Contact Festival 2017 Ryan's Top 6
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By Ryan Hayes
Contact 2017 was a festival interwoven with surprises, and upsets. I attempted to go to the event with an open mind, nonetheless I couldn't help head in to day one with a curated list of my favourite acts already picked out. By the end of day two however the majority of my preconceptions were proven false. Originally anticipating a day one blowout, four of my top six acts played during day two and the biggest letdown of Contact was formally a front runner for the festivals number one slot.
1. Cash Cash
Going in to Cash Cash I literally had no expectations—their set time was initially my planned food break. I knew I would recognize a handful of their tracks, but there wasn't a chance I could identify a single one by name. Despite my obvious disinterest I walked away a huge fan. Their set was energetic, accessible, fun, and packed full of catchy original productions. The duo never fell pray to the generic festival trope of dropping popular banger X right after announcing they were about to take the festival up a notch. Instead Cash Cash stuck to their arsenal of anthems (which I now know) including “Matches,” “Take Me Home,” and “All My Love.” Transition tracks were fun, light-hearted throwbacks the likes of Nelly's “Must Be The Money,” and Eiffel 65's “Blue.” I didn't leave to get food, and smiled the whole way through.
2. Rezz
Initially I was worried that Rezz would fall victim to the mountains of hype surrounding her rise; fortunately for all in attendance her set did not disappoint. Often her sound seems to be polarizing, with audiences either clambering for more or missing the party entirely. Luckily for Contact, Vancouver gets it. From the opening seconds “Relax” Mass Manipulation introduction edit I was transfixed. Slow, grinding, and oddly melodic—her hour on stage melted away in a mesmerizing daze. Selections from 2016's Somethings Wrong Here, and The Silence Is Deafening EP's including “Purple Gusher,” “Selector,” and “Edge” were standouts. But, it was “Diluted Brains” that really floored BC Place drowning a packed house under torrents of thick relentless bass. Rezz was at home on the big stage, and she surely left Contact with new fans. The Cult of Rezz is strong in BC.
3. Destructo
A coherent, well built set consisting predominantly of originals goes a long way. Much like Rezz, Destructo's set was a trip through a very specific soundscape, and the artistry that takes is always appreciated. With strong west coast G-House vibes Destructo took Contact through his aggressively laid back bass filled productions. From “Dare You 2 Move,” to “Catching Plays,” and “4 Real,” Destructo cruised through his set, spanning the breadth of his discography. Finishing with “Loaded,” his new single featuring Yo Gotti, Destructo left the stage easily elevating day two of Contact to an early high day one never attained.
4. Tchami
Having just come off a back to back tour with Malaa, Vancouver was treated to a very special set by Tchami. Not worrying about pandering to main stage pressures Tchami took his time and warmed up Vancouver with about thirty minutes of proper club music, keeping his heavy hitters for the second half of his set. Initially dropping tracks in line with “The Sermon,” Tchami worked his way towards a higher tempo, transitioning to,”Prophecy,” and “Summer 99,” vibes before delving into monster hits like “Promessess,” and “After Life.” His timing and progression were impeccable, solidifying day two of Contact as a platform for real dance music artists. Finishing with an extended cut of “Adieu” cleansed the audiences palate and was a perfect send off for his set.
5. Ekali/Alan Walker
There is one simple reason for the tie between Ekali and Alan Walker; of the entire festival these two sets felt most at home following one another. Ekali set the tone for Contact, filling the stadium early and eliciting a great reaction from the crowd, with his slow tempo, driving as it built a narrative. Alan Walker then took to the stage to knock down what Ekali had set up for him. Offering up a proper main stage set with loads of sing-along worthy originals. This was probably the most consistent two hours of both days of Contact.
6. Carnage
Let me start by prefacing Carnage spent most of his time on stage simply pumping his fists in the air and screaming nonsense into the microphone. His transitions were often awful, and sections of the set were borderline indistinguishable noise. That being said, I can't stop thinking about his set. He worked the crowd into a frenzy the likes of which I have never seen. From start to finish the entire stadium collectively lost their mind. After announcing that he was there to deliver “some loud ass obnoxious music,” that was exactly what he did. At times his set was nearly paint by numbers, but at other times it was genuinely surprising. It was jarring, abrasive, and arrogant—but that's what made it good? The crowd’s energy was infectious, and if you suspend all sense of musical taste, the set was loads of fun. Carnage left the stage with one final proclamation, “Contact 2017 RIP, I just murdered your ass.” I honestly don't know what to say...but I think he did?
Honourable Mention: Armin
Armin showcased the harder side of trance for his Contact audience, maybe because he was following up Carnage, or simply because he wanted to do something different. Either way, melodic trance is more my speed meaning this particular Armin set did not really sit well with me. Running through tracks like “If It Ain't Dutch,” and “You Are,” Armin dialed up the energy and hammered Contact. While it may have not been my style I recognize the artistry of a set expertly woven together. As always, Armin knows how to take on a main stage.
Biggest Disappointment: Marshmello
Because of the endless hype, my expectations for Marshmello were high, and sadly his set fell victim to over inflated promise. Keeping my disappointment in check, Marshmello did deliver about forty five minutes of music that plastered a smile on my face. He played his originals and that's what people wanted to hear. Outside of his trademark sound there was a lot that could have been trimmed from his set. It was evident that he was attempting to hype the audience up with a banger or two, but it was generic. It wasn't woven together particularly well, and it didn't fit the happy-mello persona I had come to know and love. Ultimately, for me, Marshmello fell short and left me wondering if his set was more suited for a one hour time slot.
Ryan Hayes is a Vancouver based writer who has contributed to many EDM publications over the past few years. You can follow him on Twitter: @VanCityDanceNrd.
