A free, early‑morning preview of Dreamer invited audiences to kick off the day with an exclusive dancefloor set from legendary Kiwi DJ Dick Johnson before the festival opens to the public.
There’s something wonderfully surreal about stepping into a rave before most of the city has even reached for its first coffee. By the time the clock nudged 7:30am, people were already drifting into the vast interior of the new NZICC, shaking off the last traces of sleep as they moved toward the central hall. The space had been transformed into a glowing playground for this special Morning People event, held inside Dreamer; a brand‑new indoor light festival that feels part art installation, part futuristic dreamscape. Even before the music began, the atmosphere carried that unmistakable hum of anticipation, the kind that makes you straighten your posture and grin without realising.
The main stage sat right in the middle of the room, surrounded on all sides by the crowd. Above it, long bars of light hung in neat rows, suspended like luminous ribs of some giant mechanical creature. Throughout the morning they shifted, dipped, and pulsed in synchrony with the music, washing the room in waves of colour. Sometimes they glowed in soft pastels, other times they snapped into bold neon flashes that made the entire space feel alive. The effect was playful and immersive, as if the architecture itself had joined the party.
What struck me almost immediately was the sheer diversity of the people who showed up. This performance felt like a celebration of everyone and anyone who wanted to start their day with movement. There were toddlers wobbling on tiny legs, parents with babies strapped to their chests, teenagers in glitter, office workers in gym gear, older couples swaying gently at the edges (or starting conga lines), and pregnant women dancing with the kind of grounded joy that makes you smile. Every shape, shade, and age was represented, and the dancefloor felt like a living mosaic of Aotearoa’s multicultural spirit. Some people perched on the sidelines, taking it all in; others hovered near the installations; and a dedicated ring of dancers formed a loose circle around the stage, bouncing and spinning with infectious energy.
And then there were the outfits. Not shying away from flair, the Dreamer setting seemed to encourage creativity. Sequinned jackets caught the shifting lights and scattered them across the room. Disco‑ball hats bobbed through the crowd like wandering planets. Faces were painted in bright colours, glitter clung to eyebrows and cheekbones, and fabulous, unapologetic pyjamas, made several appearances. At one point a conga line snaked its way through the hall, weaving between dancers and installations, gathering people as it went until the front and back merged into a writhing circle of dance. It was chaotic in the best possible way, a spontaneous burst of collective silliness that perfectly captured the spirit of the morning.
Johnson has long been a beloved figure in New Zealand’s electronic scene, known for his warm, groove‑driven style and his ability to read a crowd. His sets often feel like conversations, subtle, responsive, and full of personality, and this morning was no exception. He opened with a steady, inviting rhythm that coaxed the room into motion, building layer by layer until the dancefloor was fully awake.
As the set progressed, Johnson leaned into his signature blend of rolling basslines, crisp percussion, and melodic flourishes that feel both nostalgic and fresh. His transitions were mostly seamless, creating long, flowing arcs of sound that carried the crowd from one mood to the next. When he hit a particularly satisfying build, the suspended lights above responded with a rising glow, as if the entire room were inhaling together. Drops landed with a punch that sent ripples through the dancers, prompting cheers, jumps, and the occasional delighted shriek.
There were a few moments where the momentum dipped, a track ending a touch too abruptly, or a transition that left the room briefly suspended, but the crowd never lost its footing. Johnson has the kind of presence that keeps people with him even through the quieter stretches, and as soon as he locked back into a steady groove, the dancefloor surged forward again. Those small imperfections almost added to the charm; they reminded you that this wasn’t a polished nightclub set at midnight, but a communal experiment in joy at an hour when most people are still in bed.
The interplay between the music and the Dreamer installations created a sense of wandering through a living artwork. People drifted in and out of the main hall, exploring glowing corridors, interactive sculptures, and pockets of light that invited touch and play. Some returned to the dancefloor with wide‑eyed excitement, pulling friends along to show them something they’d discovered. Others simply paused to watch the lights shift overhead, letting the music wash over them from a distance.
What made the morning feel particularly special was the absence of alcohol. Without the haze of late‑night indulgence, the energy was clean, bright, and grounded. People danced because they wanted to, not because they were fuelled by anything other than music and community. Complimentary fruit and water kept everyone refreshed, and the smell of barista coffee drifted through the hall, adding a comforting note to the sensory mix. It was a reminder that raving doesn’t have to be nocturnal or messy; it can be wholesome, intentional, and deeply connective.
Morning People’s Dreamer edition wasn’t just a novelty event; it was a reminder of how powerful shared experiences can be when they’re built on openness, creativity, and joy. It offered a rare chance to start the day with movement, colour, and community; a sunrise celebration that felt both grounding and uplifting. Whether you danced at the front, wandered through the lights, or simply soaked in the atmosphere, the morning delivered something memorable.
A rave at dawn might sound unusual, but in this setting, it felt completely natural. A clean, inclusive, family‑friendly burst of energy that set the tone for the rest of the day. And with Dick Johnson guiding the soundtrack, it became something even better: a reminder that magic doesn’t always wait for the night.
Dreamer blasts off on 3 April 2026 at the new New Zealand International Convention Centre (NZICC) in central Auckland until April 12
Tickets range from $12–$35 + booking fee, book a time slot here
Dreamer blasts off on 3 April 2026 at the new New Zealand International Convention Centre (NZICC) in central Auckland until April 12
Tickets range from $12–$35 + booking fee, book a time slot here