Electronic music is an indelible part of the world’s nightlife scene. Our music represents the soundtrack and backbone of an industry that is alive in all four corners of the globe, and almost every country in between.
Yet, it is only in a select amount of countries that nightlife is truly respected as part of culture, as an expression of art and freedom. In the Netherlands and Germany, in particular, legislators, politicians and officials recognize nightlife and electronic music as a valuable piece of both the local and national economy. The appreciation for our industry goes a step further in cities like Amsterdam or Berlin, where those participating in nightlife are not only respected but celebrated as part of a movement that promotes tolerance, art and freedom.
Unfortunately, this isn’t the case in other countries. Australia, and in particular Sydney’s New South Wales state , has been facing uphill battles with local officials who have gone so far as to impose strict lockout laws effectively curbing the existence of nightlife in some of the country’s most populous cities. England is facing similar problems, in no small part due to gentrification and the significant change with which venues, nightclubs and bars interact with local neighborhoods and communities.
In the United Kingdom, the NTIA (Night Time Industries Association) has now launched a #NightlifeMatters campaign to increase awareness on the importance of our scene as part of local art and culture. The aim is to educate and change the viewpoints of the many on the other side of an irrational “us-versus-them” argument which constantly pits nightlife as unethical, quasi-criminal, uncultured and even dangerous.
Naturally, the campaign is backed by a great selection of high-profile artists the likes of Carl Cox, Eats Everything, Jackmaster, and Sasha, as well as venues and promotion companies. The always outspoken and active Seth Troxler has personally weighed in via Clash Music, underscoring just how important this message is for the longevity and prosperity of nightlife as we’ve all come to love it. The movement encourages everyone to sign their petition, and to tweet using the hashtag #nightlifematters to join and support this vital campaign.
“There are always multiple factors to consider when it comes to club closures. Itâs hard to keep a business like that going for 10 years, just look at places like Plastic People or Dance Tunnel, even when a club is successful itâs hard work to keep it alive. But whoâs responsible for these closures? Is it developers? Local councils? Licensing boards? Has club culture changed fundamentally, are kids today too boring? Or is it the government?
Of course itâs a combination of all those things but thereâs one obvious way for us to change it. Vote.
Weâre living in a time where the government likes to create media sensations around one topic or another. Itâs not about them trying to save lives or change culture, itâs about who can keep themselves in the spotlight for the longest. Decisions are being made by people who are too old or too out of touch with whatâs happening in the modern world. And itâs not just in the UK, itâs part of a global problem.
In places like Germany and Holland, local officials accept electronic music and nightlife as culturally valuable. They look at nightlife in the same way they do ballet. Itâs not seen as something violent or criminal, itâs celebrated. They recognise that many of the people taking part in night culture are tolerant of different races, different genders and different sexualities. They recognise that nightlife has significant economic benefits, that it has the same capacity as high-art, fiction, food or film to inspire and influence a generation. In the UK and US, by contrast, thereâs a total disconnect between night culture and âculture properâ. Legislators donât understand who we are or what our value is, so thereâs no desire to protect it.
If weâre to change these attitudes, we canât just talk about them, we need to have more young people start participating. If we want to change perceptions about club culture we need to act. Part of the reason I launched Acid Future, part of the reason Iâve spent my life playing underground music, is to try and keep