Parklife
Sidney Myer Music Bowl
Saturday 2nd October 2010

by Elliott Grigg with Marcus

Elliott: Unlike our unfortunate friends up in Brisbane, (who were forced to brave the hardships of an oft-rain soaked festival) Melbourne’s chapter of Parklife was a day for buzzing bees, blooming blossom and basketball singlets; the weather most certainly signified that spring – not unlike a few unlucky chaps towards the nearer of the entrance – was sprung. With the sunshine on our sides, myself and what seemed like billions of other like-minded ‘lifers strolled down from a bustling CBD to the greener pastures of the Sidney Myer Musical Bowl. After a quick I.D. check, everyone’s tickets beeping their required beeps and a series of all too fleeting caresses from a chunky bald guy in a security outfit, the Parklife experience for 2010 was all systems go.

A short while was spent navigating the picturesque labyrinth of bars, toilets, kebab vans, trees and smaller stages towards the back of the festival grounds, but then it was up and onto the grassy plains of the main ‘Sahara’ stage to partake in what is surely one of god’s greater gifts; beers in the sun whilst the last robotic modulations of Midnight Juggernaut’s ‘Tombstone’ filtered out over the valley. Alas, this was a fleeting moment, and the Juggers brand of galactic opera-rock was soon substituted for booming club-step from the UK’s Jack Beats. The well received duo proceeded to ably wobble their way through a pounding afternoon set, perfectly whetting the ever-swelling crowd’s appetite for main-stage antics via typically monstrous festival bangers. Notably, A-trak’s tried-and-true remix of the Yeah Yeah Yeah’s ‘Heads Will Roll’, and the duo’s own seminal work on AC Slater’s thumping ‘Jack Got Jacked’. As energetic and proficient as Jack Beats were in building momentum, one couldn’t help but notice as waves of anticipation for Belgium’s hugely celebrated Soulwax reverberating around Sahara’s tented belly. The ejaculatory applause the band received upon arrival only served as testament to their seemingly eternal festival popularity.

Formal as ever in full, grey tuxedos despite the gorgeous 23 degree afternoon sun, the band kicked things off with a long, pulsating instrumental before bursting into the introductory ‘E-Talking’, much to the rapturous delight of what now looked to be an endless swarm of crowd behind me. Distorted voice-overs informed us that ‘Part of the weekend never dies’ (a mantra that will undoubtedly still be ringing true for some punters, given the levels of inebriation that were on display – to the guy powerfully vomiting on the ground with five security guards on his back; testify), as the rumbling bass line and discordance of ‘Miserable Girl’ came staggering to the fore. True to form, there was no respite for the entirety of the set, as a nite version of ‘NY Excuse’ was introduced after an extended breakdown full of pounding toms and frenzied crescendos. From there the band launched into a version of Crookers’ ‘We Love Animals’, on which the Dewaele brothers collaborated for the Italian duo’s most recent album. The highlight of the set came as the last of ‘We Love Animals’ continued to slowly and ominously slither into a monstrous cover of Proxy’s ‘Raven’, and in an apparent ‘fuck you’ to the idea that there’s nowhere to go once you’ve pushed the amps up to 11, the volatile ‘Krack’ came growling through and ensured continuation of the sweaty proceedings. Further covers of Samantha Fu’s ‘Theme from Discotheque’ and Human Resource & 808 State’s ‘Dominator’ rounded out a hyperactive 60 minutes that basically left me a shrivelled mess.

Marcus: In a unlikely merger between two tribes, Parklife Melbourne had elected to broadcast the AFL Grand Final replay on two giant TV screens within the festival grounds, rather than run the risk of diehards staying home to watch the footy. It seemed an odd choice at first, but in effect it worked rather seamlessly, not to mention provide a lazy respite from the hordes. Especially on the screen to the righthand side of the grounds, which conjured a grassy hillock upon which to lie, food and booze in close proximity, as well as the odd site of the screen being framed perfectly by the MCG rising in the background. The overlap also provided the odd sight of numerous people kitted out in full football jersey's and regalia, bustling through the fake-tanned whippets and coiffured boat shoe aficionados, happily bouncing around to whichever stage they were in front of.

So hopefully they didn't see Kele. Because the Bloc Party frontman, here in beats mode, was having none of it, booing the football and instead focused on making people dance. I wondered if Kele would feel a little slighted, so used to headlining to thousands and now here, positioned on a side stage to a smaller (but always building) crowd in the arvo. Turns out the main thing he brought with him from his main band's exploits was a commanding stage presence and all the tools to work the crowd. Opener 'Walk Tall' sounded ace through the big speakers, with it's doomy subs, and Okereke's vocals were strong, lending so much pathos to his otherwise mechanical new direction. A smattering of Bloc Party tunes got the edges of the crowd glowing ("I don't know...I just like his voice" - fan to girlfriend), but perhaps surprisingly, it was tracks from his solo album The Boxer - 'Tenderoni', 'Everything You Wanted' and 'Unholy Thoughts' especially - that had the crowd really dancing. And, it seemed, slightly in awe.

Meanwhile, down in the 'Cave', the DFA-approved Holy Ghost! were playing to a smallish but enthusastic crowd. Probably the worst stage of a good bunch, the 'Cave' was crammed down the side of the large tent structure of the Bowl itself, and as such, felt a little like an afterthought. Still, the New York four-piece seemed eager to impress, their not-un-LCD Soundsystem-like bare bones disco attracting an ever growing set of fans that appeared to be as much chin-stroking appreciators as four-to-the-floor boogie-ers. "This is opur best show in Australia so far Melbourne", aside, the band put in the kind of stoic, tucked away set to an excited few that should see them be back playing bigger stages before summer is done.

Elliott: Charismatic Ed Banger Rec boss Busy P bounced out onto the main stage and continued to get his mojo fired up, addressing ‘eez favoreet seetee’ over opener, Justice’s ‘New Jack’, before introducing us to the idea of ‘Busy Pictionary’, whereby long-time pal and label collaborator So-Me performed a live visual show, photoshopping pictures of the audience in real time. Much like Pedro himself, this was slightly gimmicky, but charming and awesomely entertaining in a quaint kind of way. Highlights of the visual show include So-Me giving out P’s hotel info and room number (cue thousands of girls furiously taking notes), and a particularly scantily clad young lady in attendance being identified in front of thousands as ‘the reason Frenchies love the land of Oz’. Musically, the set was enjoyable without sparkling, moving through Duck Sauce’s recently released ‘Barbra Streisand’, a blast from the past in Tiga’s ‘You Gonna Want Me’, Slayer’s ‘Reign in Blood’ (which, though fucking awesome, admittedly seems to go over quite a few heads), Dead Prez’s ‘Hip Hop’, some new tracks from UK dub-stepper Rusko, Oizo’s ‘Positif’ and the closing ‘Theme to Busy Pictionary’. It’s also probably worth noting that Pedro is apparently not a fan of trance heavyweight Aarmin Van Buuren, taking the time to rhetorically ask if he should play a couple of his tracks, before responding to himself with a resounding ‘FUCK NO’. Cue crowd lolz.

Marcus: The move from Birrarung Marr to the Music Bowl and its leafy surrounds was never more perfectly appreciated today than the late afternoon sunlight. As trees overhead lit up with orange against a dusky blue sky, the Dandy Warhols took to the stage under large white orbs and clouds of smoke. If one thing comes from having "pop/rock" bands plonked into the middle of a "dance" festival, it's to highlight their groovier side. The Warhols as it turns out, have this in spades, the mid-tempo hip-shake allowing all manner of psychedelic washes to gently inform the direction. You could always dance to the Dandy's I guess, and they seem more at home here than when jostling for position amongst more dunderhead rock acts from festivals past. This revelation, in tune with the light casting silhouettes of the city and evening descending, seemed especially powerful.

Elliott: A party collage of hip-hop favourites from both past and present succinctly informed the crowd of a jarring change in musical tone, as Missy Elliot prepared to take the Sahara stage. Before old Misdemeanour herself had even shimmied out into the bright lights, we were treated to Jay-Z’s ‘Empire State of Mind’, Snoop’s ‘Drop It Like It’s Hot’, Biggie’s ‘Hypnotise’, Run DMC’s ‘Peter Piper’ (notably employed in Missy’s ‘Work It’ for the more astute of sampologists) and Justin Timberlake’s ‘Cry Me A River’. When she finally burst out into view, it was to ‘One Minute Man’, accompanied by an incredibly energetic and suggestive dance crew, which I’m sure left a number of males (like myself) in the audience feeling slightly inadequate. Rapid fire song and outfit changes were the order of the night, as Missy oozed around the stage to ‘Get Your Freak On’, an infuriating ‘I Gotta Feeling’ by the Black Eyed Peas, Usher’s ‘OMG’ and the aforementioned ‘Work It’. The infamous jiggling percussion line of ‘Pass That Dutch’ followed, and judging by the thick white clouds that wafted around the amphitheatre, most of those in the audience are both adept at following instructions and compliant. Things slowed for a while, as Missy introduced a futuristically attired up-and-comer for a solo performance which, whilst excellently performed, can only be labelled a lull, before a dance breakdown in which each of the crew were introduced for a brief solo moment in the sun. After running through a list of her fallen comrades – part and parcel of being a hip hop mainstay – Missy finished with a tribute to Michael Jackson, who was tastefully emblazoned on her oversized black t-shirt in coloured rhinestones. She then, bizarrely, stood atop a platform and magically "disappears" behind a curtain. Cue mystified clapping.

Having had their brief reprise from the limelight (as members of the earlier performing Soulwax) the Dewaele brothers, Stephen and David, returned to the stage for their always-anticipated 2manyDJ’s set. Abrasive techno and grimy bangers are seamlessly fused with nostalgic pop hits, all to the visual show of each of the tracks album covers dancing with, fighting with, bouncing on top of and eating one another. As expected, it's incredible. The Chemical Brother’s ‘Hey Boy, Hey Girl’ fittingly opened the set - 'superstar DJ’s, here we go’ - before, surprisingly, Melbourne’s own Riot in Belgium got a nod with ‘Destroy’. The set was mostly comprised of big party favourites – trance in ‘Zombie Nation’, new pop in MGMT, old pop in ‘Blue Monday’, nostalgia in ‘Love Is In The Air’, Australiana in AC/DC, rock in ‘Welcome to the Jungle’. But there were also some curveballs thrown, the kind that add to the sentiment of unpredictability and capricious track selection that makes 2manyDJ’s the guaranteed party that they are. Most notably, Joy Division’s upbeat dirge ‘Love Will Tear Us Apart’ proved every bit anthemic amongst the masses as any Eric Prydz fist pumper, and little-known Upsetter’s reggae jam ‘War Ina Babylon’ was equally well received, Before being slowly morphed into the Prodigy’s ‘Outta Space’ and more rapturous applause for the talented twosome’s permanent departure.

Having spent the day firmly anchored to the grandeurs of the main stage, I chose to abscond for some chips ‘n’ Cut Copy, up at the slightly smaller and more modest, though no less populous ‘Kakadu’ stage, to catch the Melbourne bands closing set. The much lauded local boys opened with ‘Lights and Music’, which was characteristically slick in spite of some flagrantly over-zealous feedback work from guitarist Tim Hoey, before whipping the crowd up with ‘Far Away’. A half-original/half-Knightlife remix performance of ‘So Haunted’ followed, before an airing of unreleased material from next years forthcoming album. The sets main triumph however undoubtedly came with the expected climax of both ‘Hearts on Fire’ and ‘Out There on The Ice’, and further fervour from an already adoring crowd. Cutters completion was announced by the band being tackled off stage mid-note by Holy Ghost! and Midnight Juggernauts, and with that came the sombre shuffle towards the exit.

Continued musical entertainment for the evening was provided by endless drunken renditions of ‘good old Collingwood forever’. Unlike the day’s vast successes at Parklife, this was not a highlight.

Elliott Grigg (with Marcus)

A stupidly large photo gallery up next.

(Pics: Tim O'Connor)