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To send off the summer season like only they know how, Perth’s most reputable boutique beach festival returned to the luscious white sands and crystal clear waters of Port Beach last Saturday. Yes, that’s right. You read correctly – Sets on the Beach occurred on a Saturday. An excellent move by the event organisers, who before now had only lacked in this department. With the opportunity for a post-boogie rest-day, Sets on the Beach now ticks every box. Great, beachy tunes. Tick. Silent Disco in the sand. Tick. Sun lounges, deck chairs, inflatables. Tick. Tick. Tick. From cocktail bars to podiums, there’s a view, beverage, and activity suited to everyone’s needs at this groovy, brilliantly low-key festival.

Those living North of Perth’s Swan River, the river which fiercely divides the city in two, continue to mourn the loss of these festivities within their territory. North-siders will tell you the following, “Oh nah, I haven’t been to Sets since it moved from Scarborough. I’m waiting for them to go back there”. Those who were legally allowed to drink more than three years ago will remember that Sets’ original abode was Scarborough Amphitheatre before construction began in that area and threw a curve ball at the organisers. The move was originally disappointing to fans and most expected an eventual return. As proud North, as you might be though, there is no denying that this festival belongs at the world-class location that is Port Beach. Running parallel with the ocean, sand met by an elongated patch of grass, with Fremantle sea containers in the visible distance, the atmosphere of this event is like no other, matched always with artists as remarkable as the setup.

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Asian-American electronic music producer, Giraffage, turned young festival wanderers into a collective group of music lovers. His limit-pushing performance saw crowds of people forming towards the main stage. A highlight of his performance was the subtle remixing of the commonly known and identifiable iPhone ringtone. A sound that isn’t particularly entertaining or even well-liked was transformed into a soothing, very beachy kind of rhythm perfect for bopping to. Giraffage stepped out of the box like this on multiple occasions and had an interesting compilation of sounds to accompany his set. It should also be noted that he didn’t acknowledge the audience. He was very focused on the task at hand and let his music do the hyping, especially considering he was an early slot of the day. This is not to suggest that Giraffage lacked engagement, as he connected with punters on a non-verbal level and was clearly happy to be there.

Home-grown three-piece Crooked Colours took the stage as the sun set over the gorgeous Fremantle horizon. Light sprinkling began in time for the trio’s arrival making things that little bit magical. Of the entire event, this act was clearly the most anticipated. Festival-goers really grouped together for this one, hopping on shoulders and singing along to the lyrics religiously. Each band member brought a vibe to the set that helped fit the Crooked Colours sound in with the theme of the day. A stripped-back, more chilled vibe overtook their regular dance/party style of performance. Although Crooked Colours morphed to the Sets on the Beach culture, the group’s addition to the bill remained a great mix-up the regular housey tunes on offer. The fact that the band addressed their hometown of Mandurah, only an hour south of Perth, threw fans into a frenzy (as these type of shout-outs often do) and may have contributed to the high energy levels on display. Another note to make is that Crooked Colours manage to make even the biggest of shows intimate. Seeing them perform on a club stage compared to a large-scale festival stage like this one shows very limited contrasts in connectedness.

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Set Mo came next and made for another very fitting choice. As he is known to do, Set Mo brought the crowd upbeat and uplifting tunes to elevate the daylight shenanigans to a full blow night time dance-fest. For the first time of the day, most attendees were front and centre, creating a thick mosh. White Dress, the track to solidify Set Mo’s career, was a highlight not only of the artist’s set but also the night as a whole, seeing people bopping at a new level for it. Set Mo did an excellent job of dragging the party out of the crowd and setting them up for something a little bit heavier with Just A Gent.

Just A Gent brought to the night the hard-hitting, electronic x dubstep x dirty bass. Fans reached an ultimate peak with this set, pulling out moves that are only generally acceptable for the night time (and after an entire day of drinking). Highlights of this performance included Just A Gent’s take on Triple J’s number one track of 2017, Kendrick Lamar’s Humble. A song that you can already do so much with can apparently even be used to create a massive dub drop. Heavy As A Heartbreak also makes the cut, being the artist’s most well-known track. Just A Gent could have easily closed the festival with his action-packed performance.

Riva Starr was a nice way to ease out of the festival. Playing predominantly house and techno, bordering on trance even, the artist mellowed everyone out after a crazy day of being continuously pumped up for the next thing. A bit of a sweet release.

Sets on the Beach has, yet again, managed to adapt to the interests of today’s youth. The festival is relentless in staying relevant, and I look forward to seeing how those behind it continue to thrive through the curve balls.

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