Through the ups and downs of the 1970s came an epic era that went down as one of the best decades in history.
Presented by the rocking SSO, the country’s leading orchestra with dynamic conductor Carlo Antonioli, the Hordern Pavilion shook to the sound of A Fifthh of Beethoven. The groove was on!
Presenter, drag royalty Kween Kong, the effervescent, luminous personality warmed up the crowd with her lively jibes and cheeky presence. Besides the full orchestra, there was a live band backing the artists that rocked the house. Paulini one of Australia’s finest vocalist/ performer won the hearts of everyone with her thrustful, throaty, five-octave range and shimmery personality.
Emma Donovan, our very own soul goddess lifted the mood with her powerful, smokey vocals. Jess Hitchcock captivated the audience with her powerful rich tones, vibrant presence and distinctive sound. Jess Dutlow, a versatile singer with a rich tone and expressive musicality tore into her songs elevating the joyous mood on the floor. This was a powerhouse queer- inclusive line-up
The groove was amplified by the backing vocalists starring Dyagula, with her soulful, mesmerising, resonating funkiness, Nik lifted the crowd with her cutting edge, melodic delivery and Alwyn De Los Santos’’ rich playful vocals enriched the pulse immensely. Adding pump and zest were Er@aser Description whose passion for synthesiser, electronics groove pulse added to the SSO’s output.
The set list leaned into the classic anthems perfectly within the orb of Mardi Gras, where the Sydney Symphony Orchestra gave disco’s biggest hits an orchestral makeover.
Disco never died, it just had a disco nap. It was grand reliving the nostalgic disco glory songs while grooving on Sydney ‘s biggest dance floor, capturing the unshakeable joy of disco. it was all here for the lively groovers, grannies and trannies, with some onlookers looking like they were trapped in a Twilight Zone episode, all to the upbeat rhythms, funky bass-lines and infectious melodies.
Nostalgia is sweet memories replete with the classic torch-songs while embracing the flamboyant clobber of the era. It was all here…the lively ambience, colourful lighting reflecting off the gigantic disco ball and the irresistible urge to dance. It was a full-blown immersive experience, throwback to the glorious era when music was infectious, fashion was fearless and the dance floor was the place to be.
It seemed a sensory overload of good vibes, flashy outfits and busting dance moves. Disco fever was accented by the fabulous diva, Kween Kong, whose wardrobe of sizzling outfits and dance- moves, egged-on the crowd while exuding glitz and glamour, a true super star.
The dance floor heaved with a community channelling their disco alter egos. Fashion didn’t take a backstep, with sequin dresses, metallic jumpsuits, shimmering pants, glittering mini skirts complementing halter-neck tops and plenty of off-the -shoulder, too. Ah, nostalgia… chunky belts, serious bling, bangles and chunky rings. The guys weren’t shy in stepping out. Bold groovy prints, paisley and plenty of silk with deep v-necks.
The concert began with
A FIFTH OF BEETHOVEN engendered a massive hooting and howling response from the crowd ready for fun.
DANCING QUEEN became the popular LGBTQ anthem because it’s a catchy dance tune where identity and the deep message about enjoying the fun of youth before life becomes too late to enjoy. Released by ABBA in 1976. Simply brilliant, the rhythm pairing magically with the lyrics.
YOU SHOULD BE DANCING is a classic dance beat by the Bee Gees making their debut into disco. Its a strong up-tempo and infectiously catchy.
LE FREAK was great ’78 disco song by the band Chica, that was characterised by its funky disco beat. Solidly brassy with airy vocals. It was made for hand clapping.
I LOVE THE NIGHT LIFE was popularised by Alicia Bridges in 1978, a true disco classic that gained renewed interest in 1994, when it featured in the film The Adventures of Pricilla, Queen of the Desert, closely linked with gay culture, its one of disco’s cheesiest, yet charming hit. Who could forget her ” Ack- Shunn?” Interestingly, Bridges, a white singer from North Carolina detested disco and this song is her remaining testament to singer fame.
Touch Me In the Morning, recorded by Diana Ross for the Motown label, it’s lyrics cherishing the last moments of a relationship that’s ending. Its a cry for needing a connection before a new day begins, the idea being that instead of dragging it out, she asks him to leave so the memory will stay intact.
Hot Stuff is Donna Summer’s disco anthem with a funky, demonic groove. She could sing in any genre, having it all, the looks, the style, and that voice.
Crying at the Discotheque, a song by the Swedish band Alcazar in 2000, extols finding joy, freedom and belonging on the dance floor even while experiencing personal heartache. Its kind of bitter-sweet mix of celebration and emotions within the nightclub ‘s bright lights.
I’m Every Woman sang by Chaka Khan in ’78, was her first hit outside of recording with funk band Rufus. The lyrics remind women that they possess inner power to be anything they choose. Its a life anthem, embracing every aspect of who we are–daughter, sister, mother, friend, wife, dreamer, warrior–whatever that is.
After interval, the concert began with a Boney M Medley.
Lady Marmalade scorched the dancefloors around the world with verve and beat
Boogie Wonderland had a disco hi-hat on it. Its bolstered by the blistering horns that became Earth wind and Fire’s trademark and remains a classic of the period. Soul and disco fans love the pulsating, commercial vibes that make it a stand-up pop dance track, written by songwriter Allee Willis and bassist Verdine White.
All Night Long by Lionel Richie had the velvet smokey tones that only his lungs produced. His top of the pops anthems still resonate.
It’s Raining Men rose to the top of the charts with its universality and wishful thinking. It celebrates like no other on the dance floor and in the hearts of disco lovers.
That’s The Way I Like it revved up the crowd with everyone vocalising the lyrics drowning out the support singers
This was a celebration to savour. Tributes to the SSO and singers for making this evening a blast. After all, it was the ’70s, man!
Production photography by Cassandra Hannigan
