Parklife
Sidney Myer Music Bowl, Melbourne
Saturday 24th September 2011
By Elliott Grigg, Luke McKinnon and Marcus
(Pics: Leah Robertson)
UPDATE: This article was originally published without a mention of Gossip, which had dropped off in the editing stage. Sorry about that. - Ed.
Luke McKinnon: The tanning salons of Melbourne sat empty on Saturday afternoon as a swathe of their clientele lined the footpaths to the Sidney Myer Music Bowl. Parklife 2011 — and therefore the looming festival season proper — was upon us. For the ladies, Roman sandals and receding skirt lines were de rigueur, whilst the gentleman – despite the less than temperate weather – opted for designer stubby shorts, iridescent in their fluorescent lustre, matched with singlets that more closely resembled trouser braces than any type of discernable outer garment. But they seemed happy, really happy and that’s all that matters here.
Marcus: For all the stereotypical tropes of the "dance" festivals of yore, Parklife's diversifying move into more pop(ular) territory is clearly reflected in the crowds now attending the event. Some might accuse organisers of moving in a more —
*gulp* — mainstream direction, but maybe it's just a better reflection of the populace's splintering listening habits in the '11s and beyond. Long-haired dudes in stovepipes; bookish girls; meatheads; fake-tanners; studious elders and even a few stoic seniors in the grey-haired set -- a crowd of all stripes wandered around the, actually very pleasant to navigate, leafy surrounds of the Music Bowl. When you can totter down a grassy hillock to wait for an act whilst admiring the underside of some lush foliage waving above, it feels a bit more like what festivals should be, regardless of who's playing: inviting.
LM: After a lengthy two hour wait in the ticket box line (computers were down), we finally make our way into what has become the preeminent showcase of electronic and dance music in Australia. The previous evening had seen Victoria Police’s media department bombard the nightly news stations with their “zero tolerance policy” on drugs at Parklife. There’d be sniffer dogs and scary guys, so punters better watch out! Upon entry however, two things become abundantly clear; Parklife attendees don’t watch the evening news on a Friday night; and Victoria Police aren’t that thorough. To that one guy I saw being carted away by the constabulary after being forced to empty his pockets, I’m sorry. You were the overwhelming minority and the rest of your mates most definitely had a cracking day.
Elliott Grigg: After walking into the festival grounds, I’m immediately smacked in the face by the blaring cut ‘n’ paste styles of
Yacht Club DJ’s at the Kakadu stage. The Ballarat-bred duo bouncing away inside an inflatable igloo, surrounded by thrusting stormtroopers. As per usual, they’re technically flawless in executing the rambunctiously schizophrenic brand of party-mash they’ve become so admired for, blending Journey’s ‘Anyway You want It’ with Guns ‘n’ Roses ‘Sweet Child Of Mine’ beneath rapid fire spits from a cavalcade of hip-hop and R&B mainstays. But a relatively sparse crowd seem to be going through the motions, bopping away only mechanically. Maybe it’s a little early in the day for this.
Obscene waiting times at the Kakadu stage bar (compounded by a controversial $1 ‘recycling surcharge’ on all drinks - apparently the average punter is environmentally conscious, but not
that environmentally conscious) are only mitigated by the highlight of Yacht Club’s set, where they drop a b-more tinged cut of Queen’s ‘Bohemian Rhapsody’. Just like every other time the song has been played throughout the history of the known cosmos, an instant swarm of people bang their heads and raise their rock horns skyward when that famous riff comes crashing in. Second thoughts: maybe it’s never too early in the day for this.
Little Dragon
SebastiAn starts to get things growling soon after, standing with a single fist raised before an image of his recently deceased Ed Banger label mate DJ Mehdi (who would have been playing here today – R.I.P.). But before he can really get into his daily grind, it’s off to catch Sweden’s
Little Dragon. Lead Singer Yakimi Nagano is bouncing around energetically in a Hawaiian shirt over at the Atoll Stage, only stopping intermittently to pound the sample pad next to her with a drumstick. The pad looks strangely like a make-up powder case, (all big, pastel coloured squares and black plastic) -- vibrantly colourful kitsch not too dissimilar to the music (and band) that it’s contributing to. Most of the set here is comprised of material from their newly released album,
Ritual Union; the title track is blasting over a wave of shoulders and bopping heads when I arrive, and it’s followed by ‘Little Man’, ‘Shuffle A Dream’ and ‘Brush The Heat’. Visually, the band strike as a bit of a rag-tag bunch, but they breeze through each poppy tune in the set with a carefree, seamless fluidity.
Nonce
LM: One likely-type, so taken by the Little Dragon’s form, decided to climb the tree that dwarfs the Atoll stage to get a better look. A mixture of applause and Bacardi and Coke greet the adventurous climber as he proudly stands at tree’s end, having undoubtedly secured the best branch in the house. Unfortunately, his glory is short lived as bassist Fredrik Källgren Wallin strides to the microphone and announces, “Hey buddy, they are not going to let us finish until you get down, so why don’t you do everyone a favour”. How the mighty do fall.
Death From Above 1979
EG: A slight change in gears, as
Death From Above 1979 start gnashing away – same stage, completely different style. Sebastien Grainger and Jesse F. Keeler (also of MSTRKRFT fame for those of you playing at home) haven’t really released any new material since 2004’s
You’re A Woman, I’m A Machine, but it doesn’t seem to have had any impact on their fan-base. Nor popularity, judging by the mass of sweaty fervour throbbing at the foot of the stage. The duo are dressed in all black (Keeler) and all white (Grainger), which is fitting, because they’re instantly polarising. Scores of people seem to start trading stages, jolted from their poppy daze by the raging duo. In short, punters either run for the hills or fall head over heels, as the latter begin to go completely bat shit crazy. The band run through their relatively limited catalogue, mostly from their aforementioned one-and-only LP release. For all the raw, balls-out energy on display, Grainger’s voice is incredible throughout, handling strained growls and melodic hooks with equal verve. But mayhem is the primary order, and it ensues for the duration; crowds are surfed, shoes and cans are thrown, and shit gets salty.
Katy B
LM: The Sahara stage plays host to most of Parklife’s major players and the reception – in terms of audience numbers – for dub step chanteuse
Katy B is enormous. Backed by a trumpeter, saxophonist, keyboardist, drummer and hype-man, Katy B enters the stage dressed in blue jeans, black leotard and grey jacket, looking every bit as plain as the South London city from which she hails. Unquestionably, Katy B’s vocal talents are phenomenal – her success is testament to that. However, as is so often the case with recorded artists, her vocal ability is in severe disproportion to her actual stage presence. So whilst Katy B seemingly wows the audience with her vocal gymnastics and some solid renditions of her more notable hits, 'Katy on a Mission', 'Move On' and 'Lights On', her performance looks more like a badly constructed, stop-motion video of “Drum N Bass Barbie”. A disappointment.
Crystal Fighters
EG: The surprise packet and unequivocal highlight of Parklife 2011 for mine, turned out to be English outfit
Crystal Fighters. In short, their performance blew me away. Things get off to a terrific staff when shirtless guitarist Graham Dickson walks on stage and commences an epic, electronic inspired musical introduction, where each band member presents themselves on stage. Last to enter is energetic frontman Sebastian Pringle who announces to the now energised crowd, “Hey Melbourne, G’day!” before blasting into a sped up version of 'Solar System.'
LM: On stage Crystal Fighters look like a cross between a group of hippies and a group of homeless folk, yet their performance vigour was without peer at Parklife. They gallop between songs with all the energy and excitement of a horny sailor with a weekend leave pass, leaving themselves and the crowd in a state of euphoric breathlessness. Many of the group’s songs utilised traditional Basque instruments, in particular the txalaparta -- a wooden xylophone-like percussion instrument played by two people standing face-to-face. Interspersing these instruments amongst the synths, electric and acoustic guitars, drums and ukuleles makes for pure spectacle and an unforgettable set of musicianship and performance.
Santigold
LM: Whilst Santi White – aka
Santigold – was not billed as Parklife’s headline act, it was clear that many of the punters had come to the festival to witness her much talked about live show. And Santi did not disappoint. Backed by a band festooned in Egyptian headwear and flanked by two of the most dexterous dancers you’re ever likely to see, Santigold owns the stage from the outset, capturing the attention of the 9000 plus revellers here to see her. Whilst the production values are nothing spectacular, it's her attention to detail that sets the show apart.She works her way through hits 'Creator', 'Lights Out', 'L.E.S. Artistes' and Go!', every moment of the gig choreographed to perfection -- including the almost (but not entirely) contrived moment of getting fans up on stage to dance to classic, 'Say Aha'. Santigold completes her set with an upbeat rendition of 'Shove It', and it's a fitting end to a superb exhibition.
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