Just like at Parklife in September, the immensely annoying rain ceases when we arrive at the RNA gates and I luckily don’t have to put on my poncho once. As the festival that officially kicks off the Antipodean summer season, Stereosonic 2010 is not only marked by intermittent early downpours and the usual sights like countless boob jobs, ghastly orange bake and none-too-modest attire, but also an eclectic lineup with enough stylistic diversity and hi-tech displays to please every punter.
With diehard electronic music connoisseurs heading to the Reboot, Ricardo Villalobos, Luciano, Jeff Mills and Redshape-hosting Sneakerpeeps Stage and the mainstream variety besieging the alcohol tents, our group decides to go along with the flow and see where our feet take us. Despite us getting to the Main Stage well on time, UK grime overlord Wiley pulls an apparent no-show – much to our displeasure. We don’t, however, have a bad word to say about Benny Benassi‘s considerably-extended set even if we don’t get to hear his trademark stomper “Satisfaction” (not a big loss, though). Surrounded by stacked ‘old TV’-style displays, the Italian wins further kudos points by injecting two tasty dubstep cuts into the trademark electro-house-dominated mix.
A frantic search for a functioning ATM (triggered by a chain reaction-like cash dispenser failure) bars us from seeing the most part of Swedish House Mafia man Sebastian Ingrosso‘s set on the Main Stage, but we nonetheless get more than our fair share of modernistic beats when we conglomerate at Outrage.
The sound might be surprisingly lacking in volume and even sporadically fizzling out across the field, yet UK dubstep king Caspa – championed by MC Rod Azlan – succeeds at kickstarting many an octopus-dance. Aside from his own dense, sub-bass-y output, the DJ drops Rusko’s irreverent “Cockney Thug” (alas stripped of the profanity-laden monologue) and Skream’s notorious remix of La Roux’s “In for the Kill” to mass approval.
Following the Londoner’s set, super-producer/remixer and M.I.A. collaborator Switch takes charge of the decks and we proceed to enjoy his heavy dubs and fidget house so much we completely miss the rave veteran and honorary Aussie Carl Cox.
With assorted punters around us either sticking around for the Flying Dutchman Afrojack or heading to the Main Stage to see the omnipresent electro-pop luminary Calvin Harris, me and a fellow ‘shroom-head (no pun intended) cross over through the mud to the modest-sized Cream tent to see Infected Mushroom – who proceed to deliver a typically killer show. Their set drawing largely from the present-day, primarily techno-rock-based Legend Of The Black Shawarma material, the legendary Israelis demonstrate their overpowering live force with well-earned ease. A master of revving the crowd up, heavily-perspiring frontman Duvdev directs the movements with a drumstick as his longtime bandmate Eisen summons one trance-inducing pattern after another from his synth and the additional musos keep supplying chunky metal guitar riffs, fluid licks and thwacking drumbeats. From 2007’s Vicious Delicious, the flamenco-laden classic “Becoming Insane” goes down an absolute storm – as does the surprise cover of Depeche Mode’s perennial “Personal Jesus”. In all, the ‘shroom affirm their status as rave-rock masters and certified Lords of BANG!
On our way back to the Main Stage, we briefly check out Diplo’s entertaining (if sonically lacklustre) side project Major Lazer at Outrage, unanonymously decided that the mega-popular (and no less irritating) Yolanda Be Cool are simply not an option and suss out the best vantage points for the headliner Tiësto.
Accompanied by blazing strobe lights and feeling the love from the sprawling mass of humanity, the Dutch superstar DJ gives it right back during his epic, near-two-hour set, pulling out classics from his own immense catalogue and pretty much every single corner of the trance genre. One of Tiësto’s landmark remixes, Delerium’s “Silence” gets an enormous cheer while Alphaville’s “Forever Young” is a moment that’s both Napoleon Dynamite and moving. Yes, dance music can be emotional.
As the festival draws to a close, I separate from the group before the crowd starts pouring out the gates and race to the Valley for a quick junk food fix and a bus ride home. Stereo 2010, over and out; love & peace, Merry Christmas, happy holidays etc. See you next year!
