Feature Opinion

20 Best Sets From Rocking The Daisies 2016, Part 2

It was with great difficulty that we broke down the most noteworthy sets at this year’s Superbalist in Rocking the Daisies. Check out our second batch of artists and relive the highlights all over.

Moonchild Sanelly

Moonchild Sanelly’s performance is a powerhouse combination of dancing, rapping, short high-pitched squeals, and a clear devotion to the rhythm and motion her music accomplishes. Hits like ‘Rabubi’ and ‘Kiss And Pop’ are played whilst Sanelly sensually moves across the stage. There’s no end to her fiery energy, multiplying itself as she jumps down into the crowd at the end of her set to dance with the audience below. They happily oblige and immediately a circle of club grinding fills the space beneath the platform. The final chorus of ‘Cut The Cake’ serves as Sanelly’s farewell, greeting the audience as she encourages them to sing along with her one last time before darting off stage in spirited fashion. Sanelly proves her worth throughout the duration of her set as a talented artist and star alone of a remarkable spectacle she indisputably creates. – Marike Watson

Foster The People

Although it appeared that a significant part of their audience was only there for one particularly successful albeit relatively undramatic and simple song, Mark Foster and company yielded one hell of a whimsical, spirited and hallucinatory performance. Wholly drenched in white, the band performed a more-than-sufficient array from their 2-album repertoire, including early hits ‘Pumped Up Kicks’, ‘Call It What You Want’, ‘Don’t Stop’, although the outfit concentrated more on recent material from 2014’s “Supermodel”. The band also solemnly acknowledged last year’s departure of founding member Cubbie Fink, perhaps the reasoning behind Daisies being their first show in over 8 months. As well as the debut of two new, relatively edgy and disorderly tracks, Foster The People surrendered effortlessly to their performance theatrics and reciprocated energy of audience, despite the surprising but refreshing lack of the notorious headliner encore. – Timothy Kohler

Youngsta

Cape Town-based rapper Younsta braced the Two’s Up hip-hop stage during his evening slot in an incredibly commanding manner by taking hold of the audience in a concentrated firm grip. The assembled crowd bounces around vigorously, hands held up high as heads and feet move alongside each track’s ensuing rhythm. “Salutas” is chanted back passionately as Youngsta’s clever rhyming evolves between verses. A few minutes are dedicated to freestyle delivery midway through the set, Youngsta showcasing his skills by drawing content from what he sees out in the crowd alone. It’s an engaging and interactive performance, both striking and bold, and unquestionably deserving of the highest salute. – Marike Watson

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Hugh Masekela

It was incredibly satisfying to see Bra Hugh attract and effortlessly captivate a minimal amount of people the songsmith deserves. Provoking a jubilant, vibrant crowd with his rejoicing, legendary Afro-kwela jazz with a flawless backline, it’s no wonder Masekela, with the additional aid of comedic gestures and tongue-in-cheek dance moves, attracted and enthralled the ever-growing crowd before him, all in one suave coat. What’s more important to note, however, is why Masekela’s performance is quintessential to South Africa’s narrative. Sure, our parents’ generation benefitted from his persistent advocating of equality through music during apartheid, but far more so the youth of today. This man deserves more than what’s fathomable, and living the results of his effective efforts of spreading the word of African heritage restoration makes seeing his performance to Daisies’ predominant demographic that much sweeter. – Timothy Kohler

Beat Sampras

As the glistening sun, uninhibited by any clouds, gleamed over a full audience experimental duo Beat Sampras eased listeners whilst dusk approached with a slow and soulful soundtrack. The group claim that feeling alone forms the most significant and central aspect of their sound, a feature undoubtedly present as their set basked in Friday afternoon’s setting sun. The outfit’s keen amalgamated blend of trap, jazz, hip-hop and smooth guitar lines resonated throughout the crowd, bodies swaying as ears listened intently to each phrase so effortlessly delivered. In their mere hour-length set Beat Sampras captivated the surrounding crowd at the Two’s Up stage, casting a lasting impression upon the individuals gathered in a seamless collection of easy dreamlike beats and rhythm. – Marike Watson

Opposite The Other

For one of Cape Town’s best emerging alt-pop outfits, there appeared no signs of struggle during this set. Opposite The Other’s devout crowd is a crystal-clear result of an abundance of persistent hard work, not to mention the individual talents and distinct facets that the four-piece yields. Frontman Sam Burger’s effortlessly-controlled, captivating, Amber Run-esque vocal tone amidst Robbie Spooner’s incredibly-intricate, carefully-constructed drum lines and Dan Burger and Matthew Budden’s knack for exemplary standards made for one explosive and exceptionally impressive performance. Finally, this was an appropriate stage for the band’s ambitious, spherical and prodigious sound and persona. – Timothy Kohler

Jimmy Nevis

Cape Town’s Jimmy Nevis featured as the main stage’s first artist during nightfall Friday evening, undertaking his Daisies debut donned in war paint and an ear-to-ear grin. A cluster of bodies fronting the stage quickly grows as Nevis and his accompanying band triumphantly progress from each track to the next, infusing the air with a sweetly delivered home-grown sound. Sam Burger (vocalist from Opposite The Other) joins the group on stage to perform ‘Control-Alt-Delete’ to the crowd’s delight, who eagerly and loudly singing along to the chorus. Nevis motivates the audience to dance, sincerely singing each song with emotion and energy as he moves about the stage despite the sudden drop in temperature. It’s a memorably vibrant set, ‘7764’ serving as one of the final tracks to mark Nevis’ inaugural Daisies slot as a truly phenomenal performance. – Marike Watson

Jimmy Nevis performs at Rocking the Daisies Festival Main Stage in Cape Town, South Africa, on October 7, 2016

Kidnap Kid

While Crazy White Boy was ripping up the Electronic Dome and the general festival revelry was reaching a fever pitch, a tasty and discerning crowd had gathered in the barn for Kidnap Kid. His set possessed an enticing rhythm that kept the ebb and flow of the dancefloor in sync for the length of his performance. He found the perfect balance between his signature melodic intricately ambient sound and elements of African dance music that has infiltrated the UK bass scene. The mood of the dancefloor was captured superbly and translated into a well-constructed precursor to Mash.O and DJ Lag. – Angela Weickl

Hezron Chetty

The moderately-gathered crowd beneath the tent at the start of the set steadily grows in numbers as Chetty’s global mesh of sound draws listeners walking past inside. The use of a looping device allows Chetty to build sonic layers with his violin as each track unfolds, which develops an intricate and impressive brand of harmonious collision. The melodies transition from gypsy-inspired to African-infused styles, offering a myriad taste of musical flavours all rich and rhythmic in their execution. Individuals begin excitedly dancing below the platform near the end of the set, whilst others remain seated or standing idly as heads nod alongside each flowing rhythm. The performance thus successfully serves as a clear testament to the mastered formation of Chetty’s personal craft throughout the years in the industry as an assuredly exceptional and innovative violinist. – Marike Watson

Mango Groove

After releasing their first new material in seven years just a few days before their headlining set, Mango Groove came to slay. And as the entire band took their place, building the first song to boiling point as we waited for SA music royalty Claire Johnston, I identified more than a few young, sceptical faces in the crowd. But when you peel back the pops of brass, traditional dancing and spectacle of it all, there was a particularly poignant vocal instant during ‘Moments Away’ where Johnston held a note for a good minute or two to shrieks of delight as sceptical faces morphed into enlightened ones. – Tecla Ciolfi

Check out Part 1 of the 20 Best Sets from Rocking The Daisies here.

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