Two Tribes @ Various Venues, Perth (3/3/2002)
Beginning in March 1999 at the Globe, the Labour Day weekend has seen the
establishment of Renaissance as one of Perth’s big annual parties. The short history of
the series has seen some truly stand out performances across a number of genres.
Those performances are definitely too numerous to mention…but as a representative
taste: Roger Sanchez’s speaker attack in 1999 had the crowd cheering him out to his
waiting limmo, and Richie Hawtin’s set at Frost Bites in 2000 is still being talked about.
Last year’s lives sets by Speedy J and Johannes Heil were pretty memorable too.
This year, Renaissance morphed into Two Tribes – a concept which originated in
Melbourne, with the intention of bringing Melbourne’s two tribes of dance music
followers – clubbers and ravers – together at the one event. The annual Melbourne event
was so successful that, this year, it was launched as a national series of multi-arena
“festivals” – hitting Perth; Sydney and the Gold Coast, in addition to its home town of
Melbourne.
For Perth, it was revealed that the changes to the event would extend beyond its name.
We learned, amidst considerable excitement, that the event was to branch out beyond its
Globe-complex-plus-Metro’s home, to include the Toy Shop (which was to become the
Progressive House room) and what has become known as The Old Berlin (which
was to be used as the Techno room). In particular, the fact that the Berlin site, which is
well established in Perth dance music folklore, was to be used evoked considerable
excitement amongst those old enough to remember, as well as those sick of being
reminisced to by the “old school”.
Did the event live up to the excitement preceding it? Our reviewing team, unanimously,
thought so. Their combined review – which is by far the most comprehensive
you will find anywhere, is presented below. To complement our review, our album of
photos will be up shortly, as will our video footage from the night. Enjoy.
33 AND 1/3 BREAKS SPACE
Reviewed by nojman
It was a starry, starry night and two tribes had gone to war. Whilst on the north side of
the tracks the larger of the two tribes had split into three separate venues, on the funky
side of the tracks fans of the broken beats could find all they wanted in the same
complex. The upstairs sweatbox, I mean room, of the Globe housed all things
drum’n’bass whilst more importantly the main room was home to the 33 1/3 Breaks
Room.
Walking in around 9.30pm I was greeted by the sound of Echoic playing a
cruisy set of breaks faves. The few people that had arrived at this time were relaxing
around the perimeter letting things build around them. Talking to friends was remarkably
easy as the volume was set low to allow for the early relaxed pace of the evening. His
choice of change over track to Smoulder, ILS’ Next Level, was just begging to
be turned up though.
Smoulder continued on from where Echoic left off. As more people came
through the door the volume and intensity was turned up. In what has now become a
familiar Delirium breaks room warm up act, Smoulder in turn handed over the torch to
the Dirty White Boys who completed the local lineup at midnight. To their credit
they always deliver a hard, funky set. Tracks such as Praga Khan’s Injected With A
Poison insured that by the time Kinobe came on they were handed a full dance floor
of seriously warmed up funky people.
Was anyone else besides me expecting a live Kinobe set? Sure it didn’t make
sense that two hours from a predominantly chill out act was scheduled for a midnight set
in the breaks room, but stranger things have happened! What we did get was a two hour
set of funk, breaks and hip-hop by the Kinobe trio (aren’t they meant to be a duo?). At
one deck per person they weren’t always the smoothest mixers, in fact sometimes the
mixing seemed a bit rough. What they did do however was lay down an impressive track
selection with a side serving of tasty scratching that had the now full venue funking it up
big time! By the end of their set my initial sense of disappointment had done a complete
turn around as I too was absorbed into their funked up sound. Booming Back At Ya
I> Kinobe, Freq Nasty style!
It was during Kinobe that a friend and I discovered the best viewing position in the
house. From our voyeuristic vantage point above we had prime viewing of both the DJ
box and the four decks set up on the main stage, without the lighting rig getting in the
way. A battle was about to get under way and there was no way I was missing even a
glimpse or sound of it.
In perhaps one of the most anticipated moments of the event, on both sides of the
tracks, the Scratch Perverts were going to demonstrate their DMC World
Championship style in a 20-minute battle set. What we were shown was 20 minutes of
precision scratching, lightening quick cross fading, hyper mixing and more bpm’s out of
tapping a head phone jack than Jeff Mills playing at double speed. No recording can give
such a thing justice, you had to be there to hear it live, see the speed and precision of
their hands, and be part of the crowd instinctively roaring in approval. Tony Vegas and
Primecuts – you rock hard!
Following the battle set the Perverts continued on into hip hop for the next 20 minutes
playing everything from De La Soul to P Diddy before effortlessly delving into a
drum’n’bass assault. How they did it I can’t quite say – one moment it was hip hop the
next …I used this as an opportunity to briefly explore the other venues and see how
those on the north side of the tracks were fairing. Returning for the last forty minutes I
found the Scratch Perverts enjoying the constant change in tempo from hip-hop to d’n’b,
always adding their own brand of turntable antics. They finished with a battle set reprise – d’n’b style – followed by a hip-hop encore.
How does one follow the Scratch Perverts? For many their finish meant time to move to
the next act on their planned itinerary. I had always planned to stay, for those that
dawdled they had no chance. BLIM, from the ever-reliable TCR stable, seemed
to have the answer. A couple of tracks into his set I typed a reminder note into my
phone, for reviewing purposes later, which said “Blim straight into perc(ussive) bass
heavy knee shakin breaks”. This was a man not wanting to mess around with boring
introductions. It was 4am and he had a crowd to win over. By the time his two hours
twenty minutes was up (due to the lighting guy giving him the hand on the throat “cut”
cue – he seemed to want to play on if given the chance) the number of people who had
started with him on the dance floor had barely dropped. This surely being a compliment
of the highest order of his smooth, effortless and unrelenting style. So many highlights
(both familiar and unfamiliar), Bassbin Twins’ ESW proving popular with the
crowd. Bring him back for a full length set anytime.
For the week leading up to Two Tribes I had been hot and cold about the whole event.
Excited about some of the lineup, yet disappointed Perth was once again missing out on
names like Lee Coombs who is/was playing Two Tribes in Melbourne and Sydney. My
final verdict, from a 33 1/3 Breaks Room perspective, was that it was one of the best
events staged in Perth in a long time. This was due mainly to the variation and quality of
the lineup.
Each act in their own right was outstanding and drew enthusiastic responses from the
crowd creating a fun and funky atmosphere. Too often headliners can be too similar in
styles. With three very distinct acts on offer there was never the threat of boredom or
grounds for accusations of sounding the same. Hopefully this is a precedent for planning
future events. With only two and a half hours sleep I was able to stumble into work at
11am (yes some of us do have to work on public holidays) with an inner smile of
contentment of a top night had. No one had the guts to tell me I looked like shit!
PLASTIK TECHNO ROOM
Reviewed by Ricky
It is always with some excitement that I hear news that Delirium is using new venues for
its big events. However, hearing rumours about The Old Berlin (for lack of a better
name) being a demolition site did nothing to quell my fears that this could in fact be the
last party that I may end up attending. Fortunately, the appearance of one of Perth’s
most admired veteran tourist DJs and another newcomer to the Australian scene were
enough to get my hopes up again.
Walking down Milligan Street, you could have been forgiven for thinking that the party
was across the street. The bass emanating from the doorway ended up bouncing off the
buildings across the road and coming back, hitting the punters lined up outside the
doorway: creating the impression of double bass.
Fortunately, the inside of the building fared much better. The venue itself was much like
a big room, with plenty of space to dance, and a bar across half of the back wall. It was
also a good idea from the promoters that the balcony inside the room was closed, as this
could have been considered a health hazard to anyone on or below it. There was a fair
sized outside area accessed by a narrow entranceway, containing port-a-loos and lots of
floor space for those who needed time to relax without being assaulted by the noise
coming from within.
The indoor decor was quite sparse in comparison to some other events; however, the
numerous fairy lights hanging from the roof and the amount scattered across the back
wall were enough to give the illusion of gazing across the void of space and into the stars
beyond. The giant Purposemaker hands stuck up on the wall gave the
impression of offering up thanks to the tek gods.
Puff was up first, playing a selection of electro beats to entertain the relatively
lively early comers. In what could be considered unusual for his style, he decided to go
with a hard selection to keep the people interested in the early timeslot. There were a
couple of people in the middle of the floor trying out their techniques with glow sticks.
These two didn’t seem to be having much success, however, with the sticks somehow
always ending up on the floor. Puff kept up the pace and intensity, dropping tracks such
as Funk D’Void’s Diabla, and generally playing a nice solid set.
Next up was Troy, who abruptly cut into Puff’s last track. This was to be kept
up for the remainder of his set – rather than easing into each new track, he would fader
cut, to give a quick sample of the incoming track. This effect worked well, livening up
the room, and encouraging a lot of people with glow sticks out onto the floor (why?)
Troy played lots of solid bass tracks and kept up his usual form of jumping around
behind the decks. This is a good way to get a crowd into the right mood – if they see that
the DJ is also enjoying himself. Troy also made use panning. Midway through one track
he decided to flick the balance backwards and forwards across the room, to throw the
sound around a bit. The lighting engineer also went wild throughout his set, lighting up
the room with his wild use of the two strobes located high up on the wall behind the
DJ.
The last of the locals was Mrw, in what turned out to be very unfortunate
circumstances. Mrw had just finished playing a mega buildup and was about to release
some solid music onto the dance floor when the room suffered a power failure,
extinguishing both the fairy lights and music. The problem was soon rectified, but the
damage had been done. The continuity had all but disappeared and Mrw never really got
back into it, playing a more downbeat selection to lead up to the first of the big names.
It was very easy to tell that Jeff Mills was about to start, as almost the entire
population of the room decided to migrate to the front, making it a little bit crowded. Jeff
Mills, a self described artist, always draws a crowd to see his mixing. I use the
term see rather than hear because, in the true form of an artist, Mills is constantly using
his hands. Whether they are flying across the equalisers or laying down another record,
they are always on the go. Mills elected to continue mixing on from Mrw rather than
beginning anew, as is normally his style, and the laidback pace also continued over.
Making use of the three decks, Mills quickly moved into a couple of old favourites, laying
down Alarm before launching into some quick breakdowns and solid beats.
>
One thing that is always noticeable about Mills is his lack of facial expression. He is
always so focused on his work that he barely has time to look up, and very rarely
gauges the crowd reaction to see what to go with next. He therefore tends to anticipate
in advance what the crowd likes rather than sensing what they want on the night, which
can be a bit detrimental to the set. There are some track selections that will always get
a reaction though, with The Bells getting its usual cheers, and a remix of
Club MCM rolling on into Surgeon’s Manganese.
Unfortunately, the tone of the set never really changed. The laidback rhythm continued
on throughout, occasionally broken up by melodic tracks such as DJ Rolando’s
Jaguar or a slightly harder track in the style of DJ Funk’s Work That Body
I>. In any case, Mills rarely let tracks play for too long, preferring instead to play short
samples of each before heading into the next mix. Mills also laid down a ‘super spinback’
in the middle of the set that sounded like it was in fast forward. This surprised everyone
around me, including myself, as we weren’t really expecting to hear such an odd effect,
and it was not so obvious as to how this feat had been performed.
Mills ended his set by playing some rather trance like riffs that really did nothing to
enthuse the crowd, but would have worked wonders had he been the last DJ of the night.
Unfortunately this was not the case, and all that can be said is that Jeff Mills’ selections
did suffer from a bit of blandness throughout. The crowd connection was never really
there, and the set suffered as a result. It was therefore better to see, rather than hear,
Mills’ set on this particular occasion.
Last up for the night was DJ Rush. In what seems to be a continuing trend
across Australia, there was absolutely no sign of Rush’s flamboyant nature or of his
freakish dress sense. Although a disappointment, we were there to hear the DJ play (or
watch him as in the case of Mills) rather than to see his personal dressing tastes. He did,
however, get to wear a pink armband so as to fit in with the more flamboyant
attendees.
Rush kicked out of Mills’ last track with his own pounding vocal track, Get On Up.
There was an immediate reaction from the crowd as this track alone was harder than
anything else that had been played that night. This sort of style would continue for the
rest of the night, with absolutely pounding bass and the odd vocal track thrown in to
boot.
The sound was also increased for Rush’s set, which did nothing to satisfy the majority of
the crowd. It seemed that Rush was insistent upon playing some very noisy tracks, and
about two thirds of the people decided that there simply wasn’t enough room inside the
venue for both themselves and the noise. By about 5am, the room was looking very
empty, not a welcome sight for a DJ I can assure you. This didn’t stop Rush from playing
a very hard set, full of mass buildups and lots of bass kills to create a bit of atmosphere
amongst the remaining populace. Rush also had a connection with the crowd, with lots of
arm waving and acknowledgements of people in the audience.
Rush mainly stuck to the two decks, but did once use the third deck, obviously to test
that it was still working! As was expected, Rush threw in Mutha Fucking Bass
towards the end of the set, with everyone replying to the question of ‘Do you like bass?’
The lighting engineer again went wild in the latter half of the set, blinding everyone with
his constant usage of the strobes throughout appropriate parts of tracks. Rush finished
right on 6 o’clock, with no encores (much to the relief of some in attendance) before we
were politely asked to leave.
With the tone of the night as it was, I believe that DJ Rush could have been put on before
Jeff Mills, with the harder set playing before the rather laidback set, as is the norm (this
has to be weighed up, however, against the fact that Tiesto and the Scratch Perverts
were on in other rooms in the Mills timeslot, and Rush may have struggled to draw a
comparable crowd against that competition). One final item about the night was the lack
of any whistles whatsoever, particularly after last year’s fiasco at The Globe during Jeff
Mills’ set. Is it possible that people are trying to respect the wishes of the general
clubbing public by leaving these at home for the big name DJs?
LOADED DICE DRUM’N’BASS ROOM
Reviewed by Peto
After getting the wristband and climbing the stairs it was welcoming to hear the sounds of
Rufkut laying down some solid, dark drumnbass. Loaded Dice had the upstairs
Globe space decked out nice with good sound, visuals lights and even an extra air con
pipe, though it didn’t help a great deal.
Rufkut encouraged the first few punters on to the dancefloor with Ed Rush & Optical’s
Pacman, and other favorites such as Bad Company’s Altanis (Moving
Fusion remix). Rufkut kept it dark to the end mixing in Jah Witness by Dylan &
Poison.
Stepping up next was newcomer DJ Mesh. He showed the mixing skills and
rolling tune selection of a veteran and looks like gaining a more frequent spot to go with
regular appearances at Tonic. Around 12:00, two MC’s stepped in to help Mesh amp up
the vibe for the bubbling upstairs globe room. J Rippa and Assassin
were first on the mic and they got the crowd hyped, working well with the DJ. Mesh
dabbled with stratches into the mix proving that he can match it with other more regular
local DJs.
Perth’s first lady of drumnbass, Mystique stepped in next as the picture behind
the decks just got more attractive. She held down the warm up spot perfectly mixing it
up with the help of MC’s Xcessive, J rippa and now Rufkut on the mic. Crowd
favourite’s Casino Royale and Nasty Wayz were mixed through as the
room was boiling. Getting deeper and darker toward the scheduled starting time for the
headliners, Mystique spun through the Virus anthem Kerb Krawler, Bad
Company’s bouncy Space Hopper and Konflict, Stakka & Skynet’s
Biosfear.
Around 1:50, the belated UK visitors stepped in as the Loaded Dice massive showed
respect for the quality set from Mystique and the arrival of Rhyme Tyme on the
mic and Optical on the decks. The crowd shifted into hyper mode as Optical
and Rhyme Tyme took the vibe to another level. Playing back to back with Ed
Rush has been a successful formula for the two Virus label mates and tonight the
format had the crowd dancing for almost 2 and 1/2 hours. Bad Company’s Tonight
I> and DJ Zinc’s Ska were rinsed out as Ed Rush and Optical mixed through
dubs and more well known favourites like the Nine by Bad Company. What
sounded like a ‘Remix of a Remix’ ,to quote MC Dynamite, in the edited form of
reprazent’s Snapped it spun through as Ed Rush took the ride through dark
Adam F & J Majik’s Metrosound to the lighter more samba feel of SP Kollective’s
LK.
Rhyme Tyme hardly stopped for breath as he MCed over the duo mixing it up behind the
decks. The two DJ’s have formed a strong partnership with MC Rhyme Tyme and years of
collaboration have paid off with Rhyme Tyme’s obvious control and knowledge of both
DJ’s mixing techniques. Since last years appearance at Renaissance, Rhyme Tyme has
added longer rhymes and used increased word play to complete the performance with
“his two DJ’s”.
The Perth crew were loving it right till the end, with local DJ and MC’s gathering round to
appreciate the Virus show and even join the punters for a spot of dancing. Ed Rush
dropped it down a little toward the end but this was only to mix in an essential piece of
the puzzle that makes up his set, French Kiss – the Ed Rush and Optical remix
dubplate. The crowd amped up to the extended orgasmic build up and Rhyme Tyme
knew the crowd were loving it. Just after 4:00, AM Ed Rush gave the last one signal to
Rhyme Tyme and he let the crowd know as the sound went down. Ed Rush slapped on
the new Ram Trilogy reworking of the rolling Ed Rush & Optical anthem Pacman
for the last tune of the night. The tune was slamming and the Perth crew were not gonna
let em get away that easily as the crowd drowned out Rhyme Tyme when calling for the
rewind. After big thankyou’s from Rhyme Tyme and a large amount of noise from an
appreciative crowd, control was handed to Diamond D.
Diamond D had no trouble with the finishing duties as the majority stayed on the dance
floor for a continuation of the dark and nasty vibes. Joined by J Rippa and X-cessive on
the mic, and even Rhyme Tyme for an impromptu back to back selection, Diamond D
entertained the still energetic crowd. Even the Scratch Perverts knew where the vibes
were, as they joined their fellow UK visitors for a spot of drumnbass from the Loaded
Dice frontman. Eventually a great night had to end and respect must be given to Loaded
Dice and the Virus crew for another successful Perth performance.
TECHNIQUE PROGRESSIVE ROOM
Reviewed by Eddie
This year, once again, the scale and line-up of Two Tribes was a little overwhelming, in
many ways it seems a better idea to pick a room and stick with it, rather than worry
about fitting all your favourite djs in, waiting in the queue at each new venue, and
wasting time travelling between venues. Any progressive house fan would be crazy to
not at least consider the Technique Progressive room as their home for the night,
featuring Cream residents Seb Fontaine and Steve Lawler, as well as Warren 10, Chad D
and Kriece. And, being at the Toy Shop, a fancy car show room/mechanic 364 days a
year, a rave room the other day made it all the more interesting to see how it would pan
out.
Firstly, the venue itself really was barely recognisable as the bare, ugly concrete and
corrugated iron abomination I saw just a day before the event. Somewhere in between
Saturday and Sunday night it stopped being “The Toy Shop” and became “The Technique
Progressive Room”. The lighting was great, it was completely light-proofed and mostly
sound proofed, its acoustics were flawless and there were ample comfy couches lining
the wall of the chill-out half of the room. In many ways, it was a better venue than some
of Perth’s more established clubs. But it was a very temporary arrangement, and in
some minor ways it showed: for instance an alcohol license couldn’t be got, but
personally I really didn’t see this as a bad thing (what kind of a person goes to a rave to
drink anyways? – hmph!) and toilets were dodgy little portable things outside the venue.
Also, presumably due to a lack of fire escapes, the maximum allowed capacity of the
room was considerably smaller that it actually could have fit, and at one time (around the
start of Seb’s set) a horribly long and slow-moving queue had formed. However this
didn’t last long, the room was queue-less for the vast majority of the night, and it did
mean that the room never got too cramped.
Personally, the only real problem with the room was the difficulty I had in locating it. I
arrived quite early, but it was only after circumnavigating the entire block, asking
countless punters and 3 different security guards that I actually found out where the
entrance was. .I knew where the toy shop was, I could hear music coming out of it, I
knew where the normal entrance is, but as to how to actually get into the thing, I had no
idea. In the end you had to walk past a barricade up the side of the metro into what
looked like a dodgy car park, and around the corner. Although this was marked on the
map attached to the program, I didn’t have a program, and I mean, really, would a
simple sign have hurt? By the time I got through the labyrinth entrance (I may be
exaggerating slightly), Warren 10 was already finishing his set and Chad
D was starting. Unfortunately it seemed I was not the only one who had difficulty in
finding it as it was virtually completely empty, with only a few scattered groups standing
around and no-one dancing.
Though this was a disappointing start (particularly for the dj’s, who were playing well, but
may as well have been playing for themselves) it wasn’t to last long, and by the time
Kriece had started his set (around midnight) a steady stream of punters to and
from the room made the location of the entrance clear to all and it was definitely starting
to kick off. Kriece played a very together, tight set that was definitely appreciated by the
crowd, in a way it was only a pity that he had such a short set, but when you look at the
competition it’s no surprise.
UK superstar Seb Fontaine was next, and when he started playing the change
was physically palpable – everyone physically capable of doing so was dancing, the lights
were going and the atmosphere was electric. Not wanting to rush things, Seb started off
very gradually, with a tantalising intro that had the anticipation almost unbearable,
building up to a lift off that was impossible not get carried away with. This start set the
pace for his set – he wasn’t going to be a dj that tried to cater to the mood of the crowd,
from the word go he was going to sweep the crowd away and take them where he
wanted to go – up to dizzying heights and back to room temperature again in the space
of his three hour set. Undeniable dj’ing prowess aside, Seb simply looked so cool
I>. From start to finish, he was in his element, doing everything at his own pace, making
it look easy, even taking time to pose for a photo mid-set when a camera was pointed at
him. His composure was only broken very briefly, twice, when his records skipped
(probably due to the dj stand being set up on top of scaffolding set up over the
mechanics pit) – he was obviously not used to this happening and shot a quick hateful
glance to someone off-stage, but this only soured his mood temporarily.
Probably the biggest surprise for me was Steve Lawler, a dj I have heard a lot
about, but little of. Unlike the nonchalant coolness that Seb portrayed he really got into
the set and looked like he was having genuine fun. The crowd was feeding off his music,
and he was feeding off the crowd’s reactions and it just snowballed like that in a giant
feedback loop. He really proved himself as a top-shelf dj – a very accomplished set, but
what mainly surprised me was his choice of tracks. They all had a distinctly traditional/
conventional house feel to them, all so simple and no-frills that in a way they had an 80’s
feel to them (dare I say old-school?). Where a human dj could have botched this and
simply played a dull, outdated set, Lawler showed what a great simple sound house can
be when mixed well and chosen to build mood carefully. Nowhere was this more
prevalent than in his closing track, an extended remix of the Eurythmic’s classic
Sweet Dreams. He rebirthed a love for the 80’s with me, and with most punter’s
there, judging by the audible gasps at the devastating end of his set.
Despite a somewhat slow start, the Technique Progressive room turned out to be
absolutely exquisite, with all dj’s playing wonderfully, though for me Lawler really stole
the show. Though the temporary nature of the venue showed in some ways, overall the
conversion was a commendable achievement. I’d have to say the only real flaw was that
it ended too early, at 6:00 AM, I was hoping to keep going till insane hours of the
morning. When it did end the room was still pumping and I know Lawler could’ve kept
playing, but unforgiving venue restrictions are unforgiving venue restrictions. All over a
great night that changed the way I look at House.
TWO TRIBES MAIN ROOM
Reviewed by Sarg
Upon entering the Main Room you could sense the anticipation and excitement from the
already forming crowd, as Tigger started mixing it up in fine style, with a strong
pulsing trance vibe that would reign throughout the night.
Boy took over at 10pm, and carried the beats and bass through until it was
time for the amazing set served up by Adam Kelly, who by this stage was
playing to a sea of punters on all levels. Whether they were gathering for the Big Three
or not, the crowd went wild when the chunky remixed sounds of Green Velvet’s La La
Land filled the air, and they loved every minute of it. As he lifted the energy levels
with brazen beats and provided sounds with an almost primal feel, Kelly presented an
outstanding set that was appreciated by all.
With the crowd already pumping, the fiery Dutch DJ Tiesto swung into action at
12pm, greeted by a roar from the up-for-it masses. Blending old melodies and new
school beats with mind-blowing remixes of Sash & Friends’ Braveheart and
It’s a Fine Day by Suzanne Vega, layering quality on quality, captivating the
crowd, and maintaining the high energy by working with them and spurring the punters
below and above to dance till they dropped. Many people regarded Tiesto’s remix of
Kosheen’s Hide U as the track of the night.
The big surprise was still to come however, with Judge Jules, the Cheese
Master General, performing perhaps the best set I have seen from him yet. Whether
this was due to his position between Tiesto and Fleming, Jules stepped up, with his usual
crowd-hyping antics, working with the already buzzing atmosphere. Combined with a
hard and fast set, and the least amount of cheese I’ve seen the Judge serve up yet, he
was still able to captivate the crowd with his usual party approach to mixing and track
selection.
But the best was yet to come and, as the hour struck 5am, John ‘00’ Fleming
took the stage, amping the audience with the help of Judge Jules. Sticking to the pulsing
hard and fast trance vibe, Fleming raised the energy levels once again, working the
crowd into an unbelievable frenzy, constantly motivating the punters to dance harder and
harder, to the point where the beat had taken over.
Then, the mother of all injustices occurred, the biggest party poopers on the planet (the
WA Police Service) once again had to spoil the fun of others, apparently cutting in half
the set of a master at work. But the crowd would have none of it, and after Fleming had
finished his final track, they persistently chanted and urged him to play another. But, with
his hands tied, his disappointment at denying the fans was apparent, who were left
hanging from an incomplete set that was really just getting started.
