Creamfields 2005

United Kingdom | | 27 August 2005

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The seismic sound-waves emanating from the Cream & Goodgreef tent draw us in like iron filings to a magnet, the task of warming up the ever-increasing crowd on this stage appointed to Cream Ibiza resident Gareth Wyn, who hits the expectant clubbers with a raging torrent of trance. With an upbeat, driving set delivered at the speed of a hurricane jet, and an unsurpassable ability to read and interact with the crowd, Wyn serves up an appropriate starter for what promises to be quite a main course of Jude Jules and Fergie at Cream and Goodgreef.
 
With those aforementioned dark clouds now all but dispersed, and the mood around the site as warm as the sunny weather, we make our way to our next destination - Audio Bullys on the Main Stage. Many have pointed out the fact that the Audio Bullys appear to be trying to ride the wave made by The Streets, but from the set they play, it's obvious their roots lie at the more artistic end of punk (think 80s Clash, The Specials etc). The heart of their sound is in the trademark tough beats and neat sample work and their threatening, Shaun Rider-esq vocals are well delivered, but the duo seem to lack that essential poetic element necessary to really distance them from the pack.

The majority of those in attendance seem to be there soley to hear the Bullys' take on the Nancy Sinatra classic, 'Shot Me Down,' and sure enough, their big hit comes at the end after tricking us all in to thinking they've left the stage (those at Homelands will know the joke's wearing a bit thin). Cheap party trick it may be, but few were complaining when they come bounding back into action.
 
Meanwhile at the Subliminal tent, Darren Emerson has been hitting home his own mixture of funky disco and deep house for half an hour before we arrive there. It's all he needs to entice his audience, who move as one in a euphoric wave. Emerson's set is rich in variation, one minute veering towards sleazy funk, the next moving into lighter and more progressive territory. Evidently, intoxication now reigns supreme over inhibition for the masses, so surely fervour is destined to hit critical mass by the evening.
 
As the sun sinks beyond the horizon, we make our way through the throng of elated clubbers towards the Full Circle tent. It's pleasing to see such feelings of interconnection between fellow festival goers; even the hooded 'scallies' bestow us with a friendly "alright, mate" as they pass us by.
 
A tangible feeling of ecstasy resonates throughout Full Circle, as The Scratch Perverts cauldron of classic hip-hop, rock, bugged out breaks and frantic drum n bass hit the boil. Several things are immediately apparent from the Perverts set - firstly that, between them, they have the most diverse record collection imaginable, blasting off remixes of everything from the Beastie Boys to The White Stripes; secondly, that they are one of the most proficient acts around when it comes to turn-table and production skills; and finally, that they have an incredible knack for alluring clubbers and making them move and sweat like nobody else can.
 
Ruefully tearing ourselves away from The Scratch Perverts a touch prematurely, we make our way back to the Main Stage for what is likely be the highlight of the festival: Faithless. This is surely the moment the masses have been waiting for, as Maxi Jazz and co take to the stage and begin to fire off cutting edge grooves and colourful house anthems.