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DJ Kelly Lynch |
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DJ Kelly Lynch’s technical accuracy, live mixing and creative process are a product of ten year’s continual work in the dance party industry. Respected by promoters and peers for her ability to deliver a solid set every time, Kelly Lynch is consistent. In a DJ world of hit-and-miss,this DJ is a rare jewel. It’s in the blood. A passion. A natural instinct. At the age of sixteen she didn’t insist upon a car, instead a set of decks to play her much beloved vinyl. And now at 30, she still prefers to drive the turntables. Inspired by the underground rave scene of the early nineties, she defies the modern-day ‘rock-star DJ’ images; instead she prefers a healthy diet of traditional DJ values. “I am performer. I am providing an atmosphere. I believe people in my space deserve to be recognised and responded to. I never prepare a set. I respond to the time, people’s moods, the crowd changing and the space,” says Kelly with confidence only experience can deliver. “It’s always different and I have to supply for the moment.” Kelly’s derivation was the days of Sydney ware-house rave parties, where she was introduced at the age of 17 to what she remembers as, “high quality production with an intimate atmosphere” which she still holds as aspects of the highest importance to this day. “I used the dex originally to recapture the vibe I enjoyed when I was out.” To become a DJ was Kelly’s next obvious progression. Kelly’s career began like any other; a few gigs in pubs. However, Kelly’s energy and individuality led to creating her own nights and parties. “For me, the warm party vibe and great house music is what kept me going and interested.” The turn of rave to a more hard-core sound and faster pace in the mid-nineties was not to her interest. Pee Wee Farris’ music style of progressive, electronic sounds consistent to his delivery today is what Kelly first emulated. Kate Monroe, Mark Dynamix, and Nik Fish also had their influence. Kelly personalised her skills, delivery and sound, to create the style for which she is known today. Kelly’s next major career evolution came in 1996 as the mastermind behind the famed Colossus dance party. It paralleled Happy Valley and Prodigy. Six months of work with one off-sider to host 5000 people at Eastern Creek Raceway really came as Kelly’s first testimony to her energy, drive and technical know-how of party delivery. Attracting MTV and Channel V, few people would know it was just two people putting on something of this scope. Progressive dance parties with Mark Dynamix, Bexta, Nik Fish on a smaller level also were highly successful happening every three months and the opportunity to work with her early inspirations. Now, Kelly Lynch is an inspiration to other DJs. Her work now covers raves, dance parties, specialist nights, clubs, pubs, residencies and nightclubs where the audience is enormous, intimate, gay, straight, chilling or up for a big one with Queer Nation @ HOME, Sydney Gay and Lesbian Mardi Gras 2000, Sleaze Ball Sydney 2003, Sleaze Ball Adelaide and Red Raw in Melbourne 2000 among her more notable recent achievements. “I love an electronic edge in progressive house .Timo Mass is a producer I think has everything I look for in track. Red Ant, Platypus and a few more in that vein appeal to me,” says Kelly. “When I hear a record, I have an instinctive feel that it will work. I can envisage the place and crowd I would play it to. I have ‘goose-bump’ tracks when I put them on, my arm feels it,” she adds with a smile that instantly endears you. Kelly struck me immediately when she added at some point of the interview, “when I play, I want each member of audience to know that, hey, I’ve got you in my vision and you are an important part of my night.” Firing at 128 -136 bpm with a punchy, house bass through to hard house Kelly Lynch is able to really mix things up to take the punter on a journey of quality, excitement, fun and spontaneity of sheer technical brilliance, with the punter left in no doubt to believe that it’s magic. Lynch magic. Career Highlights
Sweatfest B2B with Kate Monroe June 2004 |
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