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Park Acoustics 2018: Johnny is nie dood nie. Hy’s Plesierig.

Park Acoustics 2018:

It hit me like a ton of hazy bricks… Last year about this time I told you, dear reader, the EPIC tale of everything except the actual gig known as Park Acoustics.

Low and behold, this time around I did Not have close encounters with just about every Metro PD officer in the greater Jo’Burg area. Not even close. This time around, I went sober and even accompanied “responsible” friends.  I owe you a kick-ass review of Park Acoustics from Sunday past, as it were indeed just that. A Kick-Ass gig.

I owe you a kick-ass review of Park Acoustics from Sunday past, as it were indeed just that. A Kick-Ass gig.

As per usual, the line up very well rivalled any and all Park Acoustics festivals or any festival before it. Especially a small protest at the foot of the hill regarding keeping the Voortrekker Monument sacred and holy. I am still not too sure what that all was about, seeing as the folks from Park Acoustics secured the most sacred and holy of Afrikaans Rock n Roll royalty to entertain the masses.



*sidenote: Not forgetting the memorable performances by Diamond The Thug, Michael Lesar, Dawie De Jager and Foxtrot. It’s been quite a while since I actually enjoyed an entire line up. Enough rambling mumbo-jumbo… Back to the story!

As the legendary “Jesus of Afrikaans Rock n Roll” (I made that up) took to the stage and demanded the attention and adoration of just about every soul attending, the iconic Anthem of a generation roared over the chatter. “Johnny is Nie dood Nie, hy’s net uitgepaas…” preceded a fantastic and awe-inspiring rendition of John Lennon’s “Imagine” as only Koos Kombuis could deliver. “Imagine there’s no Zuma” was the central theme of this political satire gem.

“Imagine there’s no Zuma” was the central theme of this political satire gem.

For a moment… Let that sink in.

Comment of the day for me though, was when a good samaritan offered Mr. Kombuis a drink:

“Water?” says the samaritan.

“Ja, Asseblief!” Kombuis replied.

“Still or Sparkling?”  he was asked, to which Mr. Kombuis replied solemnly:

“I’ll take Sparkling, This stuff is like Champagne. It’s going to be Expensive in Cape Town soon!”

Needless to say, Koos Kombuis in all his glory delivered an extraordinary performance, like only he can.

Karen Zoid Rocking the Park Acoustics Nation:

About 20 odd minutes later, the Amphitheatre at the Voortrekker Monument was reborn into the “Republiek van Zoid Afrika” as Karen Zoid took the stage in full force. Sporting the full band, a grungy bad ass Stevie Nicks look and the no-shits will be given the attitude that we all came to love, she busted out with their rendition of Our National Anthem.

Nkosi kicked ass, Zoid style. She should definitely be called up next time there’s some form of an important sporting event. She knows all the words (not drudging up old cows or pointing finger Ard anyone) and everything.

If you ever wondered how powerful this lady is, she managed to send a Jack Daniels all the way from the stage, to a local tree dweller at least 15 meters away, through a parched rock crowd. AND NO ONE TOOK A SIP, because Mamma Karen said so.  Maximum Respect!

After a lot of “AAAAHHHHH’s” and a song in “A”, that we all knew, sharing the stage with Koos Kombuis in a genuinely awesome duet, Karen was obviously called back for an encore; which she nailed.

Is Park Acoustics Too Awesome?

After all this it was quite easy to deal with the fact that there was very little space, the movement was pretty limited and the impending heat stroke.  All n’ all, Park Acoustics truly was greatly organised and a fantastic experience, even sober.

After all the musical shenanigans, the folks attending were having a “lag” thanks to the comedians. What a way to end of a spectacular day.

Oh yeah,  thanks to Schalk Bezuidenhout and his endless kak talking, I nearly missed the last bus. Luckily the security did the right thing and shut everything down. Good Times and in my opinion, Great Success.

Park Acoustics

What do you think?

Written by Etienne Grobler


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