Co-Written by PaxCat

Young Resonance Festival, whose sponsors, artists, and attendees were mostly based on Vancouver Island or straight out of downtown Victoria BC, exhibited fresh (like organic produce fresh) attitudes of house, techno, drum and bass, and a pinch of disco. The festival however, did not lack well done (like properly seasoned steak) fun vibes and mature character or ethos.

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Continuing Directly from Part 1:

As we exited our tent–a small mobile church called The Vortex–on the evening of the first night, we were prepared to experience the weekend. The surroundings, previously (seemingly) normal, were somehow transformed. This dynamism continued throughout the weekend; we repeated this Vortex ‘ceremony’ on every night and every time we set out for the festivities we experienced change: more lights added to the seemingly electricity-less forest, more tents, different people, and new vibes.

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Our earlier concerns over the scheduled pace of the festival had by this time abated, and we were now hearing some full force bass weight which shimmered through the trees, much like the sunlight of the earlier afternoon. It was dark now, and the heads where out.

This is when the weekend slipped into infinity and the experience loses all possibility of adequate description. Sometime between the first Vortex ceremony and the end of the first night, we arrived at some conclusions about the situation. First, we three (Kevin, PaxCat, and myself) agreed that the front right side of the ‘Main Stage’ would be referred to as ‘The Spot’ and it is there that we would collide occasionally like water molecules excited by vibration, resonating.

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As for the music, no complaints exist for the entire weekend. Because of the initial delays on the Friday night, some artists had to be dropped. The tunes themselves were primarily Deep House and New/Disco with the occasional Drum and Bass and Hip-Hop set.

On the first night there was a core crowd of people dancing for the majority of the sets. Keep in mind that for the Friday and Saturday the show ran essentially until sunrise. Saturday saw an increase in intensity in the evening sets and an increase in crowd size. We heard from the organizers that they did sell about 400 tickets, the amount that the land could comfortably hold, but the fact that not everyone arrived at the same time or stayed for the duration of the festival was really felt in the absence of crowd for each stage at some points during the nights. As artist Taal Mala explains:

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The heaviest Drum and Bass was performed on Saturday, accompanied by some of the hardest dancing. But, like the final stages of Friday night, Saturday saw only a core crowd of followers remain in the early morning; the heads will always be out.

Sunday night we saw a re-emergence to the Friday night scene since many Resonators left early in order to attain enough rest for their Monday work. The core stayed quite strong as the music played until nearly 3 a.m.–3 hours over the scheduled time, making up for the delays on Friday; the heads were rewarded for their faith.

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As of yet we have not spoken of any of the artists’ sets specifically. It is safe to say that everyone who participated in the weekend gave their best. Not once did we find ourselves in a situation where the music was not working (especially since the two night stages often had divergent styles).

Finally we wish to speak about the daytime on Saturday and Sunday. The beach stage, which allowed Resonators to lounge in a river during the summer rays, was always a nice treat. The music was less intense which allowed for some excellent relaxed dancing in the afternoon sun. The festival was so intimate that if you found yourself at the beach during the day, most likely you would find all your friends, old and new, as well.

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Conclusion:

Our experience at Resonance, whether on a dance floor, hosting a candid riverside chat, exploring camp neighbourhoods, shaking hands with creative people or crossfading between stages, left the impression that the festival was a ‘by artists for artists’ ensemble. Not to sound deep or exclusive, but it’s definitely the vibe I got from the people I talked to, the majority of whom consistently partake and contribute in one way or another to the local and global dance music scene.

However, it is not realistic to describe this event with any accuracy which would somehow impart on you, the reader, the full intensity of the experience. And, perhaps we are biased since this was the sort of place we were interested in experiencing. Thus, aside from explaining how personally powerful and profound this experience was, we cannot “evaluate” this festival for you. All we can really say is, if you like Electronic Music, get yourself to Resonance 2014. Perhaps the potency of this experience came from within, as in we were responsible for creating the positive effects, but the festival organizers and fellow Resonators had equally as important of a part.

We finish off with final anecdotes from S. A. Bjørn and PaxCat (respectively):

At the very end of Sunday night, when most everyone was asleep, I ran into one of the festival’s organizers, James (a.k.a. J-Feud), and when I explained my elation, finishing with the comment “I don’t know how much of this you planned, but it all worked out.” To this, he responded “We planned the whole thing.”

I ran into DJ, producer, promoter and local hero James J-Feud from DEEPEND promotions and John from Whitebird events – the group responsible for the legendary and now nostalgia-evoking Soundwave festival. These dudes were working hard. I remember, as I dream-stepped through the canopy of lazers, I saw John and James looking happily concerned with everyone’s wellbeing; walky-talkying to the first aid station, tuning into security efforts and keeping in touch with the stage managers. Such a nice vibe!

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Big ups to:
All health and safety people, for keeping the Festival safe.
All the organizers, for creating a special place.
All the Resonators, for giving their all.