- Since the first edition in 2013, Melbourne's Let Them Eat Cake has steadily moved from strength to strength. The New Year's Day event is a perfectly mixed cocktail: a genre-sprawling lineup, tasty food and drink options, hidden art installations and a picturesque setting. This year, the festival also enjoyed its highest attendance yet, though you wouldn't have guessed it—the bar queues were always fast-moving, and there was ample space to lie down in the shade of the gigantic teepees.
As punters entered the sun-filled grounds of Werribee Park, a selection of local talents warmed up proceedings, among them Louis McCoy, Fantastic Man, Harvey Sutherland, LUCIANBLOMKAMP and Silent Jay. Early sounds ranged from steady house and light disco to jazzy soul. The crowd, as usual, were a colourful bunch. Late in the afternoon at the Swamp Shack stage, Guynamukat's "Enjoy Your Life" provided the soundtrack for jugglers and hula-hoopers.
A cast of international acts began shortly after. At The Guillotine, Motor City Drum Ensemble marked his return to Melbourne after four years away (to the exact day) with a finely crafted three-hour set of house and disco. A rinse of Sadar Bahar's "Soul Searching" sent those from surrounding areas rushing to the stage, while his serving of Loose Joints' "Is It All Over My Face" caused a punter with a broken leg to almost attempt to get up from his wheelchair.
At the Palace Of Versailles, Seven Davis Jr. kicked off a frenzy with a rinse of Deee-Lite's "Groove Is In The Heart." On The Bastille stage, which was hosted in collaboration with RA, Four Tet concocted a mix of experimental rarities and many of his own tracks, including "Love Cry" and his collaboration with Martyn, "Glassbeadgames (8 Hours At Fabric Dub)."
Francis Inferno Orchestra delivered a commanding set of house and disco, proving why he's become one of Melbourne's biggest recent exports. As the sun began to set at The Bastille, Âme's Kristian Beyer served up a signature blend of floaty house and techno. Back at the Palace Of Versailles, Detroit hip-hop outfit Slum Village proved a highlight with their fast-paced lyrical dexterity and J Dilla baseball caps. Tucked away behind them onstage, Travis Stewart, AKA Machinedrum, looked on in awe, filming clips on his phone.
After a final roam around the parklands, which included cutting a rug to Debbie Jacobs' "Don't You Want My Love" as it boomed from the rooftop of a truck next to the park's scenic lake, revellers parted ways for the evening's headliners. Daniel Avery, backdropped by hypnotic projections against an Italianate mansion, closed the main stage. Jon Hopkins's live performance was as strong as ever, illustrated by the crowd's overwhelming reaction to "Open Eye Signal."
There's no single reason for Let Them Eat Cake's snowballing success. After four years spent homing in on the slightest imperfections, and expanding on the multi-sensory experience, the organisers have created something very close to the perfect party. It thoroughly deserves the local and international acclaim it's achieved. There is, quite simply, no better underground electronic festival in Australia.
Photo credit: Duncographic. (Lead, MCDE, building at night), Unknown photographer (Ben UFO fans)