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Dancegiving Festival Review 11/26

December 7th, 2011 -

As I got off the highway onto Broward Blvd I rolled down my windows and shut off my radio…yessss Dancegiving. If I couldn’t tell by the parade of cars with neon and P.L.U.R. everywhere the sound escaping the Revolution compound was magnetizing. After I walked through the yards of barricades to be unromantically fondled by a Chris Farley body double of a security guard I found myself right in the midst of the Dubstep Arena where Caligula was working some rough rips over the crowd and I immediately regretted not coming earlier. So it was only 4 in the afternoon, apparently no one knew, they were carrying on in complete oblivion to the daylight.

At 5 Juan Basshead hits the stage. If it wasn’t hard enough to play a festival, outdoors, during daylight, let alone in the same time slot with a name like David Solano…he didn’t show it. And his accompaniment MC Jumanji was entertainment in himself. His showcased dance moves only encouraged the crowd to dance more vigorously. I was having problems standing still long enough to take a picture. As he grabs a CD to set up you can see it all register in his face as he realizes what he needs next. He hustles through his cases and finds the last song you’d ever expect. You know what would sound great after that? No. But Juan Basshead does. As mentioned before, playing opposite him on the main stage is David Solano. Apparently while I was gone, thousands of people had filtered in and situated themselves densely in front of the main stage. Solano was the perfect act, he started out simply. But he so smoothly crescendo-ed into the rhythms, it was mesmerizing. He altered his originals ever so slightly, it made you feel privileged to be there. And it seemed, just that quickly it was over. Don’t worry, we’ve still have 9 more hours. And one of the most attractive men on the scene is about to take the stage.

Diplo. Want to talk about crushes, I have 3. And they’re all Diplo. Lets take a moment and put our hormones aside and listen to the pure skill he exhibits. Diplo is bringing people together like no other DJ. He mixes some Busta Rhymes, incorporating the crowd for the chorus of ‘Look at Me Now’ and then BAM throws Skrillex’s ‘Cinema’ in there, people just lose their head, after he has everyone calm down with some Rihanna…calm down? Just kidding, there’s the loudest sirens and pulsing bass you came here for. And offstage he’s such a swell guy. Despite trying to be pulled away by his people to be rushed off to his second show of the night, he made a point to filter through the crowd for a bit, which was long enough for me to throw myself at him. Literally. I fell off the curb and he helped me up. After relishing in that brief moment I had to run back to the Dubstep Stage, because I know I’m always missing some goodies at festivals. Excision was rattling the stage apart up there. There’s something to be said of an artist that can weave one frequency to the point of such an upheaval that it had me holding onto the barricade doubled over trying to keep down my breakfast. The anatomical response to his set was awe-inspiring. whipping out some ‘Get it On The Floor’, ‘White Boy Wasted’ and lord help us all when he let the bass cannon kick it with Downlink’s ‘Yeah’. While he’s collaborated with many artists. Its clear to see his gusto is the backing of any track, reminded by his blasting of ‘Execute’. And the crowd was a sea, especially impressive being that his set was playing opposite Diplo. Unfortunately he only played for an hour, and as soon as he unplugged I trotted back to the main stage where Porter Robinson was already into his swing of things. A young, handsome example of a man, he’s also one of the younger ones in the game right now. And it shows in his music; not in a bad way, but in an upbeat, musically diverse almost schizophrenic way. Thoroughly entertaining. Not to mention the confetti and smoke pluming through the air, lets just say it didnt calm us down. He dropped some Tommy Trash, ‘Shave It’, and Dada Life. But there should have been an alert system established before he gave us ‘Big Bad Wolf’. Because I was mushed into the rail because this was everyone’s song, as made apparent my the howling along. After a few elbows to the face I decided to take a breather.

Back to the Dubstep Stage where we’ve got Ajapai straight from Japan. His style is so crisp, unadulterated by our club bangers, it’s pure songs. After a segment of body-member-dislocating-bass he would grab his bottle of who knows what liquor by the neck, slam some back, and move on with yet another disorienting mash of his music. By 9 o’clock CHUCKIE is on the Main Stage. By this time I’d wisened up and perched myself in the lighting booth, out of flailing arms and elbows reach. Not to mention elevated and dead center. Practically a throne to enjoy this set from the gods. And their gift to us? His new single ‘Lets Stick Together’ when the hand claps clear the song of that riveting bass for just a second I could hear people panting for breath. He’d beckon us “For the love of music put your hands up right now!” people were picking up and shaking whatever they could find above their head; water bottles, palm fronds, small women. He brought us back ‘Sweet Dreams Are Made Of These’, with some Calvin Harris’s ‘Bounce’. Not forgetting to mention the insane remixing of ‘Niggas In Paris’ with ‘Satisfaction’. He left us with the haunting chant “the C the H the U the C the K the I the E” over and over that gave us shivers.

As the final leg of the daytime session rolled around I had a severe problem. Wolfgang Gartner and Borgore were on at the same time.  I’m very greedy and have very bad decision making processes, so I decided to alternate between the both. Wolfgang was amazing, it was like the lighting crew pulled out their secret tricks they had been holding out on the entire night. You can feel his trance roots as he pumps up the dance-ability with searing electro zaps, the way it moves your body it might as well be actual electricity. Playing some songs from his newest album like ‘The Champ’…and ‘Fire Power’ didn’t hurt. But I’m partial to complete hearing loss, aka Borgore. every orifice of my body was being assaulted by the speakers. From standing in between the barricade and the stage my camera couldn’t focus because the bass was vibrating it too much. Borgore is the man. He announces for any ladies to get up on stage, and before long the stage, amps, speakers and frame of the stage is littered with little girls in glitter shorts and bras, just the way he likes it. Not to mention the chick that’s grinding on him WHILE he’s mixing. WHILE he’s mixing. It was intense for us, whatever he was feeling he was conveying through his music, it was some of the most intense and beckoning mixes. He gave us ‘Tetris’, S.O.A.D. ‘Chop Suey’, ‘Undah Ya Skirt’ and ‘Nympho’. To get our attention he stops the music…and commands everyone to sit down. He’s not kidding, so everybody sits down right where they are and he plays ‘Guided Relaxation’ and when he counts down and the bass shoots out into the sound-cleansed air, everyone shoots to their feet and goes harder than they did all day. Every little calorie was being fired out to keep them in motion until the last second. at 11:01 it is all shut down. And the remaining crowd has no choice but to smother the entrance to Revolution for the indoor night portion of the event. it was too much, to much for me.

As I get into Revolution DJ CRESPO is already going. and the place fills up within a couple blinks. The only word that comes to mind is flesh, so much flesh crammed into that little pit. And they had no intention of taking a break. They had no clue, or care as to what time it was. And then come the go go dancers shooting sparks off their metal underwear, then there’s a saxophone player, throw in a couple of break-dancing glow in the dark giant robots and you’ve got yourself a full blown rager going on in there. Throughout the entire night, anyone I was pressed against and spoke with shared the same sentiment; Revolution should institute this type of gathering more frequently. It was like a new age version of an old school block party amped up with the best music, people and experience you could ever imagine to show up in Fort Lauderdale. I cant wait to get married, have kids and have grandchildren so I can tell them all about this.

One Response to “Dancegiving Festival Review 11/26”

December highlights for SFMO — Jolt Radio says:

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