“You’ve got the love to see me through.
Sometimes I feel like throwing my hands up in the air,
I know I can count on you.” – Candi Staton.

You’ve Got The Loveby Candi Staton is undeniably an anthem. It possesses the extremely rare and remarkable phenomena that when the powerful words from a few lyrical excerpts of the song are analysed, the reader can astonishingly hear the music as well, even if they are in absolute silence. It is these moments of spine-tingling, goosebump inducing and hair-raising thunderbolts that make this immeasurably evocative piece of poetry, beyond memorable.

So imagine experiencing this immensely charismatic composition performed by a multi-Grammy award winning collective called the Soweto Gospel Choir, with an ARIA nominated musician/producer DJ Groove Terminator, under the stars and moonlight during a world-renowned festival in the heart of Adelaide.

Welcome to the History Of House.

The setting for this night’s event was practically flawless, as a growing crowd waited outside the entrance to The Fantail venue, they were silenced by an orchestral angelic croon from multiple members of the Soweto Gospel Choir undertaking their soundcheck process to Whitney Houston’s I Wanna Dance With Somebody. While gasping at the heavenly vocal articulation, festival-goers were amazed by the splendid sunset that mystifyingly blended glorious colours including purple, gold and blue. While admiring this beautiful sky, a colony of bats flew overhead – while it is well known that bats use echolocation for navigation and hunting purposes, did you also know some species of bat actually use their own songs for courtship? That’s right, love songs.

Love was, to an extent, in the air tonight.

Shortly after the respected attendees had entered and taken their positions (understandably, the majority had found their locations on the vast dance floor), the backdrop screen lit up with the question: “Can You Feel It?” and a grand film introduction similar to the Universal Studios trailer.

Not only did this audience “feel it” – they embraced it wholeheartedly, “house music” was about to become their home.

DJ Groove Terminator commenced with: “Hello, my name is Groove Terminator and this is the History Of House!”
The Soweto Gospel Choir then dazzlingly barged onto the stage and the love was unquestionably, bountiful.

Praxis and Kathy Brown’s Turn Me Out was simply stupendous, the way the Soweto Gospel Choir harmonises and incredibly integrates different vocal tones into an outburst of charismatic carolling is beyond soul warming, it is spiritual. All the negativity that people may have held onto until this moment was chanted away magically.

The remarkable renditions poured out of the performers with passionate radiance led by different singers of varying soundscapes, whether baritone, tenor, alto or soprano (and every tremendous tonality above, below and in-between). To be stationary during this exhibition was impossible; the engagement through dancing (twerking, krumping and breakdancing included), percussion, clapping, interpretations of conga lines and indisputably, the music was an illustrious luminescence for the senses.

Renditions of Armand Van Helden’s You Don’t Know Me, Michael Gray’s The Weekend, Robin SShow Me Love and others were then showcased and magnificently mesmerising.

Simon Lewicki (Groove Terminator) halted the performance to discuss in detail the history of House music. Its origins, its highs and lows and the architects of the genre including Frankie Knucklesand DJ Ron Hardy. The ensemble then wound the clock back to the 1970s.

Chic’s Freak Out, Aretha Franklin’s Respect, Sylvester’s You Make Me Feel (Mighty Real) and Donna Summer’sI Feel Lovewere fantastically flaunted and the acapella conclusion of the Donna Summer hit was enchanting.

The 1980s were visited with powerful portrayals of New Order’s Blue Monday, Madonna’s Like A Prayer, Afrika Bambaataa & Soulsonic ForcePlanet Rock, Eurythmics’Sweet DreamsandWhitney Houston’s I Wanna Dance With Somebody; all were above exhilarating.

Groove unveiled more chronicles of this musical movement, mostly emphasising its inclusivity (each record bought during the early era had a note insert that affirmed “All Are Welcome”); he also discussed how simply dancing with your mates is one of the best cures for the problems we face, and this act would make the world a better place. The hundreds who cheered at this statement reaffirmed this poetic exclamation.

Inner City’s Good Life as well as The Source and Candi Staton’s You’ve Got The Lovewere inconceivably electrifying. A remix of Martin Luther King Jr’s “I Have A Dream” speech was put on display, and consequently brought about possibly one of the only moments of silence and stillness in amazement due to its sensational impact.

Delirium with Sarah McLachlan’s Silencewas for this writer, the magnum opus of the presentation, especially being performed in multiple languages. An encore (of sorts) was required and the Groove Terminator with the Soweto Gospel Choir’s version of Sing Hallelujahenraptured all under the half-moon light.

Thank you DJ Groove Terminator and the Soweto Gospel Choir, “you’ve got the love” that will see us through and the world is grateful we “can count on you.”