One of Australia’s youngest and most energetic festivals, Parklife has delightfully returned for another year to Brisbane’s beautiful Botanical Gardens. With an increased volume of punters, greater variety and a line up oozing brilliance, the general consensus was that this year WILL be better than last.

Entering the festival during a freak flash-flood, it was clear that the horde of freshly painted faces feared the worst. Already baring more flesh than humanly possible, only time would tell what would happen if the rain continued falling. To be fair, within moments of arrival, only half of the male population had some sort of apparel covering their torso. The friction felt from a wet muscled chest against dry skin made queuing temporarily uncomfortable. But once inside the luscious green gardens, spirits immediately lifted. Upon a brief inspection of the grounds, all of the several stages were beautiful to gaze at, while numerous mud pits ensured future entertainment for the more intoxicated. Enthusiastically in marathon mode, a quick stop to the bar emptied an already deprived wallet. While Queensland parliament has enforced the outrageous law that limits all festival drinks to mid-strength, to see drink prices reaching double digits made most double take.

Like most festivals, there were many standout performances. And like most festivals, the inevitable abundance of clashes caused great chaos. In hopes of catching The Servant’s ex-lead singer Dan Black working his artistic magic, the frantic dash through oncoming traffic was not in our favour as the final song had already begun. Regrettably, from the atmosphere and vibe experienced during this, it seemed to be one show not to miss.

English trio The Wombats drew a near headliner size crowd. Unable to move or dance, opening track ‘Kill the Director’ bought a positive response. Performing for the first time in several months, the sunburnt English lads dazzled the sing-along-audience with their unique blend of jerky guitar chords found in both older and recent material. Closing with personal favourite ‘Let’s Dance to Joy Division’, it was the latest single ‘Tokyo (Vampires and Wolves)’ which caused a true indie dance-off. Meanwhile, the highly anticipated American upstart duo Chiddy Bang, famously known for their talented sampling skills, were greatly welcomed with a sea of praise and love from Brisbane. Alone on the outsized stage, Proto worked as puppet master while Xaphoon Jones kept the beat behind. Garnering fans and critical acclaim with their debut single, and closing track ‘Opposite of Adults’, the pairs future is guaranteed to ‘be a party’.

Fresh from a string of European festivals and sell out performances, Kele walked out to greet his crowd. Showcasing sounds from his latest album, the shirtless 28 year old had the audience in the palm of his hands. Dancing in unison throughout, Brisbane’s amateur choir arrived once hit song ‘Tendoron’ dropped. During the cover of ‘Flux’, the days highlight without a doubt, this Liverpool boy lived up to Parklife’s expectations and beliefs – bringing the love of electronic and indie together.

American DJ and turntablism god Mix Master Mike took to the decks with vinyls in hand, ready for war. By the first bass drop, the forth member of The Beastie Boys and cult king, Michael Schwartz had happily destroyed the ear drums of half of Brisbane. And it did not stop there. Abusing the art of scratching – consisting of tear, crab, baby and transformer scratching – half of the set was performed at such speed, if blinked you would have missed it. Playing to the crowd, and the photographers, the brilliant visual backdrop almost stole the show from the man with twelve arms.

Working the crowd into a dancing frenzy from The Riverstage with their unbelievable live show, the alternative electro quartet Soulwax deserved far more credit than the audience was willing to give. After filing in tediously through the single Riverstage entrance, the heaving crowd were predictably more concerned with getting intoxicated and less with Soulwax’s stellar set. Whilst it included a mind blowing rendition of ‘E Talking’, most spectators yawned disrespectfully and ignored the music while lounging on the hill. Distress and anger only resulted from attempts to get closer. Situations like this makes one wonder: “are you here for the music, or just to say you were here?”

Pedro Winter is one busy man – literally. Also known as the French electrohouse superstar DJ, producer, manager and owner of Ed Banger Records Label, Busy P has thankfully found time to make his return to Australian soil. Debuting the spectacular ‘Busy Pictionary’ while on tour with humorous live artwork that simultaneously educated and entertained, he managed to work the decks, take photos and stage dive. Taking advantage of the recent dubstep uprising – or Busy P’s own coined term “dubztep” – a deep and heavy second half of the set proved to be the laxative to the already engaging set.

‘Working it’ with a swagger of dynamic and frighteningly flexible dancers, who thrived off the crowds energy, Missy Elliott herself was stunned to see the response she had caused. With a David Copperfield styled entrance, the queen of hip-hop dropped a parade of hits and new material in a vigorously sped up set to the fanatic die-hards. One only slight negative with the confusing selection was that often once one song started, it was hurried into the next instantly. Commercial hits and party starters ‘Get Ya Freak On’ and ‘Pass That Dutch’ saw riots form while ‘Work It’ separated the ones who could sing with the ones who could sing backwards.

Following fresh with claims that this would be their last tour as a live act, the emotional ‘Black Light’ LIVE show from legendary dance duo Groove Armada was to be their final musical voyage. While the dancehall classics ‘Superstylin’ and ‘Easy’ were expected, it was cuts from the latest instalment of Black Light which showed the depth of talent the band has achieved over the years. Tearing through a back catalogue so dense, recent hits ‘Warshaw’ and ‘I Won’t Kneel’ were almost overshadowed by the marvellous hypnotic laser show. Bringing the entire live band down under, the overwhelming ambiance left all in awe right through to the end. Fans can now only pray that Andy Cato and Tom Findlay do return in some musical form – and soon for that matter.

The last minute inclusion of the super stylish mash-up heroes 2manydjs, could be seen as the cherry on top of the musical sundae. Bringing the hilarious and impressive slide-show of warped album covers, the Dawaele brothers carelessly abused bass and noise whilst on stage. With astonishing remixes of hits from LCD Soundsystem, ACDC, MGMT and Mr Ozio, unified with precision timing, no one could stop getting their crunk on while fist pumping like champs. With more than ten minutes until the next act, a stage manager emerged to pack up the equipment. Clearly shaken, baffled and angered, a heated argument between the act and staff followed mid-set. Ignoring orders, the show continued until the duo raised their hands in bewilderment and stormed off. Obviously still upset, the irate pair could be seen still arguing slightly off stage. Que the boo’s from the crowd… now!

Currently the nation’s premier electro-indie-house festival, and continually pulling superb international acts, Parklife shines through among the rest. With an overly enthusiastic and excitable crowd, it seems most had gotten their money’s worth, plus some. While the walk from Kakadu and Sahara stages were restricted due to the attempt to preserve the stunning surrounds, the adventures along the way with new friends were worth the lengthy journey. In the end, if you were still smiling: the day was a great success.