many other notables in the flesh boosted my already histrionic enthusiasm. This enthusiasm was not at all quelled by the rather lengthy amble towards Doug Jennings Park; t’was, the perfect opportunity to clear one’s lungs and heat up the blood for the good of our wellbeing (and boo to those who complained excessively over such unexpected physicality!). For crowd and traffic control, this arrangement was also obviously ideal. I even found the parking of $20 quite fiscal compared to the subsequent $40 park – a closer alternative. Finally arriving to the extensive entry lines also failed to suppress my keenness, for there are times when patience is a virtue – and this was certainly one of those times. Security were noticeably accommodating and polite, smiling benignly in our wake.

Looking beyond the entry pavilion, I could espy the crests of marquees – reminiscent to a Big Top from any circus. Indeed, the very atmosphere was one of a magnificent carnival – certainly I hoped the beasts and characters to be observed cavorting within its midst would be as colourful and vibrant as any within Cirque Du Soleil. The smell of barbeque (who knows from where that aroma originated I have no idea) mingled with the adjacent sea air and muted crowd noises while grinding bass lines and revolving drum beats thumped across the grounds; all fuelling my senses and propelling my eagerness to heady heights. I really wanted to smell fairy floss too. The wait to enter did not take long considering. My thanks to Candice Blackburn and her wonderful assistants for ensuring a rather rapid entry.

Walking past the first of many tents for the day, I immediately took stock of the entire area. As a complete newborn to the outdoor festival, I had no expectations or principles for the event, and was immediately impressed by the general layout. I noticed many lineups for the drink stands – of both the hard and the soft variety; food booths offering an array of foods from Kofta Balls to Satay Chicken Kebabs; the portaloos of a gloriously green sheen, the side show rides affectionately branded as Vomatrons or Puke-awhirls, a foam slide, chill out shelters, shaded areas and market stalls. I remarked upon the piles of rubbish (which would, alarmingly, increase in magnitude as the day went on), but was promptly informed by my accompanying comrade that this same phenomenon also occurs in the festivals of England. This, she outlined, could be a result of a) bins in an enclosed space posing any number of possible dilemmas (issues of health possibly included) and b) when the weather turned cold, people needed something to fuel a fire to prevent the onslaught of hypothermia (nevermind the resultant and offending chemical odours). I was nevertheless gratified that I was indeed enjoying the pleasures of a Queensland summer’s day and could thus readily avoid the latter. Truly, our Summa sanctuary was pulsing with revelry and merriment. I found the Family Stage to be the most comfortable area. With a reserved VIP Space for those possessing a Family Gold Card, one could easily escape from the rabble and observe our local DJs at their most lissom, while sinking gratefully to chairs and tables, or leisurely utilising the exclusive VIP bathrooms (again of that gloriously green hue).

However, the regard towards this exclusive Dance Fair was not merely limited to its layout and design. Many of its inhabitants proved to be just as, if not more interesting. My earlier anticipation for colourful characters and beasts were immediately fulfilled – here there and everywhere, frolicking individuals in all states of dress thronged the area. There were those armed for comfort in shirts, shorts/jeans and sneakers. Many wore shirts with maxims of wit/ cleverness/ provocation/ infamy/ cartoons/ bad taste. Then there were those armed for good ole healthy attention; eye catching accessories of indescribable proportions were mindfully affixed to bodies. All who paid especial focus to their ensemble were certainly vibrant and immediately conspicuous. From knee socks, tiny shorts, designer sunglasses, designer swimsuits, designer underpants, designer belt buckles, designer handbags, designer hair, faux hawks, perky faux breasts exhibited in brief bikini tops, garish tattoos prominently displayed on bare chests, arms and legs (undoubtedly the strangest yet being one gentleman with “Family” and then “Friends” inscribed on a knee apiece); flowing kaftans, rainbow coloured afros, headbands, phat pants, bubble skirts, wigs, Kandy bracelets with matching necklaces, stomping boots, fluffy boots, Havianas, goth outfits, Docs, Kamikaze gear, plenty of bare skin (much of it not disagreeable to observe either), crazy sunglasses and outrageous hats ranging in all forms and varieties, high heels, pooh bear backpacks, piggy tails, tinted contact lenses, tartan skirts, bodypaint, maidens dressed in sailor suits, suspended angel wings anchored to shoulders or a corporeal allusion to superheroes like The Incredibles, Spiderman and The Hulk. Of course when the sun set, the darkness allowed the more nocturnal creatures to emerge with giant laser lighting attachments to their ears, necks, arms and heads. Indeed, individuality was favourably preserved and appreciated. The only identical fashion item shared by all came down to the collective smiles on each face. Certainly, there was just as much fun to be had in the scrutiny of Summafieldayze as there was in the listening. And the listening was certainly its own individual and pleasing encounter. If there is one mark of experience I can now take away with me from being “broken in”, it was the audio pleasure of listening to fabulous dance music from within a portaloo – plastic is indeed a fair conductor for sound.

Though fresh to the festival environment, I was still quick to discover my personal major flaw. I was an instantaneous failure in successfully cloning myself (though even if I had managed to achieve this feat, I’m sure I would have lost my selves in the swarm anyway). With so many excellent names on offer and some sets averaging less than a cool 90 minutes, the earlier physical activity of walking did not end at the entry lines. Alas – but for the power of covering vast distances in one leap. Nevertheless, I welcomed the exercise and proceeded to treat my ears to the Summadayze Stage, the Field Day Stage, The Smirnoff Experience and The Family Stage. Aside from Family (which had it’s own VIP marquee) all stages were beneath a large television screen that eternally generated stimulating images; surrounded by state of the art sound systems and racks within an individually grand tent and a spongy floor-covering that was easy on the soles and the backsides. Floating in the peaks of our tents, large cast forms of butterflies, crabs, flowers and bumble bees hovered delicately above us. The Summadayze Stage was of course The Big Top for this fete.

With the benefit of hindsight, I can note the similarities prevalent in the music on the day. As a festival conscious of the wide range in demographics, all 25,000 of us could only be linked by our current sparkling natures, a degree of access to expendable incomes and an overall admiration for synthetic drum machines. With so few similarities joining us together, the music not only had to capture these few communal portions, but also reflect them to maintain the union. As a result, the music could only ever be a myriad of perpetual beats fused with accessible melodies wrapped in harmoniously pleasing textures. A sure fire method of accessibility was to feature Fedd’s infamous Put Your Hands Up For Detroit, the bass grooves to Gwen Stefani‘s latest release, the catchy melodies of Rainbow Stylin’ Gnarls Barkley’s Crazy or the serviceable lyrics from The Killers. But, to claim one’s attendance was motivated solely by one particular act was denying oneself the overall experience. While ‘The Music’ is always the first and foremost inspiration for any given musical event, music does not affect us only on an auditory level. Music affects us on all sensory levels. And the bigger picture of Summafieldayz (and other such festivals) lies in one’s experience via rapid ingestion. Each second filled with force. Each moment charged with energy. Each hour saturated with tactile effects. The crowd generally was on its best behaviour. That essential fashion item, the smile, was in grand attendance throughout the entire event. Noticeably, our appreciation and good manners for the many DJs and acts were also well demonstrated in thunderous welcomes and acclamation.

There were many performance highlights. The earlier exhibitionist efforts of the Stafford Brothers had met with a full dance floor on the Field Day stage. Ajax similarly enjoyed an appreciative crowd with an oscillating set of caustic beats and solid melodies. The welcome reception for Kid Kenobi and MC Shureshock was thunderous. Kid Kenobi founded firm jabs of beats for Shureshock’s smooth rhymes and patter with plenty of key patches inserted for enfolding textures. The Freestylers had lasers actively flashing, the visuals a wonderful effect in the tent seducing dancers to succumb to the beats and rhythms. Martin Solveig’s set had plenty of arms up in the air as the sun started to set over the mountains, the laser lighting becoming quite hazardous to the eye. Mylo’s set was met to a clamourous reception, people screaming and eagerly jumping up and down. I felt faint as the man himself let loose the familiar grooves to Doctor Beat though yearned for the resonance of Gloria’s voice – ah, but not to be. The surrounding textures with keyboard patches and chordal harmonies were beefy and substantial, yet I found Mylo’s performance curiously lackluster. Perhaps I had some expectations afterall. Neverthless, the hordes of dancers responding to his set was crushing. The Plump DJs amply took over from his vibe, keeping the synthetic beats satisfyingly strident – though many left unfortunately to catch Bob Sinclar’s performance.

I found The Smirnoff Experience kinder to the selective and more matured palates, with Cosmo Cater and Ian Nearhos severing the cheese with their distinctive caress; Big Pig’s Breakaway a noticeable highlight for the crowd’s ears. Switch likewise enjoyed a supportive gathering, with his talent at capturing his crowd by sheer force of will. His 90 minute set swung you up and down in undulating surges of soundwaves. It was indeed a smooth ride. BK wowed his audiences with a superb performance, his electronic offerings well received. TV Rock unleashed quality thumping electro dives; the highly advance digital sounds electric in the atmosphere. Mousse T was suitably lively in such circumstances where we were treated to a Horny remix. My ears were noticeably astonished by the presence of a blaring rock tune.. though I would happily plead temporary insanity if such sounds really did not transpire. Many remarked favourably upon Darren Emmerson’s set, particularly with Underworld crawling across the system, though I understand his sound was turned down at some point (most unfortunate indeed). mag00’s final set was well met with some cries of appreciation, his immaculate tech haus a welcoming balm to the user-friendliness of the day.

At the Summadayze Big Top, I observed the spectacle of a gorgeous blue custom-made Gretsch-inspired rectangle guitar reminiscent to Bo Diddley. This splendid instrument attached to the pelvis of Dylan Burns was introduced amidst a cloud of smoke atop a speaker, with notes screaming up and down its slender neck. Truly a godlike entrance – were DJs the new Rockstar? Their set was highly enjoyable, enticing the corwd to give into primal tribal desires exhorting all to dance, dance dance. This bouncing vibe followed with Tocadisco’s reception as a scream fest of fans and enthusiasts. I found the more developed appetites of connoisseurs responding more so to Tocadisco, as his melodies surged across the canvas expanse. Truly, with a deliberate structure to his set, infectious grooves, burning basslines and poised textures culminating in the unleashing of “Higher State of Consciousness” across the superb system, Tocadisco’s set was a major climax of the day. Hybrid’s live set was met with much anticipation, but perhaps there were a few sound issues. I often found the sound cloudy, robbing much of the music of its sparkling brilliance. Their first half set was slow; almost sluggish as the boys on stage toiled and laboured under the spectacular screen and lighting effects. But their protracted buildup was wonderfully polished by “Finished Symphony”; an exceptional climax to their set. Judge Jules was another major highlight for the day. With music that was subliminally stimulating, his music seemed to roll through my body for an epoch rather than the scheduled 90 minutes. I was lost at sea, floundering on ripples of musical perplexity and splendor. The textures were wonderfully balanced by strident bass lines and vociferous beats. Judge Jules was rocking the Big Top harder than anyone else in the vicinity, and the smile on his face, perceptible even from the sound desk at the back of the tent, was brilliant under the magnificent lighting. Axwell served up a tasty platter of familiar house tunes set to riotous rhythms and clamouring pulses; admirably keeping the energy levels up in anticipation for the upcoming performance of Bob Sinclar.

The Family Stage was plainly inhibited in comparison to the other tents, due to the lack of shade. The sun blazed onto the dancing area throughout the day, inhibiting bodies from boogying to the proffered menu of delicious rhythms, succulent melodies and undulating basslines. But for those with a more educated palate, this smaller stage was a welcome retreat from the alternative idiot-proof beats consistently tendered. Aniki unleashed a murderous mix, his beats determinedly acerbic with mordant basslines capping tart textures. Shannon Marshall unleashed vast sounds of rolling bass frequencies amidst guttural rhythms; the beats smoldering in intensity. Harry K and Neroli’s set encouraged anthematic rapture, as melodious tunes mixed with potent bass-heavy ranges. Chris Wilson set the evening in motion with a cool countenance. He promised much without giving up everything; layering a nice unperturbed ambience over resolute rhythms. This was perfect to roll over the end of the day to the start of the evening’s proceedings. Lectrolux sparred with We Are You and pumped out tasty beats and reverberating basslines to the slowly amassing crowds (thanks to the setting sun).

Meanwhile, the Summadayze Big Top was becoming distinctly crammed with bodies. With the sun set, the whole site throbbed under a few softly pulsing laser lights. There was little illumination outside of the tented areas, perhaps to encourage romantic misunderstandings and quixotic trysts. Certainly the bushes on the walk back would be teeming with such exploits. Some adventurous peeps were now finding their inner animal, shimmying up and down tent poles or clambering atop rubbish bins to dance monkeylike for the crowd. And then, against swarming basslines and resounding beats, the plaintive smooth vocals of Steve Edwards pervaded the whole area:

Any crowd that had accumulated near the Field Day Stage, Family or The Smirnoff Experience immediately congregated outside the Summadayze Big Top. While hardcore dance enthusiasts may have fobbed off Bob Sinclar’s offerings as tedious and mind-numbing, those well-worn lyrics and grooves were ambrosia to the crowd’s ears. Also by this time, all water supplies had run out, leaving people to beg for chunks of ice. Meanwhile, I sought an escape from the boorish behaviour steadily emerging from the crowd, and headed back to the Family Stage.

Baby Gee and Habebe garnered excellent attention, as more dancers arrived to respond to their booming basslines, pulsing subdivisions and soulful melodic jabs. Their music proved invigorating. By this stage, gorgeous girls had gathered enmass to flaunt their beautiful bodies and dancing skills. Some eventually got up on the stage, tastefully grinding and bumping to the beats with the effervescent vibes of Baby Gee adding to the already energized ambience. When their set ended, tyDI promptly took over the decks, his calm manner a cool atomizer for the crowd. Dispersing all the cumulative energy from his predecessors, tyDi allowed the plaintive note of a female vocalist to wash over the crowd. The eternal shimmering of that note will remain with me forever, as it served as a tonic and cleanser to the previous over-stimulation. Offsetting sharp beats to emotive melodies, tyDi was an ideal return to sanity.

With the event almost wrapped up, I thanked all police people, staff and security enroute to the exit, for looking after us and generally ensuring our day was pleasant. The cute girls greeting us on our exit as they offered us with bottles of cool water was gratefully welcomed. The walk back hardly took any time at all, as I was happily immersed in the reverie of truly spectacular memories from the day. As my first experience of an outdoor festival, I can easily say this was a remarkable affair. It seemed, really, a wonderfully sensorial episode where the aspirations of our mature adolescence (be it from cartoons to copulation) were mightily indulged. Summafieldayze was well ordered and operated – and I can’t wait to get back for more!

Love and Kisses, Lady Lex