Fred again.. announces first-ever stadium show
Fred again.. has announced his first-ever stadium show, just six days in advance of it taking place.
The Grammy Award-winning British DJ and producer is set to headline the 77,500-capacity Los Angeles Memorial Coliseum, US, this Friday (14 June).
The news was revealed on Sunday (9 June) and the general sale opened yesterday with tickets ranging from $59–140 (€55–130).
“We’ve been working on this for monthsssss and its definitely the maddest live show we’ve ever tried to do so far,” Fred again.. (real name Frederik Gibson) wrote in a social media announcement.
The LA Memorial Coliseum gigs, promoted by Goldenvoice, follow his three-day residency at Frost Amphitheatre in Stanford, California, which took place last week.
Earlier this year, Fred again… sold out all six of his Australian arena shows within hours of the tour announcement, including three-night stands at both Sydney’s 22,000-capacity Qudos Bank Arena and Melbourne’s 15,000-capacity Rod Laver Arena, as well as a pop-up show in the Gold Coast.
“We’ve been working on this for monthsssss and its definitely the maddest live show we’ve ever tried to do so far”
Over one million fans virtually queued for tickets to his Oz outing, snapping up more than 100,000 tickets in “a matter of hours,” according to reps for Handsome Tours, which presented the tour with sister companies Laneway Presents, TEG Live and Astral People.
Fred again.. also delivered a surprise performance at Sydney’s Opera House, for which 145,000 people queued for less than 3,000 tickets, setting the record for the biggest on-sale demand for the iconic venue.
In IQ‘s recent Electronic Music Report, Tim McGregor, MD of TEG Live in Australia, discussed how a DJ show can rival a band experience in the venues traditionally the preserve of the rock & pop or hip-hop scenes.
“DJ shows can sell as well as gigs with bands and singers, whether this be in greenfield sites, stadiums, or arenas. All the big eye-popping performances at Coachella this year (and last) seemed to be electronic – Justice, Dom Dolla, and Anyma/Eric Prydz in 2024. Artists like Fisher, Fred again.., Rüfüs du Sol, and Dom Dolla have been doing stunning business in venues that have typically been considered live concert venues. The game is changing, and quickly.”
Fred again..’s upcoming appearances also include Reading & Leeds and Helsinki’s Flow Festival.
He is represented worldwide by Wasserman Music’s Evan Hancock, Ben Shprits and Tom Schroeder.
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A rave new world: Electronic music report 2024
On the back of the recent publication of the IMS Business Report 2024, DJ Mag editor-in-chief Carl Loben takes a look at the key numbers and trends that are shaping the global electronic music scene, as this year’s summer season kicks off in Ibiza.
In a packed conference room at the airy Hyde Hotel in Cala Llonga, near Santa Eulalia on the Balearic isle of Ibiza, delegates of the annual International Music Summit (IMS) are abuzz with anticipation. IMS has been staged since 2007, and co-founders Pete Tong MBE, music mogul Ben Turner, and Ibiza promoter Danny Whittle kick off the 2024 edition with some warm introductory words, offset by remarks by co-host Jaguar Bingham from BBC Introducing, representing the new generation.
The summit then launches straight into the IMS Business Report, presented again this year by its chief author, Mark Mulligan from MIDiA Research. “2022 was an unusual year, in that it reflected the post-pandemic bounce-back effect for live,” Mulligan begins. “There was a risk that 2023 would struggle to live up to those inflated expectations. But instead, the electronic music industry grew strongly once again, with impressive growth across virtually all of its constituent parts.” He goes on to explain that it wasn’t streaming growth that lifted up the industry’s revenues; physical music reportedly went back into strong growth and expanded rights — merch etc — was the industry shifting further towards a fan economy, especially evidenced by the rise in African electronic music in recent times.
Publishing has also grown, Mulligan says, but it’s the live sector that’s performing strongest in terms of growth. Live is still growing rapidly and was a significant contributor to why the electronic music industry finished the financial year up 17% to a valuation of $11.8bn. Festivals and clubs continue to dominate revenues — nearly half of the industry total — in what the report calls a “golden era.”
“Following the Covid downturn, the global live music market is bigger and better than ever,” says the report, with a graph showing that Live Nation and Eventim revenues are up $6.4bn to $25.1bn per year. “Pent-up lockdown interest has
translated into two years of increased demand, with tickets both more expensive and sold in larger quantities,” it says.
“Artists like Fisher, Fred again.., Rüfüs du Sol, and Dom Dolla have been doing stunning business in venues that have typically been considered live concert venues. The game is changing, and quickly”
As has been pored over endlessly, the industry has changed irrevocably since the digital revolution this century. Gone are the days when most acts could make a living just from record sales alone — there has to be a live element to top up the income shortfall for most. Even a huge electronic music brand like Defected has to make around half of its money in the live space. “About 45% of our revenue comes from recordings and publishing and about 45% from the events and the agency,” says Wez Saunders, Defected CEO, who have Defected, D4 D4nce, and Glitterbox nights in big Ibiza venues this summer, as well as their own Defected Festival in Croatia in July, plus 400 other nights each year.
Artists, too, must make much of their income from live — it’s still the main activity that pays the bills. There is still a creative paradox for some, however, according to the report. 60% of DJs report that gigs aren’t paying more than pre-pandemic levels and also that it is harder to get gigs. More than 50% of DJs report that DJing is a bigger source of income than royalties and yet making music matters most to the overwhelming number of DJs surveyed — for 85%, making music is more important personally than DJing. The paradox is that performing is where DJs make their money but making music matters most to them.
In most circles, a DJ show is now more widely accepted as being on a par with the performance by a band. “DJ shows can sell as well as gigs with bands and singers, whether this be in greenfield sites, stadiums, or arenas,” says Tim McGregor, MD of TEG Live in Australia. “All the big eye-popping performances at Coachella this year (and last) seemed to be electronic – Justice, Dom Dolla, and Anyma/Eric Prydz in 2024. Artists like Fisher, Fred again.., Rüfüs du Sol, and Dom Dolla have been doing stunning business in venues that have typically been considered live concert venues. The game is changing, and quickly.”
“Electronic music is working its way up, although it is important not to discount live shows,” says Monty McGaw, head of electronic at Untitled Group, Australia’s largest independently owned music and events company. “Both need to co-exist and DJ shows should be given equal importance in the music industry.”
The DJ has long moved out from the dark corner of a nightclub and into the spotlight. Indeed, DJ shows have shown that, in some circumstances, they can command audiences on a par with big live electronic acts such as The Prodigy, Rudimental, Orbital, Underworld, Bicep, and The Chemical Brothers. Arena shows by the likes of EDM stalwarts Tiësto and David Guetta; drum & bass don Andy C; UK legends like Carl Cox and Fatboy Slim; and the Skrillex x Four Tet x Fred again.. triumvirate have essentially shown that a DJ show can rival a band experience in the venues traditionally the preserve of the rock & pop or hip-hop scenes.
“Proportionally, we do see bigger numbers of sales for electronic events. Drum & bass and techno have recently seen significant resurgences”
That’s a situation that’s not lost on those tasked with getting tickets into the hands of the fans. “Historically, we’ve always catered for and sold more tickets to electronic music events than we have for live gigs, as it was the electronic scene upon which Skiddle was formed some 23 years ago,” says Duncan King, head of festivals and partnerships at Skiddle. “However, this is a trend we’ve noticed steadily changing in recent years. We’ve seen the traditional live gig sector double in size, popularity, and revenue, with other alternative and more lifestyle-focused event types also seeing rapid growth.
“Proportionally, we do see bigger numbers of sales for electronic events. Drum & bass and techno have recently seen significant resurgences, particularly among 18 to 24 year olds, making these genres the top choices. Leading the charge are artists like Azyr, blk., Aiden, and Sara Landry. There’s an exciting micro-culture that’s been formed from modern techno, affecting everything from the traditional event format to the fashion choices of attendees.”
Of course, the visual element has come to be of critical importance to these electronic shows — whether a DJ or live act. Production design is critical to the impact these DJ shows can make on audiences, says McGregor. “Some of the major EDM festivals have continued to set a very high bar in this regard, and so DJs, for their own headline shows, are now very focused on creating a substantial point of difference and authentic engagement with live audiences who are seeking an elevated experience. Some of the production designs we are now seeing are, as a consequence, absolutely stunning.”
For the bigger DJ-led acts, it’s not just a case of the DJ turning up to the venue with a couple of USBs and some headphones. Some have a touring team that matches any rock band’s show for spectacle and bombast.
“With the bigger shows crossing over more into commercial festivals/spaces, there really is the expectation that being a performer in your own right is important,” says McGaw. “Production and stage presence is important to captivate these audiences and match the energy of a live headline band in some senses.”
“Not everyone has the economic capacity to go to many events per year, so people are being very picky about where they spend their hard-earned money”
One touring event brand that stages spectacular shows, where inordinate care and detail is given to production, is Elrow. The Spanish company is almost like a touring circus — they travel around with confetti cannons, giant inflatables, around 100 performers, dancers, stilt walkers, and the like, and create fun immersive parties that generally operate around a theme. Past themes have included Sambowdromo Do Brasil, inspired by the Rio de Janeiro carnival; the self-explanatory Horroween: El Bowsque Encantado (The Enchanted Forest); Psychedelic Trip, inspired by the hippie subculture, and so on. Taking their cue from mega fests such as Tomorrowland in Belgium, EDC in Las Vegas, and the Block9 fields at Glastonbury, touring Elrow events have the production values of festivals sandwiched into one night’s spectacular party.
The quality of Elrow’s DJs is still high — they book many of the top names from the underground house and techno scenes. And post-Covid, as soon as events were allowed again, Elrow came flying out of the traps. “People had stayed indoors for a long time, with no events and no travelling — everyone was hungry for more,” says Victor de la Serna, music director of Elrow.
However, live ticket sales have somewhat levelled off internationally in certain territories for Elrow, as the cost-of-living crisis in some countries has started to bite. “I think the hunger people had is now gone and has been substituted by recession in some European countries,” says De la Serna. “The cost of living has gone drastically up and that has been felt all across entertainment generally, so things have changed a lot since that ‘summer of love,’ post-Covid.”
Perhaps unsurprisingly, De la Serna suggests that open-air shows have been clearly favoured after Covid. “The way I think the industry is moving, is towards a more experiential event,” he says. “In these times, I think the whole experience counts for many people. Like I said, not everyone has the economic capacity to go to many events per year, so people are being very picky about where they spend their hard-earned money. Experiential events, where the fan experience is put first, I think, are the way forward, in order to set yourself apart from the rest.”
The report also states that ticket sales continue to rise in Ibiza. The International Music Summit is the de facto launch of the Ibiza season, with most of the big super clubs, such as Ushuaia, Hï Ibiza, Pacha, and Amnesia staging their opening parties. The Night League, owners of Ushuaia and Hï Ibiza (the latter of which has just been voted the No.1 club in the world by readers of DJ Magazine) have also reportedly bought the old Privilege club in the middle of the island. The 10,000-capacity club was formerly in the Guinness Book of World Records as the biggest club in the world but has chiefly been closed or partially shuttered these past few years. Currently undergoing a multimillion-euro redevelopment, it’s set to increase Ibiza’s ticket-selling potential manifold when it opens at the start of the 2025 season on the island.
“The pandemic, I believe, has slowed down touring development in places like China that have been super restrictive, but some areas like Asia and India are super interesting to grow”
Elsewhere in the world, Asia is the continent with the biggest potentially developing market. “Asia has two-thirds of the world’s population, and new events are popping up all the time,” says McGaw. “Asia has broad tastes in music and is still very young as a market.”
“We’re seeing parts of Asia really starting to get more consistent traction, e.g. Indonesia, Thailand, and Philippines,” agrees McGregor. “And increasingly, in the Middle East, too. These markets now come into strong consideration when routing tours down to Australia.”
Electronic music brands have had varying successes when taking their events out beyond the continent of their birth. Creamfields, Ultra, and Tomorrowland have held huge festivals in territories like South America and parts of Asia; clubbing brands like Ministry of Sound have held tours in Australia/New Zealand, Asia, and the Far East; while other club nights have expanded beyond their home countries in more of a microcosmic way. Most will agree, though, that the United States remains somewhat of a holy grail for many ambitious countries. “I think the USA is still, to this day, a big market worth exploring,” says De la Serna. “The pandemic, I believe, has slowed down touring development in places like China that have been super restrictive, but some areas like Asia and India are super interesting to grow. At the same time, these are difficult territories to work in traditionally, but I believe the rewards can be very good.”
Skiddle’s King agrees. “Economic prosperity in countries such as China, Australia, and South Korea is positively impacting the development of already robust markets. Electronic scenes in nations across Asia especially are maturing, creating new names, and drawing in bigger audiences. Infrastructure around these scenes is also developing and in places such as Thailand, tax waivers and import duty exemptions for organisers of large international concerts, sporting events, and festivals are being offered to boost tourism.
“We expect to see these markets flourish over the next few years with internationally established event brands and artists capitalising on these tax-free zones, producing more large-scale events and festivals,” opines King.
“Fans love going to live shows, but mistakes are being made when such ticket price increases are attempted in markets where cost-of-living pressures have bitten hard on discretionary spending”
The main challenge for somebody like De la Serna, whose events rely so spectacularly on the overall immersive experience, is the cost of staging such events. “The main thing is the crazy increase year on year of all production costs related to putting on an event,” he says. “The cost of fuel, rentals, equipment etc. has gone through the roof compared to pre-pandemic. Also, artist fees have skyrocketed, and as such, running a successful and profitable event is more and more challenging.”
De la Serna goes on to point out that various difficult factors lead to the costs being passed on to the consumers at the point of sale. “Adding to the over-saturation in certain markets, the same lineups in many events, and these increased costs present a huge challenge for promoters, especially because, many times, these increases affect the ticket or drinks price in order to make these events successful,” he says. Promoters need to be careful not to price too many potential customers out of the market.
“Pressures are really similar to other parts of the live entertainment industry,” concurs McGregor. “Post-Covid, we have seen huge increases in labour, infrastructure, and equipment costs to stage events which, combined with substantial increases in artist performance fees, make it more challenging to deliver shows without significantly increasing historical ticket prices. Fans love going to live shows, but mistakes are being made when such ticket price increases are attempted in markets where cost-of-living pressures have bitten hard on discretionary spending. Getting the balance right is tougher than ever.”
“There’s also a risk of losing talented live artists,” reckons McGaw. “There’s a need for diversity in live spaces, and the importance of representing various paces and styles of music. There is a risk of the industry becoming too homogeneous and programmers taking a cookie-cutter approach.”
Noting that the sector is definitely not immune to the cost-of-living crisis, ticketing exec King tells IQ, “Trends observed through the analysis of our data show that sales are still strong but that many are happening much later in the campaign as eventgoers delay their decisions about making purchases.
“Our customers are more inclined to part ways with their hard-earned funds for events which offer more in the way of experiences”
“Our customers are more inclined to part ways with their hard-earned funds for events which offer more in the way of experiences, usually day-long events or festivals. This could include anything from VIP villages to immersive installations and secret stages.”
Nevertheless, the electronic music scene’s diversity is one of its core strengths. There are new acts breaking through all the time, spurred on by technological developments, although it takes a lot for a new act to achieve headline billing in just a few years.
In the DJ world, acts like Amelie Lens, Peggy Gou, Charlotte de Witte, and Nina Kraviz have become headliners in their own right, and these women are now at a higher earning capacity than many of their male counterparts. But more generally, there’s a tendency to undervalue the contributions of women, reflected in the continuing pay gap: women creators are nearly twice as likely as men to discover they are being paid less than their peers in the same or similar roles, according to the IMS Business Report.
The report also states that on principle download site Beatport, Afro-house is now the tenth-biggest genre, indicating the ever-growing influence of African electronic music culture. Elsewhere, on youth platform TikTok, the hashtag #Amapiano (a subgenre of kwaito and house music) saw nearly 10bn views, up 166% on its previous year.
The challenge for the industry is to continue to cement diversity within lineups and to continue to expand into growing markets without compromising on fees and production in a way that short-changes the paying punter.
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Beatport to host 24+ hour festival for mental health
Beatport, the online music store for electronic music, is hosting a 24+ hour virtual music festival in support of mental health, featuring DJ sets alongside talks, panels and workshops led by experts in the field.
#YouAreNotAlone will feature sets from DJs including Adam Beyer, Boys Noize and Yousef, livestreamed on Beatport’s Twitch channel this Saturday (7 November) at 7 pm PT.
The event is in collaboration with non-profit mental health organisation When the Music Stops and wellness tech company Silentmode, whose founder Bradley Young will host discussions on mental health and the power of music as a preventative solution.
Also appearing at the festival is Breathonics composer and sleep coach, Tom Middleton; psychotherapist Dr Aida Vazin; leading breathwork expert Stuart Sandeman; artists and mental health advocates Ceri and Rebekah; DJ Sacha Robotti and others.
“Mental health has been one of the most talked-about topics in our industry for years and should continue to be destigmatised”
“These are trying times for our industry. Now more than ever taking care of ourselves, our minds, our wellbeing, and the wellbeing of others, is truly vital,” says Beatport’s CEO, Robb McDaniels.
“Mental health has been one of the most talked-about topics in our industry for years, and this is a global topic that should continue to be discussed and destigmatised. Everyone at Beatport takes this topic very seriously and will continue to bring visibility to it.”
Alongside the DJ sets and panels, participants can also attend a Breathonics Live Session with breathwork expert Stuart Sandeman or chill out in the Breathonics room, which will feature a loop of sleep tracks curated by Silentmode.
“With loneliness, depression, and suicide on the rise, Beatport is becoming a leader in normalising these conversations. When The Music Stops is honoured to collaborate on such a powerful initiative. These issues affect all races and all religions. Together we can make an impact and let people know ‘You Are Not Alone’,” says Joshua Donaldson, founder of When The Music Stops.
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‘A space of music discovery’: New ADE boss talks first year
The 24th edition of Amsterdam Dance Event (ADE) will take place under new leadership, as director Mariana Sanchotene looks to boost daytime offerings, incorporate different art forms and explore the crossover between music and technology.
From 16 to 20 October, ADE festival and conference will take over the concert halls, clubs, and theatres of the Dutch capital. More than 2,500 artists and 600 speakers are expected to take part in the event.
“ADE is massive, it really is mind blowing to be in charge,” Sanchotene tells IQ ahead of her first year leading the event. “The planning is going well so far and it is looking like we will have a strong programme this year.”
The festival recently released its second wave of artists, with DJs Avalon Emerson, Peggy Gou and Carl Craig joining previously announced acts Martin Garrix, the Black Madonna, New Order, Carl Cox and Helena Hauff.
A record 400,000 people attended ADE last year, but Sanchotene states the event has no ambition for growing attendance further.
“We are staying with the same number of venues [140] as last year and expect to match attendance,” says the ADE boss, explaining that the city of Amsterdam is “overwhelmed” by visitors as it is.
“My advice to anyone attending ADE is to experiment with new artists”
“The focus is on increasing artistic quality and on growing the day programme in particular to showcase the crossover between electronic music and different cultural forms such as the visual and performing arts,” explains Sanchotene.
The crossover between different musical styles is important for the ADE director too, who believes that people are “more curious” these days and more likely to deviate from what they know.
“My advice to anyone attending ADE is to experiment with new artists. Don’t just go for the usual suspects, really dig into what new talent is on offer,” Sanchotene tells IQ. “ADE is a space of music discovery – I am very much looking forward to seeing how all the acts turn out.”
The 2019 conference will focus on the celebration of 100 years of electronic musical instruments, with exhibits of old equipment and experts speaking about antique gear. The event will also look to the future with an exploration of how technology is shaping the industry, particularly of how augmented reality and gaming are interacting with electronic music.
Health will also be another important topic at the conference, with panel discussions on wellbeing and relaxation spaces to “remind people of the balance” between work, socialising and rest.
Tickets for ADE 2019 are available here, priced at €450 for a five-day festival and conference pass and at €300 for a four-day conference-only pass. Prices go up on Sunday 1 September.
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Making female DJs normal, not a novelty
Red Bull Music’s monthly Normal Not Novelty returned this week, hosting workshops for aspiring female sound engineers, producers and vocalists.
Launched in 2017, Normal Not Novelty aims to educate and inspire the next generation of female producers and DJs, in a subset of the industry that is particularly male-dominated. A recent report revealed that, over the past seven years, only 2% of producers appearing in Billboard’s Hot 100 year-end charts were female.
“Normal Not Novelty provides a space to make women feel comfortable in pursuing a career in music,” says DJ and producer Bamz, who recently led a Normal Not Novelty workshop at London’s Red Bull Music Studios.
“People tend to presume you are a singer or a songwriter. We are trying to lessen this divide so future generations can look at us and see it’s possible to be whatever you want to be,” states Bamz.
For Karen Nyame, who DJs under the alias KG, Normal Not Novelty is integral for “removing misconceptions where women are concerned.”
“I’ve had to deal with a lot of covert misogyny – people assume I don’t have the knowledge based on my gender”
“I’ve had to deal with a lot of covert misogyny – people assume I don’t have the knowledge based on my gender,” explains Nyagme. “They still want to work with me, because I am good at what I do, but they are patronising at the same time.”
For both producers, the networking aspect of Normal Not Novelty is the most important. “Music production shouldn’t be an isolated process,” says KG. “It takes the pressure off to find other women with like-minded goals all in one place.”
The topic of gender-neutral line-ups has been at the forefront of conversation this festival season, and has divided opinions across the music industry. Primavera Sound presented its first gender-balanced billing this year, telling IQ that “the ‘pale, male and stale’ paradigm” needs to change.
“It’s down to laziness and apathy,” says Nyame in reference to male-heavy line-ups. “There are amazing women out there and a strong influx of female DJs coming through, but we’re not getting a look in.
“To compensate, organisers often bunch us all together on female-only stages, which defeats the whole point of integration.”
“There are amazing women out there and a strong influx of female DJs coming through, but we’re not getting a look in”
Rather than setting quotas or shoehorning female artists onto specific stages, the producer believes more balanced line-ups will only result from “bookers and promoters being willing to go out of their way to take risks and remove the predictability from line-ups.”
Looking to the future, Bamz says a change in attitude towards women in the industry “will come from basic education and hearing anecdotes of women who have succeeded in whichever part of the industry they work in.”
Bamz adds that “giving confidence to younger people, providing positive role models and teaching them to be in control of the art they make,” is the key to achieving more equality.
The next Normal Not Novelty sessions are taking place as part of London’s four-week Red Bull Music festival, with a Notting Hill Carnival special on 20 August and an event on 10 September in conjunction with local label Hyperdub, at the Red Bull Studios in Covent Gardens.
Pictured: (left to right, top) Bamz, Tash LC, KG, Katie Tavini, Kamillah Rose (bottom) Valentina Magaletti, Marta Salogni.
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Chicago venues sued for “crippling” amusement tax
Cook County, an Illinois county centred on the city of Chicago, has been compared to a ‘moustache-twirling ’80s movie villain’ for its attempts to extract hundreds of thousands of dollars in back taxes from a number of small Chicago music venues.
Any establishment hosting “live theatrical, live musical or other live cultural performances” is currently exempted from Cook County’s 3% amusement tax. However, the Chicago Tribune reports two venues – the Evil Olive (400-cap.) and Beauty Bar (750-cap.), both of which host live music and DJs – are now being ordered to pay around US$200,000 each in back taxes because, argues the county, the exemption is only applicable to “any of the disciplines which are commonly regarded as part of the fine arts, such as live theatre, music, opera, drama, comedy, ballet, modern or traditional dance and book or poetry readings.”
“Rap music, country music and rock and roll do not fall under the purview of ‘fine art’,” says Anita Richardson of Cook County’s Department of Administrative Hearings.
Bruce Finkelman, who owns the Beauty Bar, says being forced to pay the tax “would put us out of business”. “That’s a crippling amount of money,” he tells the Tribune.
“It would put us out of business. That’s a crippling amount of money”
Both venues are now fighting the county in court.
Writing for the Chicago Reader’s blog, The Bleader, Reader social media editor Ryan Smith says by ‘fine arts’ the county “seems to imply arts events where white people of a certain age and income level politely clap while holding programmes, where socialites go to rub elbows clad in expensive Italian fabric and tinkle gold-rimmed glasses at cocktail receptions”.
Smith compares Cook County councillors to “cartoonish, moustache-twirling villains from a snobs-versus-slobs ’80s movie”. He writes: “They’re the functional equivalent of John Lithgow’s self-righteous pentecostal preacher character from the 1984 film Footloose, outlawing dancing and rock ‘n’ roll out of fear of the spiritual corruption of the youth. They’re the fun-hating suits and stiffs who want to turn beloved clubhouses into parking lots; the fascist principal who tells the iconoclasts to cut their hair and get jobs; the priggish cultural elitist sneering at the music that ‘kids these days’ love while huffily insisting something like Beethoven is ‘real art’.”
Lawyer Matthew Ryan, representing Beauty Bar, says he will bring a DJ to the courtroom for the next hearing in October to prove that DJs produce music “the same as any instrumentalist”.
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