- Compared to the better-known Tisno festivals—Soundwave, Electric Elephant, The Garden Festival—Suncébeat is a more niche affair, catering for an older crowd and specialising in soulful music. It attracts an international audience, with people from across Europe and the US present at last month's sixth edition. Suncébeat is the sister event to Southport Weekender, the long-running UK festival that ended in May. This made Suncébeat 2015 feel like a pivotal edition, one that would decide whether the brand and its unique following had a future together.
For seven days the crowds lounged across the site's secluded beach, occasionally rising to swim in the sea's warm waters or dance by the beachside soundsystem. Daily boat parties whisked 200-or-so revellers away for a tour of neighbouring islands, and these were raucous from the off. By night, higher profile DJs replaced residents on the beach, ramping up the numbers, tempos and atmosphere until 2 AM. Then there was the superb open-air club Barbarella's, where the dance continued through until 6 AM.
Musically, Suncébeat doesn't stretch as far as Southport Weekender—the Croatian festival is roughly one-third the size of its sibling. Its soundtrack is warmly received by the singalong faithful, but it fails to attract newer, younger recruits.
Many of the genres championed by Southport, from UK garage and drum & bass to broken beat, aren't represented. When it comes to deep house, a sound Suncébeat specialises in, they've been responsible for bringing the likes of Larry Heard, Glenn Underground and Boo Williams to Croatia for the first time. This year, though, the contingent felt weak, especially at a time when the genre is in vogue. Miguel Migs and Marques Wyatt were both proficient, but little else.
One artist who hit all the right notes was Roy Ayers, who delivered his arsenal of hits with youthful vigour. "Running Away," "Love Will Bring Us Back Together," "We Live In Brooklyn, Baby" and "Everybody Loves The Sunshine" delighted the alfresco audience, just as they did in 2010. The Brand New Heavies headlined on Sunday night, but their '90s back catalogue didn't seem to resonate as strongly with the crowd. Guitarist Simon Bartholomew arrived on stage in a low-cut top, flowing robes and a thick leather guitar strap fitted with five rows of metal studs, looking like Spinal Tap's Nigel Tufnel had he joined a Druid moon cult. Their polished soul and funk had the older crowd on their feet, but it never really caught the attention of the under-35s.
On the other hand, headlining DJs Kerri Chandler, Tony Humphries and Louie Vega thrilled the crowds. Vega, making his Croatian debut, was particularly good, dropping some of his 2015 tracks. His and Adeva's "I Deserve To Breathe," his own remix of 3 Winans Brothers' "Dance," and his remix of George Clinton & Parliament Funkadelic's "Ain't That Funkin Kinda Hard On You", alongside Rhemi's "Diamond," were the standout (if slightly overplayed) vocal cuts of the festival.
Of the core soul and soulful house acts, London's Ronnie Herel and Philadelphia's Rich Medina were exemplary. But by the end of the week, the music's uplifting vibe and vocals grew a little tiring. Whenever a DJ broke the mould, it was a moment to be savoured. Floating Points and Motor City Drum Ensemble did this frequently, playing fresh and unique sets that still appealed to the floor. Osunlade was also impressive, throwing down dark, techno-edged fare that shone with psychedelic energy.
For the past few years, Suncébeat has led the field in showcasing South African house on the Adriatic. In 2015 Djeff Afrozila and Black Coffee wowed the crowds, their bold rhythms and restless spirits making much of the old guard feel tame by comparison. These are the performances that capture the festival at its best, when the music feels new and diverse. That must be the key to attracting a younger audience who, once present, will no doubt fall in love with Suncébeat's faultless production values and unique vibe.
Photo credit: Colin Williams