Dearest Gentle Reader. The year is 1819, and Perth's Ice Cream Factory concluded the social season with unparalleled grandeur.
The esteemed Perth Symphony Orchestra, accompanied by the audacious DJ Wildflower, presented a captivating rendition of Fred Again's compositions, seamlessly blending classical sophistication with contemporary flair.As the final notes gracefully dissipated into the evening air, one is left to ponder: Does this mark the conclusion or merely the prelude to a new chapter yet to unfold?
*Record screeeeech*. . . Pull me out of this. Da da da dada da! Nope, this wasn't the Bridgerton-esque classical reimagining of Fred Again's hits I had envisioned.
Rather, it was a bold and unexpected twist – less Regency-era ballroom, more classical orchestral beauty blends with cutting-edge rhythms in a fusion of live strings and electronic beats. A spectacle so vibrant and fearless that even Lady Whistledown herself would have been left speechless.
Our Saturday theme (15 February) was clear from the start: fun, fresh, and fearless – perfectly encapsulated by the neon pink slogan printed on the backs of the Perth Symphony Orchestra's black t-shirts, each accented with pops of pink accessories.
Image © Laura Dashkovsky
DJ Wildflower (Kate Woolley), equally matching the pink aesthetic with metallic pants and iconic blonde space buns, set the tone for a vibrant, age-inclusive crowd that ranged from fresh 18-year-olds to more experienced grandparents.
Breaking out into the first track, 'Hannah (The Sun)', the strings initially didn't provide the soul-rippling harmonies that I was desperately craving, being drowned out by Wildflower's beats. What seemed to initially be a miss-step in the sound balance of the live music versus backtrack turned into a well-orchestrated plan. . . (haha, get it?).
DJ Wildflower, a true one-of-a-kind chameleon, infused the night with her pocket-rocket energy. The orchestra, surprisingly composed of younger performers, brought a timeless elegance to the event, featuring ten violinists, two cellists, and one double bassist.
I affectionately referred to the violinists as the 'fiddleheads' due to their erratic head movements in sync with their bows. They frequently paused to rest their fingers, breaking into unscripted dance, which added to the fun and carefree atmosphere of the evening.
As the energy built, I started to get my strings fix, the sound becoming more prominent with each track. The crowd added to the building energy, parroting back every single lyric to 'Billie (Loving Arms)', 'Delilah (Pull Me Out Of This)', 'Adore U', and 'Places To Be'.
Image © Laura Dashkovsky
Just as unconventional as the formatting of his song titles is Fred Again's sampling technique – unorthodox but brilliant. Sampling is nothing new, having existed since the '70s-'80s (thanks in large part to hip hop culture), but it's undeniable that Fred has unlocked a puzzle of unexpected bliss.
Dive down the rabbit hole of how he samples and you'll get it, and even if you don't, it's undeniable. He's cracked the code in creating tracks that are rhythmically compelling, emotionally resonant, and enriched with memorable vocal hooks – a stunning reminder of the art of being human.
Even more glaringly beautiful, and the rarest of sights, was the absence of phones – this wasn't about social media bragging but about being in the moment. An experience that was vastly different from the sea of 35,000 phones when we saw Fred in the flesh early last year. The surprise announcement of his show that sold out in less than two hours (yes, that's 300 tickets a minute) is a testament to how much we all love a little Fred.
The performance reached a well-executed and seemingly deliberate crescendo, peaking during 'Jungle' and 'Turn On The Lights Again'. The intentional increase in sound heightened the sense of anticipation and excitement, enhancing the impact of the live orchestral performance. There seemed to be a common thread of consciousness in the crowd: "But seriously, how cool would it be if Fred Again opened his set with this," and honestly, I wouldn't put it past him.
Having my dear friend Maddie with me felt fortuitous – our long history with classical music added a special layer to the night. Our youth spent observing the city revellers on weekends, sharing one headphone each, lost in the symphonies of Vivaldi, in awe of how it still dramatically matched the chaos unfolding before us. This bond over classical music makes this fusion performance even more meaningful.
Image © Laura Dashkovsky
Kate wrapped up the night saying: "I'm DJ Wildflower, and this is Fred Again with strings attached." The night felt complete – a blend of tradition and innovation that left Perth abuzz with energy long after the final note had sounded. A moment in time that delivered on their initial promise, embodying the spirit of 'fun, fresh, and fearless' that we were promised.
Ice Cream Factory (ICF), a temporary city within the city, has become a symbol of love, joy, unforgettable moments, and perhaps a few too many drinks for so many of us Perthonalities. I've witnessed unforgettable performances beneath the stars, embraced the warm West Australian summers, and danced the nights away within its unique multi-level outdoor structure.
This won't be the last year we see ICF become the central hub of Perth City alongside the Fringe festival. Now firmly on the map as a completely unique performance space for international touring names, we are able to secure top-tier talent like never before.
Their tagline, 'Hottest Summer Ever', truly lived up to its promise, and attending the grand finale of the ICF Season 24/25 with the Perth Symphony Orchestra felt like the perfect way to bid farewell to this unforgettable venue. However, remember gentle reader, even the grandest finales are merely a prelude to my return.
Until society offers me something more to whisper about, yours in intrigue and impeccable taste,
Lady Laura Dashkovsky
