This past week I’ve often wondered how many
times I had stared up at that giant, gleaming “U” that hovered above the crowd
like some sort of religious symbol on the night of Ultra South Africa, trying
to drive home the fact that this world-renown festival was truly here and
happening right before my eyes. Everything was bigger, louder and more epic in
every way, but I was left trying to reconcile what I was witnessing to why I
wasn’t having the absolute best night of my life.
Oddly enough, the journey of Ultra Music
Festival in South Africa began at Sensation Innerspace in September 2013 as
exhausted ravers poured out into the parking lot to find cryptic flyers wedged
under their windshield wipers, bearing the Ultra logo and a caption that simply
read “South Africa, are you ready?” What followed was an ambitious marketing
campaign that involved projections of the Ultra logo on landmark buildings
around the country. Soon enough electronic music fans were whipped into a
frenzy upon the official announcement on 5fm being queued in by W&W’s remix
of Live For The Night by Krewella.
With each wave of artist announcements, with every Ultra billboard, radio and
TV ad, South Africa was fast catching onto Ultra fever.
Before I knew it, I was queuing at the
gates at Nasrec, with nothing but anxiety and Instagram posts from the Cape
Town leg of the festival the previous night to go by. My anxiety, partly due to
a social media meltdown of whether Nasrec’s set up was big enough for the
masses of fans expected and whether its less-than-glamorous facilities could
deliver the same picture’esque festival vibe of Ostrich Farm in the Cape Town
leg. As the night wore on, these fears were, in some cases, confirmed and in
others proved to be unexpected blessings in disguise.
The parking areas were littered with cars
bearing Kwa-Zulu Natal, Lesotho and Namibia number plates. If you doubted the
worldwide appeal of the Ultra brand, there were excited fans with flags from
Bangladesh, Argentina, Italy and even the Czech Republic. Fans came dressed, if
dressed would be the appropriate term, in modest amounts, instead opting for
revealing as much skin as possible. Tank tops, shorts, Guy Fawkes masks, flower
headbands and even ridiculous but hilarious onesies. Newcomers to rave culture
were easily pointed out wearing jeans and polo shirts.
Festival goers in Johannesburg had the
options of raging to hard electro with 8 international headliners at the
mammoth main stage set up, winding down to the soulful, deep house sounds of
the Soul Candi stage or raging to electro again, but on a smaller stage,
inspired by the East Rand’s H2O parties; so not much in terms of musical
variety for the Johannesburg leg, as many bass fans felt a distinct gap in the
night’s soundtrack for a more bass-oriented stage, akin to the Dansville stage
in Cape Town to serve as something of a palette cleanser in-between stage
hopping from the house stages.
I arrived as Goldfish were laying down
their trademark, summery mix of electro and jazz at the main stage which was
nestled at the end of a grass amphitheatre, in the company of warehouses and
what looked like an office building, which was something of a constant visual
disturbance in the overall hypnotising effect of the towering dome that made up
the main stage. The dome was accompanied by rows of LED panels that increased
in height on each side that gave off the effect of a giant music visualisation.
The other two stages, understandably more intimate and modest in comparison,
with the Soul Candi stage looking out over the massive mine dunes that are so
characteristic of Johannesburg’s south. Later on in the night, these mine dunes
became de facto canvases as laser images were projected onto them, with
dazzling effect.
Relative newcomers, Blasterjaxx kicked off
the onslaught of international acts followed by crowd favourite and undeniable
man of the hour, Martin Garrix, who worked the crowd with relative ease,
delivering a set of unadulterated Dutch house much like Blasterjaxx before him.
We were treated to hits like Wizard
and two renditions of Animals, one
playing the part of a melodic set opener. Next was W&W who continued on a
similar path, adding a touch of progressive house and crowd participation, as
we raised our “W’ Signs with our hands to the setting Highveld sun. By this
point, the crowd showed signs of fatigue from the barrage of hard-hitting Dutch
house sets, which began to take on a relentless marathon of that unforgiving
sound. Though taking cues from Hardwell’s sets and in some cases even using the
same mash ups, either way you slice it, it’s the unmistakable sound of dance
music right now, and the crowd lapped it up.
Krewella, up next, offered not only a much
needed divergence in sound, but also in stage performance with band members,
Yasmine and Jahan vocally navigating the cacophony of dubstep, drum ‘n bass and
hardstyle with apparent ease. It was a high energy set complete with brief
moments of trap and a strategic move to include more Dutch sounds to keep less
bass-oriented fans engaged throughout. The crowd was blessed with hits such as Legacy, Live For The Night, Killin’ It
and Play Hard, before ending their
set to a shirtless crowd, with their foremost anthem, Alive.
Absolutely spent and with a much needed
change of tempo, I crossed over to the Soul Candi stage to catch local heroes,
MiCasa with lead singer, J-Something, belting out a beautiful rendition of
their breakout hit, These Streets. A
far cry from the Red Bull, vodka and laser-tinged frenzy of the main stage, the
Soul Candi stage opted for a more relaxed, soulful ambience, accompanied by
Caipirinhas and sensual, slow grinding. MiCasa ended their set with their most
successful hit to date, Jika, to much
delight from the crowd as we joined in the Jika dance with enthusiasm. Local
heavyweight, Black Coffee picked up where they left off, delivering a set of
forward-thinking deep house and minimal techno, even slipping in a recent local
favourite, Remember You by Beatenberg
and DJ Clock.
Back at the main stage, Alesso, following
on from a much talked about Nicky Romero set, kept the crowd in anticipation of
his finale, dropping If I Lose Myself to
much spectacle, while ushering in the “Main event” segment of the evening with Afrojack,
contrary to popular opinion, dropping one of the better sets of the night.
Opting to stay rooted firmly in the Dutch house sound he helped pioneer, while
managing to keep it surprisingly fresh, even giving Miley’s Wrecking Ball some destructive edge.
Ending in an explosion of fireworks and pyro, I was left wondering how the main
headliner was still to follow on from this kind of spectacle.
20 minutes into Tiesto’s set many felt
restless with his set’s lack of big hits, most seemingly unacquainted with his
more classic trance hits, Red Lights
and Adagio For Strings. The first
segment of his set took on a more progressive sound, often feeling as though it
had no clear direction, at which point small pockets in the crowd started opening
as people slowly began leaving. His set’s saving grace, and the undoubted high
point of the night was Afrojack crashing into the DJ Booth, putting Tiesto on
his shoulders and taking over the set along with W&W, Nicky Romero and
Martin Garrix, all joining in for an unprecedented back-to-back set between
five Dutch acts, being later and rather hilariously christened by Tiesto on
Twitter as “Dutch House Mafia.” Once the big hits began streaming in again, the
crowd seemed to be reinvigorated with a renewed energy, raging their hardest
that entire night for the final haul to the end with an Ultra-worthy conclusion
of fireworks, lasers, smoke machines, DJs waving the South African Ultra flag,
many suspended in complete and utter disbelief of what had just taken place.
Yes, I’ve had better musical journeys at
smaller, more intimate parties but going into something like Ultra expecting a
personal, more underground experience could only end badly. With an event of
this magnitude, there are bound to be one or two flaws, in this case, mostly attributed
to a not-so-diverse line up, but nothing could have went smoother on a
production and logistical point of view. For a first edition festival of this
scale in South Africa, the positive ripple effects will far outweigh the minor
missteps. If we needed a louder confirmation of whether the electronic music
scene in South Africa was ready for large scale productions, this was it. The
scene is undoubtedly growing, so the logical move from the humble pond to the uncharted
ocean was inevitable. In many ways Ultra South Africa was a statement, a
liberation from small “electro” stages at festivals primarily catered for other
genres, to finally getting to enjoy a fleshed out, international standard festival
experience of our own.
My hope is that deep house fans that
stumbled upon the main stage on their walks to the bars, might have discovered
some new sounds and artists they hadn’t considered listening to before, and
similarly with a local trance head finding new meaning in South Africa’s
vibrant deep house and techno scene. As the tens of thousands of those that
attended go out into their daily lives, spreading tales and stories of their
Ultra experiences, as the Ultra South Africa aftermovie gets unleashed on
YouTube and as thousands of Ultra Instagram posts flood timelines for months to
come, it won’t be a surprise when many new faces line up outside the gates next
year, itching to get to experience the madness that is Ultra Music Festival
South Africa.
Review Done by @G1no