On Saturday, swathes of electronic music fiends descended upon Fleet Steps to indulge in an afternoon soundtracked by the finest names in electronic, house and techno. The energy was palpable, and the views were nothing short of sublime. Entering its sixteenth year, the festival has cemented its status as the only way to usher in the summer season — and with good reason.
Harbourlife is a true celebration of ebullience. Punters were there with only one pursuit in mind, to two-step the evening away in a state of pure bliss. With one conquering stage, bathed in smoke and sun-soaked, it was an electronic music utopia.
Harbourlife reigns triumphant in their ability to act as a frontline for music events that cater to dance fans with imaginative and eclectic lineups. Whilst I’m certain punters would have been thrilled to have capered the night away to the same thumping beat for hours on end — the ebb and flow between the striking pop sensibilities of Duke Dumont to the prog-house mastery of Cristoph made for a night of unrelenting stimulation.
The crowning glory of the evening was inarguably Duke Dumont’s monolithic closing set. The visuals and production were ethereal. I struggle to think of any song in recent memory that acts as such a glorious, sweeping call to arms quite like ‘Ocean Drive’.
Check out: Duke Dumont – ‘Ocean Drive’
It feels criminal to talk about Harbourlife without touching on the backdrop. Mrs. Macquaries Chair is one of the most awe-inspiring festival locations on the planet. When married to the infectious mood of the international dance scene, perfectly curated installations — including a very impressive tentacle instalment — Harbourlife heightens its natural glory.
Harbourlife is undoubtedly one of the finest celebrations of electronic music, and we are so privileged to have it in our backyard.
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