Inquest – Saturday January 16, 1993

On the summer night of Saturday, January 16, 1993, a profound cultural collision took place within the stone walls of Adelaide’s colonial past. A seminal event known as INQUEST saw the city’s futuristic, hedonistic rave subculture reclaim the formidable and historically grim Old Adelaide Gaol, transforming a site of punishment into a temple of unrestrained celebration.

Event Overview

The INQUEST rave was a landmark achievement for Adelaide’s dance music community. While many promoters had previously attempted to secure the historic Old Adelaide Gaol, INQUEST was the first dance party successfully held within its imposing walls, promising an experience unlike any other in the city’s underground scene.

The core details of the event were as follows:

• Event Name: INQUEST
• Date: Saturday, 16th January 1993
• Venue: Old Adelaide Gaol
• Promoters: Instantaneous Productions
• Opening Time: From 7:30 pm

To fully appreciate the event’s singular atmosphere, one must first understand the potent character of the venue itself.

The Venue: A 19th-Century Penal Colony Transformed

By setting a rave inside a 19th-century penal colony, the organizers curated an environment that was both thrilling and transgressive. As one contemporary account noted, “the Gaol is nothing like any other party in Adelaide.” For the rave subculture, which thrived on reclaiming and recontextualizing derelict spaces, holding a party on grounds where dozens had been executed was a powerful act of temporal rebellion.

Historical Significance

The Old Adelaide Gaol’s grim past provided a stark and powerful backdrop for the night’s festivities. The weight of this history was an essential element of the INQUEST experience:

• It was built in the 1830s by George Strickland Kingston.
• A total of 45 inmates were hanged on the premises.
• The back walls of the Gaol overlooked a cemetery.
• The entire compound was surrounded by imposing walls 10 metres high.
• Throughout its history, only three inmates ever managed a successful escape.
• Originally designed to hold 32 prisoners, its population once swelled to over 400.
• The last inmate to be held there was confined to their cell for 23 hours a day.

Layout for the Rave

INQUEST ingeniously utilized three distinct sections of the Gaol, offering attendees a variety of experiences across the sprawling grounds:

• The Dark Block: Housed in the main cell block, this area was dedicated to a “hardcore” musical assault. It was a space designed for relentless breakbeats to echo off the cold prison stone.
• The Marquee Rave: One of the Gaol’s exercise yards was converted into what was billed as Adelaide’s first “Marquee rave,” offering a different auditory and visual experience from the stark confines of the cell block.
• The Fairground: The second exercise yard was transformed into a fairground, providing a communal space for different forms of entertainment and social interaction.

Reflecting the scene’s DIY ethos, a “Car Bar” was also set up as an area for attendees to “get the shift out of a car,” adding a touch of absurd, homespun character to the night. Within these imposing stone walls, two distinct sonic worlds were crafted to guide the night’s journey.

The Musical Lineup

The event featured a handpicked selection of DJs spread across its two primary dance areas. Each space was curated with a specific sound, catering to the diverse tastes within the rave community.

The Marquee: Rave Team

The Marquee rave featured a lineup of prominent local DJs at the top of their game:

• Groove Terminator
• Brendon
• MPK
• The System AD

Notably, The System AD was riding a wave of popularity, having just been voted Adelaide’s most popular DJ in “The Core’s Best of ’92” poll.

The Dark Block: Hardcore Assault

The main cell block was dedicated to a harder-edged sound, with a lineup featuring local talent and an interstate guest:

• Richie Rich (from Melbourne)
• Hugh-Z
• gL8r
• pVoy
• Maestro D
• Anguish

The lineup faced a last-minute challenge that tested the organizers’ resilience. In a transparent notice to the rave community, they announced that due to “problems with visas,” DJ Z120 would be unable to fly to Australia for the event, with local DJs Anguish and gL8r supplementing the lineup. But the sensory experience of INQUEST was designed to extend beyond the decks, with organizers curating a unique blend of performance and amenities.

Beyond the Music: Entertainment and Amenities

INQUEST differentiated itself by delivering a comprehensive experience, supplementing the musical offerings with live comedy and high-quality catering that elevated the event beyond a typical dance party.

Comedy Performers

• Live comedy was provided by Centrifugal force, a troupe that emerged from Adelaide’s Improv theatre scene.
• Their performance was described as a “drag-and-spank routine.”
• This marked the troupe’s first performance inside the Gaol.

Catering

• Five-star catering was handled by Alana House.
• The menu included a non-alcohol bar, barbeque, gelati, and nachos, ensuring a range of food and beverage options for attendees throughout the night.

This dedication to creating a multi-faceted event was a direct reflection of the organizers’ core philosophy, which was deeply rooted in the culture they served.

The Organizers’ Vision

The event was underpinned by a philosophy that defined the golden era of rave culture: a rejection of corporate polish in favor of an authentic experience curated by passionate scene participants. This “by ravers, for ravers” approach was evident in the organizers’ own words.

DJ Brendon articulated the need for a novel venue to reinvigorate the scene: “It’s something new, the rave scene is getting a bit predictable… It’s fuckin’ wild… It’s never been done before.”

Paul commented on how the Gaol’s unique environment electrified the crowd at a previous, smaller event: “It all makes the crowd mad… The atmosphere was brilliant… That’s why I’m looking forward to Inquest, because it will all be on a much more massive level.”

Daniel emphasized that the organizing team’s motivations were rooted in their passion for the culture, explaining that the four were all active participants in the local dance scene, not “big businessmen” looking to capitalize on a trend.

Josh & Ben highlighted their commitment to quality and transparency, aiming to avoid the pitfalls of other events. Their goal was to eliminate long queues and avoid “wank events,” encouraging a more positive and participatory atmosphere with the simple mantra: “Come in with your head up, be involved.”

This philosophy extended to the practical logistics of ensuring a smooth and fair entry for all attendees.

Attendance and Ticketing

Given the intense anticipation for the event and the sell-out status of a previous party, the organizers implemented a strict, pre-purchase ticketing policy to manage entry and avoid disappointment.

• Price: $18
• Policy: A ticket was mandatory for entry. The advertisement explicitly stated, “Only tickets are accepted at the door, not cash.”
• Vendors: Tickets could be purchased from Central Station and Austickets.

In a note that highlighted the logistical hurdles of the pre-internet era, the organizers also apologized to the public after having to suppress the original event invites due to unforeseen problems, an issue that had caused inconvenience for individuals intending to travel from overseas.