A standout set from the weekend is Cera Khin, who filled the distant Zone A stage and embodied the sounds of Berghain some 415 miles away. The fall that landed after slicing through the crowd through the dreamy soundscapes of an old-school Schranz edit of “Loneliness” was something, with the stage’s wooden planks bouncing almost uncontrollably as the crowd was dancing on his piece of fence.
KiNK also impresses, with a live set on the outrageous Spaceship-esque Area W, getting audiences on their side from the start with their interactive nature and gratefully grateful for their enthusiasm.
“The sound on stage was fantastic, and I felt good in contact with the audience, despite the size of the stage, which is important to me,” he explains after his set. “I always feel a bit of pressure just before I start my sets at the festival, because it’s such an influential organization and you want to put on the best set possible, which can create tension. It was raining and also my computer caused the music to stop playing for almost a minute, but that didn’t scare off most ravers and I really enjoyed playing my own music for an iconic organization, front a very musical crowd.
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Correct in his observations of the cheering crowd, the little uncontrollable hiccups were far from off-putting to them. As the Dutch skies opened up, some ravers made rain protection out of whatever they could while others embraced the weather and danced with strangers, handing out sweets to boost their spirits. Luckily, the bad weather during KiNK’s set was a rare shower over a weekend mostly blessed with wall-to-wall sunshine, and it still didn’t interrupt the party for festival-goers who were eagerly awaiting the Bulgarian. .
It wasn’t uncommon to talk to another festival-goer and end up going with them to see a set, which quickly became one of your favorite two hours of the weekend. The eagerness to share and discover music among attendees was a beautiful thing to see and a refreshing experience in Awakenings’ first year since the pandemic.