With the hype exploding and still growing, EDM has evolved from an underground movement to a big target market for all kinds of enterprises, attracting the attention of big companies who started pouring lots of money into the scene, hosting bigger, louder, crazier festivals all over the world (think Holy Ship, Ultra, EDC, Tomorrowland etc.). “It’s just a marketing term to sell various genres of dance music to the US.”, Clive of Electronic Rumors once tweeted, and he’s totally right about that. With the massive marketing firepower of the entire event industry as a strong tailwind, EDM is getting bigger and bigger. In fact, the bigger it gets, the bigger it gets – a vicious circle.
Obviously what I’m talking about here is largely a US-based phenomenon. Of course it’s swapping over to Europe, but the real big hype hasn’t actually arrived yet (and I’m not sure if it ever will): even at European mainstream EDM festival like Tomorrowland you will meet more North and South Americans than Europeans combined. This is due to a strong, independent scene and a long tradition of electronic dance music in Europe: French house in, well, France, drum & bass and dubstep in the UK, techno and deep house in Berlin – just to name a few examples. There are lots of big artists in Europe who firmly stand against the EDM hype, who have always chosen quality electronic dance music over cheap music for the masses. I’m not going to do some namedropping here – if you’ve been following this blog for some time chances are that you already know who the good guys are. After being asked in an interview why Europe seems to be constantly ahead of the US when it comes to electronic dance music, techno legend Richie Hawtin explains that the club scene in Europe has not only a much longer tradition than it has in the States, but also complains about the mentality of the US scene: “I think music in America, and this emanates across the world, everybody wants to be a superstar. Everybody wants to actually cut themselves off from people. Everybody wants to be on a pedestal. […] It’s a little bit disappointing how that’s happened in America. It’s really like the whole rock star, hip-hop mentality. You know, these unreachable people.”
Having said that, EDM’s poster boys are of course in no way inferior when it comes to producing and DJing (except for some of the obvious douchebags), in fact I have all the respect in the world for artists like David Guetta: every single piece of music this man touches immediately turns into solid earworm gold. Also, he’s French, so obviously I’m not just hating on the US music scene here, just to be clear about that too. The US music scene is clearly breaking new grounds with EDM at the moment, so obviously there are lots of people who are new to electronic dance music – and of course they can’t be expected to immediately know and appreciate the more elaborate and sophisticated facets of electronic music, as Hawtin explains: “If you just got into Calvin Harris or you just got into Afrojack, great. You’ve stepped through the door, but there’s so much more to learn.”