Logistical snags notwithstanding, Proper NYE/NYD was full of high energy and heartwarming moments across the event’s two days at Petco Park.
FNGRS CRSSD has grown to become a leading festival producer in San Diego. They have played a major role in cultivating the electronic dance music scene, hosting major events like CRSSD that tap the world’s most sought-after artists.
When FNGRS CRSSD decided to expand to include New Year’s events, I knew I needed to check them out. In its third year — and my first as an attendee — Proper NYE/NYD returned to its home in Downtown San Diego at Petco Park and hosted 50+ artists across four stages: Field, Park, Wall, and Lot.
In proper FNGRS CRSSD fashion, the lineup included huge bookings like Kaskade, John Summit, Dom Dolla, Charlotte De Witte, and Green Velvet as well a stacked undercard. Anjunadeep and This Never Happened also hosted stage takeovers. There was so much programming to look forward to that the stage was set for an epic New Year’s celebration.
The first day of the event, New Year’s Eve, excitement was palpable. I arrived early to Box Office to pick up my ticket, get familiar with the venue, and start the day with some early sets.
New Year’s Eve started casually with Green Velvet at the Park stage before I made my way to the Field for AYYBO and John Summit.
AYYBO was my favorite new music discovery, delivering one of my favorite sets of the event. He played a thick, bassy house set full of IDs that kept me dancing the entire time.
Right after AYYBO, John Summit took the stage for an earlier set time than normal at 6pm. He opened with his infamous “I miss the old Summit” intro before dropping into “Acid” with Tombz and Oddmob’s remix of “Palm of My Hand.” It was high energy from the start with beautiful moments of elation when he played more vocal-driven singalong tracks like “Where You Are” and “Go Back.”
It was inspiring to experience a concert with that level of production on the infield of Petco Park. There is a lot of potential to create spectacular music moments in that space with its enveloping stadium aesthetic and view of the San Diego skyline.
While I enjoyed my fair share of these moments, the event site soon got hectic and discomfort started to set in. The Field hit capacity during John Summit’s set, prompting organizers to display large text on the stadium LED screen directing attendees to “enjoy this set from the seating bowl or visit another stage.”
At their request, I went to the Lot stage for Layton Giordani and the Wall for Luttrell. Each stage had its own unique production and atmosphere. While the Lot’s footprint was much larger in terms of space and production, I found solace and a home in the intimate cozy sets at the Wall. Not only that, but the Anjunadeep (NYE) and This Never Happened (NYD) takeovers offered refreshing, melodic safe havens from the chaos surrounding the Field.
Stages weren’t as far apart as they looked on the map, but getting anywhere in the venue on New Year’s Eve after 7pm proved to be quite the challenge.
I was surprised by how quickly I could get from stage to stage when crowds were manageable. On New Year’s Eve, however, walking through the venue proved to be difficult with major bottlenecks in key places and long lines for restrooms and concessions.
To get from Lot or Wall to Field or Park and vice versa was a mission and a half. Between the Field hitting capacity and the general crowd flow throughout the festival, there were times it felt uncomfortable — possibly even oversold.
That being said, I made my way back to the Field because I wanted to ring in the New Year with Eric Prydz. The capacity message was still on display, but attendees were finding creative ways onto the infield. Whether they were locating an unattended entrance/exit or jumping over barriers, the Field became increasingly more chaotic as the evening progressed.
I improvised by called an audible and going to ring in the New Year at Eli Brown. I love Eli, but after envisioning a melodic Eric Prydz New Year and enduring an all around taxing day, I left soon after the countdown.
There were positive moments, but for the most part, I considered day one a wash. I was nonetheless still excited for the This Never Happened takeover New Year’s Day.
New Year’s Day marked a new day indeed thanks to the This Never Happened takeover and fewer attendees.
There were noticeably fewer people on New Year’s Day, likely thanks to higher single-day ticket sales. Then again, maybe some two-day ticket holders had too long of a night at the afters and didn’t make it for New Year’s Day.
Whatever the reason, day two was absolutely magical. I’m a huge fan of This Never Happened and knew I would spend a lot of my time at the Wall. I felt good about that knowing it was my favorite music and I wouldn’t have to deal with crowds walking from stage to stage.
The takeover started with incredible and uplifting sets from Otherwish and Massane. It was the perfect way to start the day, and I immediately felt renewed hope about what was about to unfold on day two.
The crowd was so kind, and there was enough space to dance even as Rinzen, Sofia Kourtesis, and Embrz played later into the night. Although I did not want to leave the Wall, I had to make my way to the Field to see This Never Happened boss Lane 8 go back to back with labelmates Sultan + Shepard.
The field capacity message was still shining brightly on the LED screen, but I wasn’t going to miss this Lane 8 b2b Sultan + Shepard set. I found my way onto the infield, and I’m glad I did. You don’t get the same experience watching from the seats. The speaker stacks and other production elements would have obscured my view, and it would have been harder to dance freely. Field sets were meant to be experienced from the field, and ensuring this is a possibility for all ticket buyers ought to be a major priority for organizers.
To no surprise, Lane 8 b2b Sultan + Shepard was one of my favorite sets of the event. With an endless catalog of melodic, feel-good tracks and a secret artillery of IDs, the trio made for a perfect b2b booking. I left this set feeling like I was floating and I quite easily made my way to the Park stage for my most highly-anticipated set of Proper, Elderbrook.
What a beautiful surprise to arrive at the Park stage to see Elderbrook’s live set and run into some friends!
It seemed from the poster that Manics was the only “live” booking, but there were other artists who performed with these elements, including Vandelux and Elderbrook. A refreshing change of pace from DJ sets all weekend, the latter artist performed with unparalleled energy belting out hit after hit, drumming, dancing, and playing keys.
In the wake of his newest album and tour, Elderbrook’s set included a handful of songs from Another Touch as well as tracks from across his discography. He seems to get better and better each time I see him. Elderbrook was by far my favorite set of the weekend, but many of my favorite moments came from the Wall shortly thereafter.
I ended Proper day two with Le Youth and the This Never Happened crew at the Wall. Le Youth always performs with an infectious energy, and the crowd in San Diego really reciprocated.
He even brought LeyeT on stage to perform a few of their collaborations. There was a moment during a cheeky mashup of “Feel Around You” and “Quiet Rush” where LeyeT and Le Youth were on the railing hyping up the crowd. When Le Youth got back on stage, Lane 8 and Sultan + Shepard were there to give him a hug for playing their track and doctoring up an epic remix.
This moment embodied my experience on day two: music, happiness, and friends. It made me realize that This Never Happened has cultivated a special, familial vibe through their music, label, and community. To top it all off, I got to meet This Never Happened crew members Lane 8, Rinzen, Le Youth, Massane, and Embrz. It was truly the best way I could have started the new year.
While music saved the day, FNGRS CRSSD have a few things to re-evaluate to keep Proper NYE/NYD attendees safe and ensure they get the full value of their purchase.
There are major opportunities for improvement between this edition of Proper and the next. It’s inexcusable to have such unorganized logistics at the Field; the entrances and exits need to be wider and more clearly delineated. Set times can also be adjusted to offset crowd sizes instead of attendees feeling compelled to access more popular spaces by jumping over barriers. There was no clear way out of the infield bowl in the event of an emergency, and the large crowds surely would have impacted medical response time.
People paid $250+ to see specific artists only to be told to go to another stage or watch from the field-level seated area. Then, when attendees were forced to go from the Field to another stage, their line of sight was bombarded by countless vendors, sponsors, and concessions. It would be nice if there was additional programming like activations, workshops, or art installations to supplement the music and cash grabs. Allowing general admission access to the Field terrace might also have increased capacity by offering another viewing area.
Proper’s organizers can learn a lot from this past edition of the festival. Luckily, the music on day two saved my experience, but there is no turning a blind eye to the blatant shortcomings.
If Proper continues to succeed, organizers have to tighten up the logistical side of things and genuinely consider their supporters’ well-being. FNGRS CRSSD has an obvious knack for booking great musical lineups. That just needs to be balanced with flawless and exhaustive planning, foresight, and care.
