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
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
Anonymeye is the music pseudonym of Andrew Tuttle.
He’ll be bringing his blend of electronic and acoustic music to Crossbows, a four-day music festival, that’s happening this week. Tuttle will play as part of Concentric Circuits, Crossbow’s electronic artist program curated by Lawrence English.
“The night I’m playing I’m really looking forward to Dot.ay who is Alex Yabsley, originally from Brisbane and now living Melbourne, who is coming back for this so that will be great. I’m also playing with Hunz who I’ve always enjoyed seeing as well,” Tuttle says.
“It looks to have heaps of interesting things and be really diverse. The whole Concentric Circuits line-up is really great and I’m looking forward to seeing everything.”
Born and raised in Brisbane, Tuttle looks to the city’s nature for inspiration. “In a way I suppose other music and other art I hear and see influence what I do,” he says. “I think the natural surrounds of Brisbane being a city that’s kind of mid-sized, but with a lot of nature and beaches, also does as well. The idea of just wanting to keep things kind of interesting and placid, if that makes some sense.”
The result is what Tuttle describes as a synthesis between acoustic and electronic music that utilises acoustic guitar, laptop, synthesizers, banjos, vocals, effects units and other bits and bobs.
Looking to revamp his live show, Tuttle is working on new recordings he says could possibly end up being turned into a future album.
“What I’m going to be working on for this show is hopefully some new ideas; kind of combining what I’ve been doing lately, which is kind of a melding and synthesis of synthesizer, guitar and banjo sounds. There will be a few dreamy elements in there, a few song elements, and some improvisations.”
Anonymeye plays Crossbows, which takes part across several venues including the Queensland Conservatorium May 10-13. griffith.edu.au/crossbows
He’ll be bringing his blend of electronic and acoustic music to Crossbows, a four-day music festival, that’s happening this week. Tuttle will play as part of Concentric Circuits, Crossbow’s electronic artist program curated by Lawrence English.
“The night I’m playing I’m really looking forward to Dot.ay who is Alex Yabsley, originally from Brisbane and now living Melbourne, who is coming back for this so that will be great. I’m also playing with Hunz who I’ve always enjoyed seeing as well,” Tuttle says.
“It looks to have heaps of interesting things and be really diverse. The whole Concentric Circuits line-up is really great and I’m looking forward to seeing everything.”
Born and raised in Brisbane, Tuttle looks to the city’s nature for inspiration. “In a way I suppose other music and other art I hear and see influence what I do,” he says. “I think the natural surrounds of Brisbane being a city that’s kind of mid-sized, but with a lot of nature and beaches, also does as well. The idea of just wanting to keep things kind of interesting and placid, if that makes some sense.”
The result is what Tuttle describes as a synthesis between acoustic and electronic music that utilises acoustic guitar, laptop, synthesizers, banjos, vocals, effects units and other bits and bobs.
Looking to revamp his live show, Tuttle is working on new recordings he says could possibly end up being turned into a future album.
“What I’m going to be working on for this show is hopefully some new ideas; kind of combining what I’ve been doing lately, which is kind of a melding and synthesis of synthesizer, guitar and banjo sounds. There will be a few dreamy elements in there, a few song elements, and some improvisations.”
Anonymeye plays Crossbows, which takes part across several venues including the Queensland Conservatorium May 10-13. griffith.edu.au/crossbows
These are my must see DJs, either live, on YouTube or downloading one of their mixtapes.
1. A-Trak
2. Diplo
3. DJ AM (rest in peace)
4. Ajax
5. Sampology
These DJs have been some of my biggest influences on my style of DJing. I see these guys as innovative and unique, they dig deep and push forward new music and genres, as well as having loads of experience behind the decks, with the ability to adjust to different crowds.
So, whether you’re into indie, hi -hop, house or bassline music these dudes will keep you dancing, as well as keeping you guessing for what’s coming up next. And well, that's my aim for whenever I get behind a set of decks!
Van Miert headlines Soh Sundays Labour Day Eve (May 6) party at the Jubilee Hotel. Other DJs performing include: DJ GZ, Della, Blaze, DJ Bounce, Fid Frantic and Art House Killers.
1. A-Trak
2. Diplo
3. DJ AM (rest in peace)
4. Ajax
5. Sampology
These DJs have been some of my biggest influences on my style of DJing. I see these guys as innovative and unique, they dig deep and push forward new music and genres, as well as having loads of experience behind the decks, with the ability to adjust to different crowds.
So, whether you’re into indie, hi -hop, house or bassline music these dudes will keep you dancing, as well as keeping you guessing for what’s coming up next. And well, that's my aim for whenever I get behind a set of decks!
Van Miert headlines Soh Sundays Labour Day Eve (May 6) party at the Jubilee Hotel. Other DJs performing include: DJ GZ, Della, Blaze, DJ Bounce, Fid Frantic and Art House Killers.
It was almost too good to be true.
One of the most influential groups in the EDM movement, Orbital, returned to the scene in 2009 after five years away from the game. And it wasn’t a moment too soon.
“Basically, as you know we did a bit of a reunion show, then we got asked to do a few reunion gigs and that turned into about a year and a half of reunions!” explains one how of the brotherly duo, Phil Hartnoll.
“It was never about doing an album or whatever; but the welcome we received really blew us away. So we thought about getting into some new music again and thought that we didn't really want to play our older stuff.”
So the Hartnoll brothers’ current modus operandi is about experimenting and doing something different. The result is this year’s ‘Wonky’, which is about as unique and independent as it sounds. Combining sounds and influences from a number of different genres, it combines many years of experience.
“Things do happen by chance, really. We never really had a specific plan but we wanted to have an album that was about life and how things work live. And as an album in general, we did have a bit of a plan and we drew a diagram about that and thought about what we wanted to do, the types of tracks we wanted, all of that sort of thing. It's not always the way artists do things, you know, map them out, but we wanted to get it right.”
And now that it’s done, the lads are preparing to deliver the love live, with a schedule of dates around the country.
“We've been working with some pretty smart people in video and production and things, so we're really excited about getting all of that and delivering it to Australia. The album was done in a proper studio with a proper mixing desk and a third set of engineering ears; the live show likewise will be done properly. The whole thing is set up to allow us to have real control over what it is that we're doing, so we're really looking forward to getting back to Australia; it has been a little while!”
Orbital play the Tivoli Sunday May 6.
One of the most influential groups in the EDM movement, Orbital, returned to the scene in 2009 after five years away from the game. And it wasn’t a moment too soon.
“Basically, as you know we did a bit of a reunion show, then we got asked to do a few reunion gigs and that turned into about a year and a half of reunions!” explains one how of the brotherly duo, Phil Hartnoll.
“It was never about doing an album or whatever; but the welcome we received really blew us away. So we thought about getting into some new music again and thought that we didn't really want to play our older stuff.”
So the Hartnoll brothers’ current modus operandi is about experimenting and doing something different. The result is this year’s ‘Wonky’, which is about as unique and independent as it sounds. Combining sounds and influences from a number of different genres, it combines many years of experience.
“Things do happen by chance, really. We never really had a specific plan but we wanted to have an album that was about life and how things work live. And as an album in general, we did have a bit of a plan and we drew a diagram about that and thought about what we wanted to do, the types of tracks we wanted, all of that sort of thing. It's not always the way artists do things, you know, map them out, but we wanted to get it right.”
And now that it’s done, the lads are preparing to deliver the love live, with a schedule of dates around the country.
“We've been working with some pretty smart people in video and production and things, so we're really excited about getting all of that and delivering it to Australia. The album was done in a proper studio with a proper mixing desk and a third set of engineering ears; the live show likewise will be done properly. The whole thing is set up to allow us to have real control over what it is that we're doing, so we're really looking forward to getting back to Australia; it has been a little while!”
Orbital play the Tivoli Sunday May 6.
Benjamin Stanford isn’t famous enough. As Dub FX, the guy is a bona fide superstar.
YouTube paints the picture while seeing this guy perform changes your perception of what a man can do with a microphone. But he'll get his dues soon enough, as he suggests from his home base at Olinda, on the mountainous outskirts of Melbourne.
“I've just spent some time building my studio which took a lot longer then I thought. The plan was to finish a new album before this tour begins but it doesn't look likely. The songs are there but I just don't have the time to smash them all out, mix, tweak and finalise them.”
Which still says little about just how innovative Stanford is when armed with his musical gear.
“I had a vision of what was to come very early on,” he says. “I could see people getting that crazy look in their eye when I was busking in the rain in all those tiny cities all over Europe.”
Which begs the question, why do people like his music?
“People don't necessarily want to see talent, they want truth. It's me creating art; I don't think too carefully about how I structure my songs but I do try to make my chorus catchy and respect the art of making music.”
Benjamin is headed north this weekend with fellow Melburnian Spoonbill... so what can we expect from his set?
“I will be performing with my fianceé Flower Fairy; it will all be live looping, beatboxing, dirty beats and heavy basslines. It will be rounded off with some soothing melodies and conscious lyrics! There will also be a special jungle and drum & bass set at the end of the show for good measure!”
So stop sitting around and understand why one of Australia's most underrated artists is on the cusp of hitting the big time.
Dub FX with Spoonbill plays the Hi-Fi Sunday May 6.
YouTube paints the picture while seeing this guy perform changes your perception of what a man can do with a microphone. But he'll get his dues soon enough, as he suggests from his home base at Olinda, on the mountainous outskirts of Melbourne.
“I've just spent some time building my studio which took a lot longer then I thought. The plan was to finish a new album before this tour begins but it doesn't look likely. The songs are there but I just don't have the time to smash them all out, mix, tweak and finalise them.”
Which still says little about just how innovative Stanford is when armed with his musical gear.
“I had a vision of what was to come very early on,” he says. “I could see people getting that crazy look in their eye when I was busking in the rain in all those tiny cities all over Europe.”
Which begs the question, why do people like his music?
“People don't necessarily want to see talent, they want truth. It's me creating art; I don't think too carefully about how I structure my songs but I do try to make my chorus catchy and respect the art of making music.”
Benjamin is headed north this weekend with fellow Melburnian Spoonbill... so what can we expect from his set?
“I will be performing with my fianceé Flower Fairy; it will all be live looping, beatboxing, dirty beats and heavy basslines. It will be rounded off with some soothing melodies and conscious lyrics! There will also be a special jungle and drum & bass set at the end of the show for good measure!”
So stop sitting around and understand why one of Australia's most underrated artists is on the cusp of hitting the big time.
Dub FX with Spoonbill plays the Hi-Fi Sunday May 6.
2012. The Mayans call it the end of the ‘fourth world’. Some call it the year of doomsday. Others believe it is simply the end of the world as we know it.
For Sampology, 2012 is the Super Visual Apocalypse – an audio visual celebration that's touring Australia and New Zealand from May 31. It pays homage to the legacy and pizazz of Bruce Willis, as he battles the many doomsday challenges that threaten the world's existence in 2012. Dance, laugh, cheer and get ready to party like it's the end of the world!
Brisbane, get your groove happening with this free Bruceocalypse mix, before Sampology makes Oh Hello! bounce on Sunday June 10.
For Sampology, 2012 is the Super Visual Apocalypse – an audio visual celebration that's touring Australia and New Zealand from May 31. It pays homage to the legacy and pizazz of Bruce Willis, as he battles the many doomsday challenges that threaten the world's existence in 2012. Dance, laugh, cheer and get ready to party like it's the end of the world!
Brisbane, get your groove happening with this free Bruceocalypse mix, before Sampology makes Oh Hello! bounce on Sunday June 10.
For DJ Femme, performing is in her blood. As a youngster her Dad DJd throughout England, and now she’s making her own (sound)waves within Australia.
“My Dad used to play records every Saturday night at home and I guess we were sort of heavily influenced from music at a young age because my parents were so crazy about it,” Femme says.
With an impressive list of credentials already, including being a finalist for the She Can DJ competition, it's no surprise that the industry has noted her as 'one to watch'.
“I've done a huge amount of things in such a short amount of time, which I guess is why everyone is a bit shocked when they chat to me and ask me when I started playing and they kind of realise how much I've done in such a short space of time,” Femme says.
Her latest mix CD, 'Pump It Vol 5', is a follow-up to the second and third volumes of the series that she also mixed. But for Femme, there’s no better feeling than playing for a crowd.
“A party night with lots of fun and hopefully everyone gets into it with me. I've got some copies of the 'Pump It Vol 5' to give away. They're doing a fairly big launch and it's a really good club on the Gold Coast, they always put on a good show.”
With a commercial single already to her name, 'Time To Rock' (which featured on 'Pump It Vol 3'), Femme still has a lot of projects she’s currently working on.
“I'm just focusing on getting a couple of my own production works out at the moment. Also, I have big news coming in the next few months. So if you keep your eyes peeled to Facebook and stuff like that I'm sure you'll see some big changes.”
DJ Femme plays the Exchange Hotel Thursday April 19 and Melbas, Gold Coast, Saturday April 21. ‘Pump It Vol 5’ is out now.
“My Dad used to play records every Saturday night at home and I guess we were sort of heavily influenced from music at a young age because my parents were so crazy about it,” Femme says.
With an impressive list of credentials already, including being a finalist for the She Can DJ competition, it's no surprise that the industry has noted her as 'one to watch'.
“I've done a huge amount of things in such a short amount of time, which I guess is why everyone is a bit shocked when they chat to me and ask me when I started playing and they kind of realise how much I've done in such a short space of time,” Femme says.
Her latest mix CD, 'Pump It Vol 5', is a follow-up to the second and third volumes of the series that she also mixed. But for Femme, there’s no better feeling than playing for a crowd.
“A party night with lots of fun and hopefully everyone gets into it with me. I've got some copies of the 'Pump It Vol 5' to give away. They're doing a fairly big launch and it's a really good club on the Gold Coast, they always put on a good show.”
With a commercial single already to her name, 'Time To Rock' (which featured on 'Pump It Vol 3'), Femme still has a lot of projects she’s currently working on.
“I'm just focusing on getting a couple of my own production works out at the moment. Also, I have big news coming in the next few months. So if you keep your eyes peeled to Facebook and stuff like that I'm sure you'll see some big changes.”
DJ Femme plays the Exchange Hotel Thursday April 19 and Melbas, Gold Coast, Saturday April 21. ‘Pump It Vol 5’ is out now.
The beer that’s been whetting Australian whistles for more than a century — and sells a slab every second according to AC Nielsen June 30, 2009 — has had it’s iconic theme song remixed by creative, Brendan B.
A hard earned thirst needs the best cold beer: Victoria Bitter.
A hard earned thirst needs the best cold beer: Victoria Bitter.
Byron Bay DJ/ producer, 3rdeye, mixes his love for electronic music with his passion for teaching as a resident electronic music production (EMP) instructor at SAE’s Byron campus.
What’s new in electronic music production... any cutting edge advancements that are shaping/ reshaping the scene?
Technology wise, there are always new developments in hardware and software production gear, but things have been quite steady the last couple of years. I think there will be big advancements to come through the integration of iPads with live performance software such as Ableton, Serato. It will also be interesting to see what the next versions of Logic and Ableton offer producers in terms of new features. The new production DAW (digital audio workstation) Bitwig also looks like it could be a major player, integrating a lot of features from DAWs such as Logic, Ableton and FL Studio.
You lecture an EMP course at SAE Byron Bay. What kind of skills do you teach and what software and equipment do you work with?
We work with Logic and Ableton mainly. The majority of the course content is taught using Logic, but much of that content could be applied to any DAW software. We cover the full spectrum of electronic music production: sequencing, synthesis, sound design, effects and production techniques, sampling, editing, mixing, recording, composition/ arranging, networking, copyright law, working with labels, live performance. It’s a six month practical insight into the skills and techniques required of a successful artist/ producer.
What kinds of jobs are out there in the realm of EMP?
Most of the students I’ve taught have done the course in order to establish or further their careers as electronic music artists. We’ve had lots of students do really well since completing the course, many of them have since been signed to record labels and a few are even touring or based internationally now.
Your music and profile are gathering substantial momentum at the moment; what’s next for 3rdeye?
I’ve got a collaboration with Droid Sector called ‘Catharsis’ coming out soon on one of my favourite labels, Subway. I’ve got lots of new tracks in the works, but no release plans for them as yet.
SAE Institute Byron Bay is hosting an information evening, Wednesday April 4. byronbay.sae.edu
Reading a bio that includes both the terms ‘model’ and ‘DJ’ can be enough to have your eyes glazing over. The fad of those better looking than you and I – both male and female – getting behind the decks and spinning tunes is a long and not altogether successful one.
But those keeping a close watch on Australia’s busy club scene will know that you underestimate Sarah Robertson at your peril. A model she may have once been, but her biography features other words and phrases that tend to poke you in the eye. Take ‘classical music training’, for example.
“Yeah, I played the violin for maybe 14 years; I started when I was 5 years old,” says a breezy Robertson down the phone line from her Gold Coast home. “I added it up at one stage, and other than school there’s maybe an extra 10 to 15 hours a week of music, whether it be music trio, quartet, or orchestras. I would have been in Brisbane at the Old Museum with the Queensland Youth Orchestra every Saturday for maybe 8 or 9 years. It was pretty crazy. Music ruled my life through my schooling years and my classical music background is one of the fundamentals of my life.”
Robertson still has the violin, an antique German model, stowed in the back of her car. “Yeah!” she admits, laughing. “It’s this German antique violin where the humidity has to be measured all the time – and it’s in the back of my car. But I could never give it away.”
It was this love of music that got Robertson behind the turntables, rather than a cheap offer from a club operator. Indeed, the modelling was only ever a diversion: something to work on the side as Robertson hustled her way through university. “I haven’t done a pure modelling shoot for two years now. And I don’t want to be seen as a model-turned-DJ – that fad that’s been coming through. It’s almost 100 percent DJing now. The modelling was just to earn income while I was studying. It went from promotions to modelling and escalated from there.”
Indeed, Robertson’s modelling credits are intimidating. She’s walked the catwalk for Versace, Calvin Klein, G-STAR, Veve Swimwear, Maneater and Fressh Clothing, and graced the pages of both FHM and Ralph Magazine. An undercurrent of cynicism from club goers might be understandable, then, but Robertson says that these days she encounters few doubters.
“It was a problem for me a while ago, but now that I’ve been around for a little bit, people are starting to know what I’m capable of. I feel I’ve earned my credibility in the industry.”
In a little over two years Robertson’s progression has been breathtaking. She’s held down residencies at the Playboy Club in China and exclusive Hong Kong hot spot, Republik, guested at the Hed Kandi Pool Party in Macau alongside Stuart Ojelay, and toured throughout the Asia-Pacific region with the Stafford Brothers and Timmy Trumpet. Perhaps most impressively, Robertson recently spun a set of banging electro house for a Grammys Post Party at the Playboy Mansion in Los Angeles.
“That was surreal. I was a bit star-struck, to be honest. I had to walk the red carpet and this gig that I played: halfway through my set the other DJ would come up to me and say, ‘Pamela Anderson’s just arrived,’ and I’d be just like, ‘Wow!’ Then for Paris Hilton, Afrojack, Chris Brown and Busta Rhymes to arrive halfway through my set was pretty surreal. That would be the word for it: surreal.”
As if to drive home her credibility, Robertson was a finalist in last year’s She Can DJ competition, an A&R project from EMI Australasia that was launched as part of a new dance strategy for the region. “Definitely,” Robertson says. “Involvement in music that I like to play and She Can DJ – that was very important to me. Just to be able to share the stage with such talented DJs who have been around for so long. Amber Savage: I think I used to pay however much to go to raves when I was 16 and watch her DJ. But credibility in the industry is much more to me than any image or any paycheque.”
Most importantly, Robertson’s realised in the last year that she can make a career out of playing what she wants to play, rather than what the commercial industry would like to hear. It’s given her the impetus to tackle what was always her ultimate goal: production.
“That’s been fantastic. I’ve been working with a friend of mine – Paul DeLuxe – he’s such an amazing DJ and producer. I’m in awe of him. So we’ve been working together: we both have the same sound that we like and we’re probably halfway through a track. But because I was in India for the last couple of weeks, I’ve been itching to get back and get in the studio with him again. So I’m back in the studio tomorrow with him producing an underground house track that I think will open some people’s eyes to what I’m really about.
“It helps having that background in music, and also the experience I gained through the She Can DJ finals week – just being in the studio with the guys at EMI. Now, I’ve been quite surprised in myself and not at all disappointed with the results we’re getting out of the process as well.”
Robertson’s also been itching to get back to Brisbane for Blaque Friday, Electric Playground’s launch party for brand new event, Girls4Girls. A night for women, hosted by women, Robertson will be joined at the party by New Zealand’s Disko Diva, as well as local talent Dollypop and JaneDoe.
“It’s just going to be my sounds: whatever you hear in my set represents me and my personality and what I like,” Robertson explains. “People seem to really like to share that with me. It’s going to be a great night; I’m playing a longer set than usual. But that’s fine: my sets can be quite versatile. I’ll slip the crowd into it and then maybe push the tempo up quite a bit towards the end into what I want to be banging out on a regular basis.
“I’m looking forward to it because I’m from Brisbane. I grew up in Brisbane. I’m looking forward to getting back and playing somewhere where I used to party and used to look up to the DJs. I don’t want to be famous, I just want to make the music and the sounds that I like and then share it with people.”
SARAH ROBERTSON PLAYS BLAQUE FRIDAY AT ELECTRIC PLAYGROUND FRIDAY, APRIL 13. HER LATEST MIX CD IS INCLUDED ON ‘PUMP IT: VOLUME 5’, RELEASED APRIL 5.
But those keeping a close watch on Australia’s busy club scene will know that you underestimate Sarah Robertson at your peril. A model she may have once been, but her biography features other words and phrases that tend to poke you in the eye. Take ‘classical music training’, for example.
“Yeah, I played the violin for maybe 14 years; I started when I was 5 years old,” says a breezy Robertson down the phone line from her Gold Coast home. “I added it up at one stage, and other than school there’s maybe an extra 10 to 15 hours a week of music, whether it be music trio, quartet, or orchestras. I would have been in Brisbane at the Old Museum with the Queensland Youth Orchestra every Saturday for maybe 8 or 9 years. It was pretty crazy. Music ruled my life through my schooling years and my classical music background is one of the fundamentals of my life.”
Robertson still has the violin, an antique German model, stowed in the back of her car. “Yeah!” she admits, laughing. “It’s this German antique violin where the humidity has to be measured all the time – and it’s in the back of my car. But I could never give it away.”
It was this love of music that got Robertson behind the turntables, rather than a cheap offer from a club operator. Indeed, the modelling was only ever a diversion: something to work on the side as Robertson hustled her way through university. “I haven’t done a pure modelling shoot for two years now. And I don’t want to be seen as a model-turned-DJ – that fad that’s been coming through. It’s almost 100 percent DJing now. The modelling was just to earn income while I was studying. It went from promotions to modelling and escalated from there.”
Indeed, Robertson’s modelling credits are intimidating. She’s walked the catwalk for Versace, Calvin Klein, G-STAR, Veve Swimwear, Maneater and Fressh Clothing, and graced the pages of both FHM and Ralph Magazine. An undercurrent of cynicism from club goers might be understandable, then, but Robertson says that these days she encounters few doubters.
“It was a problem for me a while ago, but now that I’ve been around for a little bit, people are starting to know what I’m capable of. I feel I’ve earned my credibility in the industry.”
In a little over two years Robertson’s progression has been breathtaking. She’s held down residencies at the Playboy Club in China and exclusive Hong Kong hot spot, Republik, guested at the Hed Kandi Pool Party in Macau alongside Stuart Ojelay, and toured throughout the Asia-Pacific region with the Stafford Brothers and Timmy Trumpet. Perhaps most impressively, Robertson recently spun a set of banging electro house for a Grammys Post Party at the Playboy Mansion in Los Angeles.
“That was surreal. I was a bit star-struck, to be honest. I had to walk the red carpet and this gig that I played: halfway through my set the other DJ would come up to me and say, ‘Pamela Anderson’s just arrived,’ and I’d be just like, ‘Wow!’ Then for Paris Hilton, Afrojack, Chris Brown and Busta Rhymes to arrive halfway through my set was pretty surreal. That would be the word for it: surreal.”
As if to drive home her credibility, Robertson was a finalist in last year’s She Can DJ competition, an A&R project from EMI Australasia that was launched as part of a new dance strategy for the region. “Definitely,” Robertson says. “Involvement in music that I like to play and She Can DJ – that was very important to me. Just to be able to share the stage with such talented DJs who have been around for so long. Amber Savage: I think I used to pay however much to go to raves when I was 16 and watch her DJ. But credibility in the industry is much more to me than any image or any paycheque.”
Most importantly, Robertson’s realised in the last year that she can make a career out of playing what she wants to play, rather than what the commercial industry would like to hear. It’s given her the impetus to tackle what was always her ultimate goal: production.
“That’s been fantastic. I’ve been working with a friend of mine – Paul DeLuxe – he’s such an amazing DJ and producer. I’m in awe of him. So we’ve been working together: we both have the same sound that we like and we’re probably halfway through a track. But because I was in India for the last couple of weeks, I’ve been itching to get back and get in the studio with him again. So I’m back in the studio tomorrow with him producing an underground house track that I think will open some people’s eyes to what I’m really about.
“It helps having that background in music, and also the experience I gained through the She Can DJ finals week – just being in the studio with the guys at EMI. Now, I’ve been quite surprised in myself and not at all disappointed with the results we’re getting out of the process as well.”
Robertson’s also been itching to get back to Brisbane for Blaque Friday, Electric Playground’s launch party for brand new event, Girls4Girls. A night for women, hosted by women, Robertson will be joined at the party by New Zealand’s Disko Diva, as well as local talent Dollypop and JaneDoe.
“It’s just going to be my sounds: whatever you hear in my set represents me and my personality and what I like,” Robertson explains. “People seem to really like to share that with me. It’s going to be a great night; I’m playing a longer set than usual. But that’s fine: my sets can be quite versatile. I’ll slip the crowd into it and then maybe push the tempo up quite a bit towards the end into what I want to be banging out on a regular basis.
“I’m looking forward to it because I’m from Brisbane. I grew up in Brisbane. I’m looking forward to getting back and playing somewhere where I used to party and used to look up to the DJs. I don’t want to be famous, I just want to make the music and the sounds that I like and then share it with people.”
SARAH ROBERTSON PLAYS BLAQUE FRIDAY AT ELECTRIC PLAYGROUND FRIDAY, APRIL 13. HER LATEST MIX CD IS INCLUDED ON ‘PUMP IT: VOLUME 5’, RELEASED APRIL 5.