By Marianne Graff
Illustrated by Mithalina Taib
Unless you live under a rock, you’ve probably heard of names like ‘Peggy Gou’ and ‘Fred Again’ by now. Although ‘Brat Summer’ might be over, rave-like concerts are only gaining momentum. Techno and the domain of electronic dance music (EDM) have, in the last couple of years, entered the mainstream sphere in the UK. Just this year, Broadwick, the company behind Printworks, along with other prestigious venues, inaugurated its new space in London as a colossal epicentre for techno: Drumsheds. With an impressive 109,813 sq. ft of hybrid space, Drumsheds emerges as an architectonic, with the capacity to host multiple sonic experiences. With its imposing size, this venue mirrors the growth of the techno scene through the monetisation of the musical experience.
With the increase of mega-techno centres, it is crucial to examine the ethics of it all: What does it mean to be the biggest clubbing venue in Europe? How does one find the equilibrium between greatness and authenticity? Finally, can Drumsheds maintain its underground essence while opening to the commercial panorama without affecting EDM as a culture? The verdict: it cannot.
Since its emergence in the 1980s, EDM has been more than just music: it is a powerful form of counterculture. Often associated with Berlin, techno grew more popular after the fall of the Berlin Wall, being culturally contingent on the socio-political landscape of the time. Surging from marginalised urban spaces, this music genre not only broke away from musical convention but also became a vehicle to challenge established social norms. Electronic music distinctively became the sound of resistance and creative freedom, attracting underground and marginalised communities trying to escape conventional norms. Throughout the years, this form of musical expression has kept challenging established norms of consumerism and capitalism.
Knowing how EDM started, it is now almost laughable to see venues like Drumsheds opening. Through commodification, is EDM becoming what it was once against? The presence of an industry that operates at such a large scale – backed by huge sponsors – puts into question the authenticity and essence of techno music in this new commercialised context. Is EDM being reconstructed for capitalism? This brings up an important contradiction to what techno really is, and avid listeners have expressed discontent towards such commercialised venues.
London’s techno music scene might be heading towards inevitable commercialisation, maybe even gentrification. As the company and genre grow, London’s techno scene is confronted with the dilemma of maintaining its core underground essence in the wake of its commercial success.
New EDM spaces like Drumsheds are not only a place to dance but also a testimony to the change and innovation of EDM in the UK. As the music industry remains ever-changing, Drumsheds is leading London’s EDM to new heights, leaving us wondering if this will cause the over-commercialisation of EDM. Now, you might be thinking I’m offended by techno becoming so mainstream (maybe I am, just a little) and that I’d like to gatekeep it. But in reality, as its popularity grows, there need to be greater efforts to maintain its socioeconomic inclusivity and authenticity. After all, art should be accessible to all, shouldn’t it?
