Things started out a little too intensely at Candy’s last night. Sure, arriving early guarantees a bit of a rough start to the evening, but the sight of a girl’s half-shaved vagina being paraded around a club is just not something anyone is ever ready for before 10pm.
A beefy young lass decided that doing the splits in a short dress would be a fantastic idea. To be honest, it was all a good laugh until she stood up – dress hitched up above her hips – and revealed a complete lack of any type of undergarment. She looked at me directly in the eye, smiled a seedy half smile, and laughed like she had never laughed before. Needless to say, she was outside arguing with a bouncer within a minute.
Unfortunately, all efforts to shake off this experience on the dancefloor failed miserably. It’s difficult to have a good time when the first DJ out of the gate is dropping What So Not remixes and Kanye‘s ‘Mercy’. Me and my mate were stinging for some chilled out trappy vibes, but the best we could get was the beige music at the convenience store across the road. After avoiding a sketchy-looking type near the shop and chatting with various quality Sydneysiders, we eventually headed back to Candy’s, ready to have our faces gloriously torn off.
With Nina Las Vegas and Flosstradamus in the building, hype was high, and the night did not disappoint. Spenda C churned out some brutal trap music, taking in a wide range of influences. From tracks driven along by grunting, rumbling brass, to hard house / hip hop hybrids, he drew everyone up to the edge of ecstacy. Then RL Grime sauntered up to the decks and kicked everyone off the edge and into the abyss.
With Clockwork‘s alter ego dropping bombs all over the place, it wasn’t worth fighting the urge to pair shameless booty dropping with the classic double fist pump. He didn’t slow down to go deeper, instead just thrashing out any big track he could get his hands on. When Baauer‘s ‘Harlem Shake’ came out, the reaction was predictably huge, but not discernibly larger than the many other “PHWOAR” moments that the night had. The vibe was just that big.
Towards the end of the set things got interesting. I got way too excited when Disclosure‘s remix of Jessie Ware‘s ‘Running’ faded in, but the trap drop halfway through kind of soured the experience. I was surprised at the amount of people with their hands flailing around during Julio Bashmore‘s ‘Au Seve’ though. It seems that when forward-thinking producers such as Flume can fill the Hordern,clubbers are digging deeper for more interesting sounds. Australia is a good place to be right now for electronic dance music.