Goodgod Danceteria! &
Goodgod Super Club
Andy Webb, Resident Advisor:
“I've had a bunch of fantastic nights at Studio parties during Vivid LIVE but my favourite would have to be DJ Harvey's all-night set for Goodgod Super Club last year. I've seen Harv play a number of times in all different settings and situations, and he's always fantastic, but this night took the cake. He's a DJ who does have a real rockstar aura about him, and the bold room production, 360-degree enveloping sound and central DJ booth with everybody flocking around him really made for a perfect scenario for him to step up and deliver five-plus hours of powerful, flexing, emotional disco. Turning on the house lights at the end of the night, then plunging the floor back into darkness, then bringing them up again while people lost their minds—it was a pretty remarkable high to end an already near-perfect party on."
Lorna Clarkson, Red Bull Music Academy &
2SER's Down Low Disco:
“What I love about the Studio is that you can walk into it and not quite know where you are. Whether at the hands of Mad Racket, Kooky or the GoodGod crew, the space becomes what it needs to be, transporting you to the desired party dimension. I absolutely loved DJing at Kooky when the foyer area was transformed into a dirty little disco. I remember playing Masters at Work and singing legend Shaun J. Wright ran up and grabbed my hands over the decks and we sang at the top of our voices to each other. Another stand out was bearing witness to the joyful display of fierce moves and fiercer attitudes of the voguing beauties of the Minceteria back in 2015. It was so brilliant to see Sydney's beautiful queerlings owning that space. I hope the Studio continues to push and push in order to create a rightful space for those that deserve to shine."
Jimmy Sing, Goodgod:
"Our first year of building a purpose-designed nightclub space Goodgod Super Club had a very special DIY reveal for late in the night. We'd installed a network of black piping just above the dancefloor so that it architecturally transformed the sense of the Studio's high ceilings into a more intimate proportion. What people didn't realise was that this piping was all just plumbers PVC stormwater pipe that we'd painted black and drilled hundreds of holes in. We hooked up four high-powered smoke machines to the corners of this pipe network and in the final hour of the night pushed smoke through them so it spurted out all the holes, right above everyone's heads. It was both a ‘hands in the air moment’ and completed our transformation of the Studio into a hazy basement club where people really feel most comfortable to get down.
"There was a special chaos to the first years of club nights at the Opera House. We had the phenomenal Nicky da B from New Orleans—rest in peace you beautiful spirit—headline our crazy eclectic lineup including Egyptian Lover and Jamaica's Prince Zimboo. He was the first New Orleans Bounce artist to perform in Australia, and he and his crew of six, fully laid down the law on what Bounce's signature dance move is...Twerking. This was still a couple of years before this had become a thing across the world and it truly threw the room into another gear we didn't think was possible. It prompted a full stage invasion too, another first for the Opera House. Such uplifting, euphoric vibes."