Fortitude Valley is a highly competitive area to establish a club — most clubs rarely last beyond their first five years.

As Electric Playground hypes for its second birthday with The Ultimate Birthday Party next weekend, Wayne Wakefield looks back with his newly-blushing bride and business partner Hollie Paterson on a decade with Boom Entertainment; reflecting on ten years of survival in one of Queensland’s most ruthless industries.

Unlike Brisbane’s other establishments, Wayne stands out in his own right as DJ Wahoo who dared to dream a dream and take the risk to open his own club. Wayne has defied the odds: starting out as a V8 racing car driver he changed tracks to become a DJ and open the now iconic dayclub Boom, before establishing Planet that has evolved into the Electric Playground and Magic City of today.

“I first started clubbing at The Hamilton Hotel,” Wayne recalls. “Music-wise it was a normal nightclub: playing anything from rock to dance. It was my brother Gavin (aka DJ Kandi Kane) who found the dance music before me. He took me from pop music to dance. Gavin was going to The Beat and we always used to compare songs with each other. Gavin opened my eyes to dance music, but I thought his stuff was too hard at 150-160BPM. It was Wild FM that was my proper introduction to dance music – not too many people had their hands on this and it was great music back in the day.”

But it was seeing Carl Cox in The Boiler Room at the 2001 Big Day Out that really changed everything for Wayne. “From that day forward, it was all about dance music — hearing that sound system. The Boiler Room has that tag: the production was spot on; the lights matched the show and I loved the way it hit the DJ. It was like my blinkers had been taken off — it changed the way I looked at music,” Wayne recollects. “Not long after, Andy Macca and I started going to The Beat and to Central Station Records — even though I didn’t own a record player.”

In what is now The Thirsty Camel, Boom opened as a day club in 2001, catering to hard dance lovers. When The Healer closed on Warner St, Boom took over. But times were a-changing. By 2006, the day club was sliding fast.

“Boom just couldn’t do it anymore — Macca and I were struggling,” Wayne remembers. “Hard dance had nosed over, and as much as we loved it with all of our hearts, it had had its time. The rules of the Valley had changed. We didn’t think we’d have the chance, but we put our necks on the line, took out the license and took the risk. We just believed.”

When Planet opened, Wayne remembers that’s when “shit got real — everything was serious now. We just had no idea what we were signing up for.”

Since then, he’s seen LMFAO, 50 Cent, Chris Brown, Rihanna, Eddie Halliwell, Roger Sanchez, John ‘00’ Fleming, Aly & Fila, Tritonal, Signum, Sean Tyas and a plethora of superstar artists parade through his doors.

Wayne and Hollie know they will always have the odds stacked against them, but looking back on ten years in the business sees them extremely proud of Boom’s achievements. “We aren’t trying to be trendy. You don’t have to act a certain way or be a certain way. Music is all encompassing — it’s for everyone. We make it so that everyone has access to the music. That’s why the after parties represent us best: it’s real. It’s not about pretty makeup and ‘I-just-went-and-paid-$300-for-such-and-such-a-singlet’. It’s all about the music. That’s why our after parties are epic.

“It’s been a rollercoaster. We’ve nearly fallen off the tracks so many times, but we’re still here. We live, eat, sleep and breathe our business. It’s tough, but it’s music. When you stand there and hear the production and see that room full while everyone’s lining up down the street, you think, ‘wow, we did this’. The minute you come through that door, you may not know us, but you will love us.”

Electric Playground celebrates its second birthday on Saturday May 26. electricplayground.com.au

The strength of a scene is judged by its industry. A strong host consistently needs fresh recruits and ideas, or confronts the danger of becoming staid, pretentious and boring.

For a refresher in Brisbane’s dance and electronica arena, merely look to Central Battle: a DJ competition steeped in reputation, history and honour, and comes with a history of SE Queensland’s crème de la crème in dance uniting to showcase and focus on technical skill, mixing and levels, originality and song selection. While most DJ competitions encourage audience interaction and popularity, Central Battle is distinguished as the rare gem that concentrates solely on talent. For this competition of DJ competitions, no other currency will do.

With 2012 barely off the ground and running, Central Battle has infused great energy into Brisbane’s dance and electronic arena. Across the six weeks that Central Battle took over Electric Playground, it is an incredible comfort to know that the future of dance music is in safe hands. The judging pulpit, local DJs, venue managers, the media and chin strokers alike united in the cause of finding the next DJ deserving of such a crown. All Murray Brown, the curator of Central Battle since its inception, wants to see for the conquerors is that they get a gig. And every Central Battle winner has certainly emerged a winner not just from the competition, but a champion of the industry.

From behind the wheels of steel, combatants come armed, mirroring the current dominating genres of Brisbane’s clubland. 2012 was no exception, though — surprisingly — dubstep did not dominate as much as expected. Ample seasoning of NOVA, electro, trance and progressive liberally fleshed out the competition. But it came to those who dug deeper and remained uncompromising in their sound to stand out and ultimately be rewarded with a berth in the final.

The top three of Central Battle 2012 were a fine reflection of the different musical tastes: Kitty Konfuzion, Scranton and Brett Noreicks clearly stood out. But it was Brett emerging as the victor, thanks to his tidy mixing, a varied yet eclectic taste in song selection and clean levels to his sound.

It is with Central Battle’s blessing that Brett Noreicks will go forth and shine.

The Original

While Tiesto and Armin van Buuren were still in their DJ swaddling, it was Fatboy Slim who first introduced the concept of the superstar DJ to the world.

His albums and music clips persist in this contemporary age as original works of art, from their structure, to the visuals, emotions and movement. Yes, UK DJ Norman Quentin Cook has come a long way, baby. He has forged a steady path in music, first finding success in the 1980s in rock bands before striking out on his own as a DJ. “I was actually a DJ before I was in bands. In those days, being a DJ was a hobby rather than a career. And then when dance music took off, I was finally making music I really love. At the end of the day, I feel I am a much better DJ than I am a bass player.”

Fatboy Slim first came to the underground world’s attention from a burgeoning UK electronic scene that culminated in epic beach parties on Brighton’s shores – parties that remain the stuff of electronica legend. It’s from such days that his seamless sound of big beat steadily grew upon the world; a sound propelled by hits ‘Praise You’ and ‘Right Here, Right Now’. Such tunes are a foundation to today’s music — he’s even responsible for a hit titled ‘Dub Be Good To Me’. But he confesses that the music of today confuses him too.

“I dunno if it’s an age thing but I can’t get my head around dubstep. I don’t play dubstep in my set. It might be me getting old, but sometimes it just sounds like a load of scrunchy noises without a tune holding it together.”

If there’s anything that holds Fatboy Slim together, it is wisdom. While there are indications he’s been on a wild ride, at the end of the day, it’s still all about the music. He may deviate from being a DJ with musicals alongside Talking Heads frontman David Byrne or conditioning his body for marathons, but he still comes back to DJing in front of epic crowds.

“I always come back to doing what I do: the bad-ass straight-ahead dance music. I’ve got a audio-visual show coming for Future,” he vouches. “I’m more of a VJ these days. We write visuals first, and as I play the CDJs, that triggers the visuals. We have synced visuals which makes for a tighter show. I’ve always loved touring Australia — just getting back there and seeing the mental crowds you have there. It’s quite a nice line-up as well. I’m looking forward to hanging out with Swedish House Mafia.”

As with every artist, his craft has come with sacrifices and suffering. Plagued with health issues and controversy, Fatboy’s veneer has cracked under the struggle. “When I’m at home I’m Norman Cook,” he explains. “When I get on the road and put the Hawaiian shirt on, I turn into Fatboy. Norman is a good husband and a good dad. Fatboy, frankly, is an irresponsible party animal. But I faced my demons; beat them off with a stick. I’m happier, healthier and I’m doing a better job. I’ve been focused on my inner well being.”

Accompanying mega stars Swedish House Mafia for the national Future Music Festival tour, we should expect a stage of huge personalities and huge big room sound. Certainly, Fatboy guarantees his trademark structured mayhem.
“Swedish House Mafia have got that huge big room commercial sound down pat but I’ll be wandering down a noisier, more raucous path ... it’ll be the same full-on acid house party nonsense, really.

“I’ve always got something to prove – no one does it quite like me. You’ve got your young contenders like the SHM – ultimate respect to them – but I plan to give them a run for their money every night.”

Fatboy Slim headlines Future Music Festival at Doomben Racecourse March 3. futuremusicfestival.com.au

Let The Games Begin

The Eastern religion of Taoism proclaims it is not the goal, ‘tis the journey that matters.

In competitions, many enter the race but only one can cross the finish line. Yes, it takes effort and discipline training and sheer will to finish first; for everyone loves to win. Battling keeps nerves and wit sharp, and talents honed. And in a supportive and positive environment, competition is healthy.
Since 1995, Brisbane’s Central Battle has established a fine reputation in Queensland dance for exposing the great and the laudable.

Over the years, a long line of collateral damage has accumulated in the wake of Battle’s reigning champions with only the crème de la crème of DJs and DJanes worthy of the crown: from Jen-E to Murray Brown, tyDi, Jeremy Iliev and Tim Plunkett. All victorious battlers have gone on to command the greatest respect, with many names attaining international and national status. Central Battle should be proud to have launched such stellar careers.

And the man leading the lambs to the lions is Murray Brown, having kept Central Battle refreshed and flourishing since the grand days of Central Station Records. In January, Murray will bring 32 entrants to Central Battle 2012 at Electric Playground. Entries are open to all amateurs with newbies, bedroom and wannabe DJs urged to exhibit their weapons of choice on the wheels of steel – particularly those who haven’t had a paid gig in the last three months.

Central Battle will be a playground of interest, with the dance industry coming from across Brisbane to bear witness to the city’s freshest talent. From virgin DJs taking that first step and performing to a live audience, to chinstroking tune connoisseurs or wizened beat masters; Central Battle will be the DJ battle of DJ battles.

Partnered by Lightsounds and Midnite Music, Central Battle will be certain to stir the dance pot. Don’t enter simply because you expect to win it. Participate because you can put yourself out there and become a part of an industry that builds, supports and elevates. Most importantly, Central Battle serves as a doorway into the dance community. It represents purpose and drive. By all means, Central Battle is a competition. But at the end of the day, each DJ will face the greatest judge and harshest critic of all: themselves.

Entries to Central Battle open Tuesday December 20 from 9am. Entry spots will be picked on a first come first served basis. electricplayground.com.au

Best Gigs For The Week

#1 Celebrating 40 years of living and 20 years of spinning records – Saturday May 19. Jason Rouse and friends at Zuri Bar & Dining.

#2 R&B rubs shoulders with hardstyle and electro for a new night – Friday May 18. Bamboo Fridays Grand Opening Super Event at Electric Playground and Magic City.

#3 A fox behind the decks, in the studio and with the beats – Friday May 18. Provocateur presents Juliet Fox at Zuri Bar & Dining.

#4 A wonderland in music comes to Brisbane with the launch of Rekordlig’s new flavour of cider – Mango Raspberry – Friday May 18. Oh Hello Fashion with Faith & Lola and DJane Alison Wonderland.

#5 Catch Baby Gee freshly relocated to Sydney – Saturday 19 May. Electric Playground presents Baby Gee, Karma and Tooshoes.

Love and kisses, Lady Lex.

So Close

Calvin Harris is one of dance music’s rising meteors.

Responsible for tracks like ‘Ready for The Weekend’ and ‘You Used To Hold Me’ while working with massive pop names like Rihanna, Dizzee Rascal and Kylie, Adam Richard Wiles knows how to keep the ‘Calvin Harris’ name in lights.

With an amazing arsenal of musical powers as a singer/ songwriter and instrumentalist, in today’s day and age of throwing a stone and hitting a DJ, jumping behind the decks was merely a natural progression. “I was into dance music at 14. I used to buy all my favourite house music on vinyl. And I got a Gemini XL-400 and a little mixer and I used to bedroom DJ for a while. Then I started making music – and that took over and I didn’t really give a shit about DJing for years.

“Then I had a record out and people talked about doing DJ sets. I reconsidered it. I was shit at first, learning about what it was I wanted to play. That’s how it started off for me.” It was a move that certainly agreed with him with favourable responses aplenty since his DJ debut at the 2010 Stereosonic Australia. Harris has since become a standard addition to the festival circuit.

So, what makes a great DJ? “Reading the crowd is the most important thing. Playing the right record at the right time is a pretty difficult act. Not many people can do it. That’s the most important thing: to drop the perfect tune at the right point. You know when you’ve done it. And it’s amazing.”

What is most evident, however, is that Calvin has allowed for plenty of opportunities. With as many successes under his belt are the chances that were never meant to be. From public showdowns with Katy Perry and Roisin Murphy to the songs that were cut from some records yet made it with others, it’s clear that while Harris may often speak off-the-cuff, his achievements are a result of always pushing the envelope.

“I want my music to be good. I don’t want to make shit music. I’ve always got one eye on what people like. People come to a rave and dance to music they like. So I keep an eye on what people are listening to and what they like.”

Calvin Harris plays Summafieldayze Monday January 2. summafieldayze.com

Magic In The Blues

He remains one of the greatest musicians of the late twentieth century. ‘Sweet Dreams’ still brings dancefloors to life, but while Eurythmics were certainly significant in the pop world during the 1980s, there is more to David A Stewart than one killer tune.

Top selling singer-songwriter, record producer, multi-instrumentalist and music entrepreneur: Dave Stewart has lived many lives. And with his first solo album in 14 years due for release, ‘The Blackbird Diaries’ features Stewart coming full circle in his musical life, returning to his blues roots. “Great music has to be real music coming from a genuine soulful place,” Stewart states. “And that’s how I make my own music and sing my own songs.”

From his home town of Sunderland, Stewart was first inspired by the blues during the 1960s.“I was about 13,” Dave recalls, “and my cousin sent me these blues records from Memphis. I learnt guitar listening to these records - the blues were speaking to me.”

Thus began an enduring relationship, where the structure, sound and texture of blues infuse Dave Stewart’s signature sound. “Everything I do has the blues in it,” Dave states. “Like ‘Sweet Dreams’ — while 30 percent electronic - is still blues. There’s magic in the blues.”

Dave first cut his teeth in the industry with folk-rock band Longdancer, securing a record deal when still a teenager. In 1976, he was introduced to Annie Lennox, where they teamed with Peet Combes as The Tourists, enjoying some success towards the ends of the ‘70s. The next decade saw a huge shift for Stewart, as the Eurythmics gained global success with their unique electronic pop-rock sound. After the success of Eurythmics, Dave has remained a heavyweight in the industry, working with other leading names from Mick Jagger to Stevie Nicks and Joss Stone.

However, it was fate involving an Icelandic volcano that led Dave from London’s Denmark Street to Nashville’s Blackbird Studios and thus to the album, ‘The Blackbird Diaries’. So named for the studio it was created in, ‘The Blackbird Diaries’ was recorded in only five days. But the story starts in May last year where, stuck in London and unable to reach home, Dave wandered down Denmark Street and into a vintage guitar shop. The sight of a guitar once belonging to alternative country singer Red River Dave forcibly struck Stewart, and he was suddenly inspired, to not only own the guitar and find out more about Red River Dave, but to also travel to Nashville.

This new adventure led Stewart to Blackbird Studios and a host of incredible musicians. Drummer Chad Cromwell, bassist Michael Rhodes, keyboardist Mike Rojas, lapsteel guitarist Dan Dugmore and guitarist Tom Bukovac all feature — the result is similar to Dylan’s timbre, Neil Young’s country rock and the depth and raw complexity of The Rolling Stones.

Stewart calls it: “a little Dylanesque meets Leonard Cohen meets Tom Petty meets Lou Reed meets Johnny Cash sounding. When I work with other people, we try and combine the skill and emotion we’re trying to express when we come together. It’s very much a therapy session in a way. We write about things that are very personal, but do it in such a way that other people can relate.”

From ‘Magic In The Blues’ to redolent country track ‘Cheaper Than Free’ and ‘Country Wine’ featuring The Secret Sisters, ‘The Blackbird Diaries’ portrays a very unique journey. “I don’t like writing about things that don’t matter to me,” Stewart muses. “It has to be personal. There’s magic in the blues. I write about things that happened in my life and things that affected me. It’s all about truth.”

Dave Stewart supports Stevie Nicks at the Brisbane Riverstage December 3. ‘The Blackbird Diaries’ is out now.

Larger Than Life

New York has long been the world’s epicenter, wielding substantial influence upon global finance, media, art, fashion, entertainment and music. As the centre of jazz with Tin Pan Alley during the 1940s, New York has also spawned disco in the 1970s and hip hop in the 1980s. Rich in society and customs and a melting pot of ethnicity, New York is also the centre of the modern gay rights movement, with Stonewall Inn the site of the infamous riots of 1969. The Big Apple is home to a rich texture of humanity and it is no wonder that a band would seek out to represent all that New York personifies: that outrageous glamour, a sassy wit that shocks and doesn’t hold back, and a bopping strut that takes disco, pop and rock to a whole new level. That band is Scissor Sisters.

Glam pop icons, lyrically sassy and at times downright tacky while accepting of all creeds and colour, the five-piece ban have created quite the stir. Since 2001, when powerhouse vocalist Jake Shears and Babydaddy chose to work together, enlisting the efforts of comedic songbird Ana Matronic, Del Marquis on lead guitar/ bass and Randy Real on drums, Scissor Sisters have taken over the world.

The Scissor Sisters’ story starts out as The Fibrillating Scissor Sisters, with Shears and Babydaddy joining musical forces. Initially meeting in their home town of Lexington, Kentucky, the two southern gentlemen moved to The Big Apple to be inspired by the melting pot and gay philosophy of New York. With Babydaddy composing the songs, Shears supplying the lyrics and their onstage performances including a variety of inappropriate characters, the duo would gain quite the reputation.

“We did come together with some basic ideas about what we wanted it to be,” Babydaddy reminisces. “We wanted to play some great music to our friends in the beginning. We were trying to perform and to entertain our friends – that’s what it was all about in the beginning. We wanted to do something that was larger than life. We wanted to make something that was bigger than the tiny clubs we were playing in. The message was all around us at that time. It was a very gay, freaky, weird, interesting crowd we were around. And we wanted to speak to those people.”

It was a chance encounter at Disneyland that saw the Fibrillating Scissor Sisters find their sassy soul. Shears and Babydaddy were immediately captured by the presence of Ana Matronic. As the promoter for the saucy cabaret event ‘Knock Off’ at The Slipper Room on the Lower East Side, Ana invited Scissor Sisters to perform where she also joined them onstage. A remnant from Shears’ days as a stripper, Del Marquis came onboard with lead guitar and bass, eventually followed by Paddy Boom on drums. Fibrillating was dropped, and Scissor Sisters – named for the sexual position of tribadism between two women – was in full swing.

In 2002, Scissor Sisters were signed to NY label A Touch of Class for a two single deal. Side A featured ‘Electrobix’, while Side B featured a cover version of Pink Floyd’s ‘Comfortably Numb’. Surprisingly, it was Side B that would propel Scissor Sisters to success, with Pink Floyd’s Roger Waters and Dave Gilmour sealing their approval of the song. UK label Polydor signed the band to a contract with the success of the single, which propelled the release of their self-titled 2004 debut studio album. The record hit the mark as the best selling album of 2004 in The UK and won Best International Album at the 2005 Brit Awards. In 2006, their second album, ‘Ta-Dah’, was released; Elton John was welcomed onboard to collaborate on a few tracks, particularly ‘I Don’t Feel Like Dancin’ which reached the number one spot in The UK, Canada and Australia.

Of their live performances, Babydaddy comments that: “live music for us is all about the energy. I’m spoiled - I get to be lazy and let the two front people do most of the work. I’ve seen and felt the power and the energy that connecting to an audience can do – Ana and Jake cover that really well. That connection is there with us, no matter what size venue we’re playing. Not many bands have anyone like Jake  - the way he sings and runs around the stage like he does. But fewer bands have someone like Ana who is there to please the crowd with her wit. She’s a comedian and just a great all round performer.”

In 2007, the band returned to the studio, though they made the decision to shelve the material while drummer Paddy Boom made way for Randy Real. More studio time was invested over the ensuring years, with their third album, ‘Night Work’, finally released last year. Produced in conjunction with Stuart Price – famed producer for Madonna – ‘Night Work’ was an opus of hedonism and sleaze, precisely what Scissor Sisters have come to symbolise so well.

“Inspiration comes from a lot of places,” Babydaddy muses. “I think a lot of time it comes from the energy of having someone in the room, whether it’s Ana that we’re working with, a new producer or a friend of ours writing music. A lot of those things inspire us. Inspiration could mean anything from a track we hear to a line in a book we read or a moment in a film we want to catch the vibe of.
“I don’t know if any band feels if they’ve accomplished or reached the point where they don’t have to worry about anything anymore. Even someone like Elton John — you think he’s lived the richest career of any musician that’s alive — and he still fights to have an album that means something; still fights to have the biggest shows ever.

“We want to be a band comfortable with the size venues we play all over the world. Great venues in Australia, England, a lot of Europe – America is a small audience for us strangely enough; and there are countries we’ve never been to before. Those are our goals — to expand our fan base. We want to make it accessible. We want a legacy. Right now we have a few albums we’re really proud of. But a few albums is not a full band history. To some people, it’s an inconsequential dance act — and that’s my worst nightmare for people to think about us that way; that we’re just a gay band. My legacy would be someone who made music and connected with people. I want people to know we’ve gone through a whole evolution.”
The evolution of Scissor Sisters will reach Australia for Summafieldayze in January.

“We’re overdue for a trip,” Babydaddy claims. “It’s been way too long. I love the people. We’re just going to have a good time. We’re coming close to releasing a new record — but I have no idea if we’re going to be ready with new music. It’s going to be a goal,” Babydaddy promises, “but we’re going to come forward with a lot of energy.”

Scissor Sisters, alongside Justice, Pendulum and Snoop Dogg, headline Summafieldayze, at The Spit, Gold Coast, January 2. summafieldayze.com

Giving back

The name Markus Schulz inspires awe and wonderment.

The intense melodies he produces in his studio highlights his incredible talent, while his chaotic gig schedule highlights him as one of the most in-demand DJs across the world. And in the lead up to Summafieldayze, the name Markus Schulz is sure to bring the fans out in force.

Where Markus stands out is in his unique sound and unique style. “It helps if you are recognised for a certain sound that you produce,” Markus says. “And you have to be totally in tune with the audience. I’ve never been a traditional trance DJ. I’ve always looked for the sexy groove and then looked for the melody on top of those grooves.

I have something in my head and then carve out that sound - whether it’s a synth or a melody. Then I develop it with percussion or counter melodies. From there, I go into DJ mode, where I’m trying to figure out the direction of where this track eventually goes to take people on a journey. That’s my train of thought; first as a musician, then as a DJ.”

Markus’ journey is as intense as his music. Born in Germany, Markus emigrated to the US in 1988, just as EDM was first hitting the country. Inspired by the new electronic sounds, he would take a stand behind the wheels of steel throughout the 1990s, perfecting his craft and breaking into the global electronic music scene. But after so much toil and success, what path does Markus follow now?
“I think you get to a certain point where you are content with your standing in the scene. You have to be someone who paves the way for the next generation. I don’t plan on retiring any time soon, but as the next stage of my career, I want to leave a legacy. I want to be looked as someone who not only took from the scene, but also gave back.”

And what will he be giving his fans when he ventures out for Summafieldayze? “Every time I’ve been to Australia, I’ve had an amazing experience. I’ll be coming with some new and exclusive tracks. I’m in the studio right now, and I’m working on my new artist album, so I’ll be testing the tracks on the tour.”

Markus Schulz plays Summafieldayze, on the Gold Coast, Saturday January 2. summafieldayze.com

A Good Journey   

The year 2000 in Brisbane: pre-3am lockout, pre-5am shutdown, pre-911, prepubescent. The new millennium had seen Y2K concerns come and go with the GST and Olympics fever to follow. We drank Subzeros, texted from our Nokia 8210 and smoked on the dancefloor.