It seems that Aussie punters can’t get enough of EDM music, with a run of electronic-focused music festivals joining the circuit in 2013. The latest of these festivals is one run by the organisers of Groovin The Moo called The Plot – a festival that jumped in the deep end and emerged almost unscathed.
The sister festival was a two-day music gathering that ran in Sydney on Saturday 14th December before heading to Melbourne on the following Sunday.
The festival featured an almost entirely Australian indie and dance music line-up spread out across three stages at Sydney’s Big Top in Luna Park. First off the rank was Tyler Touché at the High Society stage.
The Brisbane artist blended his own style of 80s synth and modern beats. Touché’s music is certified club-raiding material, and while he provided great music throughout his set, there just weren’t enough people in the room at 4pm to carry the vibe. Try catching him at a headline set and he wouldn’t disappoint.
Next was Hayden James, the local up-and-coming producer signed to Future Classic – the same label that has seen Flume shoot to stardom. Packed with a tranquilising slideshow, smooth crossover beats like ‘Embrace’, and the all-conquering ‘Permission To Love’, one couldn’t help but love James’ performance.
Although one attendee quipped “He’s got one banger, that’s it”, James had the crowd captured during the majority of his performance. If he continues with the benchmark set by his debut, self-titled EP and his live show from The Plot, who knows where the Sydneysider will end up.
Following James’ set was Wave Racer, another lord of the local EDM scene. For the most part Wave Racer provided a great set filled with fast-paced, glitchy tunes (almost like an audio reincarnation of a Fast And Furious race). Although entertaining, it felt as though the crowd were just waiting for his two hits ‘Rock U Tonite’ and ‘Stoopid’.
This milling-about attitude changed rapidly when Touch Sensitive hit the stage. The moustachioed king of EDM slow-burners was a bona-fide hit on almost every track he played.
Armed with a baby-blue bass, a smorgasbord of technical equipment, and a funky-as-hell attitude, Touch Sensitive captured the crowd in a bubble of 80s exuberance. The punters were hooked from start to finish, and not just for his smash hit ‘Pizza Guy’.
Naysayer & Gilsun hit the High Society stage next with their mesmerising AV show. The duo are no strangers to festivals, having performed at Golden Plains, Splendour In The Grass, and Big Day Out, to name a few. If there is ever the opportunity to go see this act, one really should.
Clips from famous films such as Risky Business, The Hunger Games, Natural Born Killers, and Platoon mixed flawlessly with the duo’s trance-like music. All future AV shows should follow suit.
By late afternoon/early evening, The Plot was shaping up to be an amazing festival. Next up was the only international act on the line-up, DJ Snake. The Frenchman and Grammy-nominated producer is best known for his hit ‘Bird Machine’. Although he packed out the room, his set was an over-the-top dubstep/trap concoction in parts – namely during his mix of the classic ‘Jump Around’ – however the crowd seemed to be having a boisterous time.
The basement of the Big Top was controlled by Softwar, a Sydney DJ duo signed to Modular. Softwar’s music was long, elated, and psychedelic, drawing out tracks softly while drawing in anyone lucky enough to be within listening distance. The music was tantalising.
After admiring Softwar for a short while, it was off to Yolanda Be Cool. Expectations were dropped immediately as the Perth duo, most well-known for their 2010 hit ‘We No Speak Americano’, proceeded to drop flooring, bass-heavy beats that rocked the room.
As Yolanda Be Cool started gaining speed at the Future Sailors stage, Miami Horror started their set elsewhere – and it wasn’t a lacklustre performance on any account. Lead singer Josh Moriarty was everywhere, climbing PAs and alcoves – anything he could latch onto really – while the front-row punters got into the set audaciously and sang along to every word.
The other indie band on the bill, Gold Fields, played a very successful set. Closing out the night for the Future Sailors stage, the band performed a focused and tight performance.
Drawing from songs from their debut record, including the massive hit ‘Treehouse’, Gold Fields were almost flawless on stage. They were humble but solid, and the band also managed to prove that two drummers on stage isn’t self-indulgent, and when pulled off correctly, is thoroughly awesome.
Overall, The Plot festival had a very successful debut year. The line-up was mostly full of Australian up-and-comers that played great sets and warranted well-earned attention. The queues, location, and sound were all spot-on. Amazingly, although they were next door to each other, the High Society and Future Sailors stages contained absolutely no crossover noise.
Despite the few minor kinks, The Plot pulled off a well researched, well-organised and, most importantly, enjoyable first year that hopefully carries into 2014.
