- Strawberry Fields, located in the dusty fruit-picking region of Tocumwal on the border of Victoria and New South Wales, is one of the most anticipated festivals every year in Australia. Rivalled in lineup only by Melbourne’s Let Them Eat Cake, this year Strawberry Fields boasted an impressive cast of deep house and techno heavyweights such as Âme, Pachanga Boys and Seth Troxler.
Despite the impressive lineup, the festival's set-up had changed for the worst. The stages and stalls had retreated further into the bush, so the entire event felt smaller and more cramped than in previous years. The festival's crowd had changed too: there were less of the weathered, leather-clad ravers (probably due to a heavier focus on techno over psytrance on the lineup) and more of a younger, trendier Melbourne type, as if the city's entire 20-30-year-old population had been transported over. It felt like Strawberry Fields had downscaled from an artistic, boutique event to a high-functioning bush rave.
That said, these changes did not deter patrons on the opening night, who flocked to see the Pachanga Boys. The Funktion One rigs, complete with khaki-uniformed technicians, were amazing as always, sending thumping bass deep into the bush. Despite the Wildlands Stage missing a lot of its signature decoration, everyone got stuck in for Superpitcher and Rebolledo's fun and atmospheric set, which closed on the much-loved "Time."
As usual, the organisers were conscious to cater to all tastes. The Double Dragon tea lounge provided a safe haven for people to nap on pillows and blankets, while in the heat of the day revellers could be seen cradling bags of ice or sipping on iced coffees in the Psy Bus, an old favourite at Strawberry Fields. On Saturday night, Berlin favourite Matthias Meyer brought Watergate to the bush, playing thumping techno that jolted the crowd into action after an idle day spent in thirty-degree heat. The Wildlands Saloon stage was probably the most exciting new addition to the set-up. A two-storey tin shed housed a bar on the lower level, with the DJs poking out of a little window above the crowd. Saturday night inevitably moved away from techno towards psytrance, with Neelix and Interactive Noise battling through the intermittent rain to create a muddy vortex on the Wildlands stage.
It was Sunday when the festival properly found its feet. By this time, the crowd had thinned after Saturday’s rain, leaving blue skies and only the most dedicated dancers. Seth Troxler took to the stage in intense heat, playing a bass-heavy techno set that brought his Detroit roots and larger-than-life presence to the fore. Mid-set, a giant trampoline with the signature huge strawberry was carried into the middle of the crowd.
Stimming was a strange choice to follow Troxler, playing a relaxed set of what sounded like progressive house. But that's not to say he wasn't a hit with the crowd, who quickly fell under his hypnotic, soothing spell. His own classic cuts, "Window Shopping" and "The Song," proved the highlights. Kristian Beyer from Âme then played until close on Wildlands, spinning a mixture of deep house and techno that left the audience in high spirits ready for the long drive home.
The Deep Jungle stage, which mainly played host to live and acoustic music, lost Swedish flavour of the month HNNY after he cancelled his Australian tour. Instead, 21-year old wunderkind Max Graef closed, mainly sticking to the hip-hop and jazz-inspired sounds of his latest LP, Rivers Of The Red Planet. His set was equal parts serious and melodic, and it was shame he didn't attract a larger crowd.
Strawberry Fields remains one of the most inspiring examples of Australian festival culture, melding the beauty and mystery of the landscape with a passion for amazing music. However, the organisers must be careful not to lose sight of their roots: veer too far from the festival's original approach and they risk impeding on the crowd and vibe that made it such a hit in the first place.
Photo credit: Boaz