Peking Duk’s set at the Forum was a superstar display of modern DJing. The act’s investment in visuals and pyrotechnics truly accented the era of the Drop. Every time a song peaked over a soul-shaking bass rhythm, the visuals matched the sublime physical stimulation. The backbone of the set was bangers and mash, so this could accurately be described as the meat and potatoes of contemporary Australian EDM.
Australiana was the night’s overriding theme, with primary support Benson arriving to the sound of fictional lawyer Dennis Denuto from The Castle telling the court that it’s about the “vibe”. Benson announced his intentions early on, with Beastie Boys’ Intergalactic fortified by the crescendo of INXS’ Need You Tonight.
After Benson left the stage there was an intense five minutes of muted anticipation. The crowd, culturally naïve due their age, twitched and fretted wondering what a Peking Duk set would be like. Suffice to say, it was fucking incredible. If you can imagine the opulent hedonism of a generation born into an economic boom trans-mutated into one hour of contemporary dance hits, then you’re halfway there.
DJs Adam Hyde and Rueben Styles are masters of the aforementioned Drop, and a standout moment was RL Grimes’ Scylla. However, as producers the pair treads the line between emotive sophistication and visceral excess (case in point: High). Similar to other electronic acts with a major hit, Peking Duk opened with an alternate version of High, and closed spectacularly with the album version, joined by a fuck load of streamers and smoke bursts.
The multiple big screens streaming synchronised 3D versions of Hyde and Rueben were mesmerising – a highlight were the macabre Day of the Dead versions of the DJs that pulsed with a deathly stare in time with the music.
Vocalist Alphamama appeared for multiple songs, but the standout guest vocalist was Ringwood rapper Ivan Ooze, who came out to perform M.O.P’s all-in chant track, Ante Up.
Peking Duk’s appeal is not rocket science. They intersperse adrenaline-charged trap songs with their own hits and other quasi-classics like the Macarena. As 40% of the 2000-strong crowd started doing the Macarena, my guts turned in a bad way – it was lame as fuck then and is lame as fuck now. But they own their mainstream appeal by making the accompanying visuals and pyrotechnics so overwhelmingly stimulating.
Loved: Sensory overload.
Hated: The disunity of the audience.
Drank: Soy sauce.
BY DAN WATT
