At the very end of the summer, this jewel takes its rightful place in the crown of festival season. A transcendent display of joy, skill, and community fills every corner of the Adelaide Festival Centre on the closing last night of festival within a festival, Floods Of Fire. The first act premieres the Floods Of Fire Symphony. Developed over four years and weaving together climate stories and music from across Australia, this new, collaborative work was developed by the Australian Symphony Orchestra, South Australian composers and community members and arranged by Julian Ferraretto. Featured performers played a veritable ark of global instruments from samisens to theremins, while the understated lighting design shifts the mood without distracting from skill of the musicians.

The second half (oh, the second half!) is explosive. Local powerhouse duo (and Eurovision contenders) Electric Fields have a house stacked with family, friends and fans, all screaming their love from the mezzanine. Their style of music could be described as electronic orchestral soul, seamlessly blending the languages of the Pitjantjatjara and Yankunytjatjara people with pop and queer sonic aesthetic. Singer Zaachariaha Fielding slays in a liquid gold gown, thrown with abandon during banger after banger, backed up by the ASO and musical partner Michael Ross. 

As an encore is demanded, another Adelaide Festival star finds her way onstage: Little Amal, the giant puppet of a Syrian refugee. This connective, jubilant energy wrapped up the Adelaide Festival perfectly in a luminous celebration of the world we share, its challenges, and its gifts. 

Floods Of Fire: Our Celebration With Electric Fields And The ASO, Adelaide Festival Centre, run ended.