Electronic Music Clubs Turn Into Phone-Lit Spectacles

Synopsis

• Pandemic-era longing for connection gave rise to anthems about lost nightlife and community.

• Electronic music’s resurgence has brought larger crowds but more spectators than dancers.

• Commercialisation, social media and rising costs are reshaping club culture worldwide.

Estimated reading time: 3 mins Read

Image copyright: The Smart Local

Electronic Music Clubs Turn Into Phone-Lit Spectacles

In 2021, at the height of the Covid-19 crisis, English electronic producer Fred Again and fellow DJ The Blessed Madonna connected over Zoom to reflect on the emotional toll of lockdowns. “We’ve lost dancing,” she said, lamenting the disappearance of hugs, shared spaces and the communal rituals people once took for granted. Yet she struck a hopeful note: “If I can live through this, what comes next will be marvellous.”

Fred Again transformed that moment into a resonant track, looping the refrain “we’ve lost dancing” over synthesised flute and steady kick drums, crafting an anthem about emerging from isolation.

Five years later, the outcome looks different from what either artist may have imagined. While pandemic restrictions have faded and spending on travel and experiences has surged, nightlife has returned in altered form. Clubbing now often mirrors concert culture: forward-facing crowds, illuminated by raised smartphones, largely still. As Bloomberg reports, the economic and cultural implications are already reshaping how electronic music functions.

Critics frequently blame younger audiences, portraying them as less inclined to drink or embrace spontaneity, hyper-aware that every movement can be recorded and circulated online. Raised on TikTok, many dances are choreographed for cameras rather than improvised on crowded floors.

A widely discussed example emerged from Ibiza in 2024, when German Afro house collective Keinemusik performed their single Move before a crowd that scarcely did. Video clips showed a sea of motionless attendees holding lit phones aloft. “Don’t move,” one online commenter quipped.

Commercial pressures and social media have intensified the transformation. As audiences behave more like spectators and content creators, venues have escalated production values—larger stages, headline-heavy line-ups and immersive effects. Higher operating costs drive up ticket prices, raising expectations and reinforcing the spectacle cycle. According to data from the International Music Summit (IMS), ticket volumes for electronic music dipped in 2024, yet higher prices pushed overall revenues upward. IMS estimates the electronic music industry reached US$12.9 billion (S$16.4 billion) in 2024.

Unlike rock or hip-hop, which thrive in concert settings centred on star performers, electronic music historically depended on intimate venues and the dynamic exchange between DJ and dance floor. Gavin Stephenson, a New York DJ and promoter active since the 1990s, says dance music’s essence lies in storytelling shaped by crowd response rather than rigid set lists.

Club culture traditionally prioritised the night itself over any single act. Attendees came to dance collectively, not simply to observe. Substances such as MDMA and ecstasy further amplified feelings of connection, reinforcing the communal energy.

Yet large-scale spectacle is ascendant. More than 1,100 feet above Manhattan, Tao Group Hospitality converted the Edge observation deck into a temporary club last summer, booking acts including Benny Benassi, Diplo and Adriatique. General admission tickets reached US$200, with resale prices topping US$700. Partygoers ascended 100 floors to a glass-walled platform overlooking city lights, phones raised high, bodies swaying modestly at best.

Electronic music’s audience has expanded rapidly. IMS data shows the genre gained 566 million fans across Spotify, Instagram, TikTok, YouTube and Facebook in 2024. The hashtag #electronicmusic generated 13.4 billion views, up 45 per cent from 2023. Styles from tech house—the leading sub-genre—to Afro house and dubstep have attracted private equity interest. In a US$1.4 billion transaction, KKR & Co acquired Superstruct Entertainment, which operates 80 festivals including Sonar and Awakenings and owns Boiler Room.

Though now deeply rooted in Europe, electronic music began in the United States. Disco evolved in the 1980s into Chicago house and Detroit techno within marginalised LGBTQ, Black and Latino communities. The 1990s rave era splintered into trance, acid house, big beat and drum and bass. By the 2000s and 2010s, artists such as Avicii and Calvin Harris propelled the genre into mainstream pop, fuelling mega-festivals like Tomorrowland. Today Germany leads global listenership, followed by the US, Australia, the UK and Mexico.

As the scene has expanded, some argue it has lost its original ethos. The term EDM is often used dismissively to describe commercialised sounds. Tracks have shortened, favouring dramatic drops suited for online sharing. A survey of 15,000 DJs conducted by the Pete Tong DJ Academy in April 2025 found 61 per cent believe social media presence now outweighs musical skill.

DJ Arnii, based in Tbilisi, wrote in a widely circulated Instagram post that the push for shareable moments has led to shorter, fixed-time slots, reducing creativity and artist pay. A club that once booked a single headliner for a four-hour US$2,000 set might now hire five DJs for 60 minutes each at US$400, he noted, multiplying content and perceived value but diminishing narrative depth.

Because electronic music often features one or two DJs behind a booth, some performers rely on lasers, pyrotechnics and expansive screens to enhance visual impact. Avant Gardner, owner of Brooklyn Mirage, invested millions in a 270-degree wraparound screen exceeding its already large display. Bloomberg reports the renovation failed to meet city regulations, derailing reopening plans and pushing the company into bankruptcy in 2025. A spokeswoman declined to comment.

Yet expansion continues. Five Holdings, owner of Ibiza’s Pacha, agreed to purchase Avant Gardner and plans to open Pacha New York in the former Mirage space. Ibiza’s UNVRS debuted as a 10,000-capacity “hyperclub,” while Bangkok introduced Future on New Year’s Eve. In Las Vegas, the Sphere hosted melodic techno DJ Anyma for 12 sold-out nights in early 2025, elevating production standards further.

Meanwhile, smaller venues struggle. Berlin, long regarded as Europe’s clubbing capital, has seen closures amid rising living costs. A non-profit industry body warned that half of the city’s roughly 250 clubs could be at risk.

Some venues are pushing back. Brooklyn’s Signal and nearby Refuge cover phone cameras with stickers, while established spots like House of Yes and Elsewhere have instituted phone bans. Signal co-owner Josh Buhler acknowledges the loss of free social media marketing but believes a phone-free atmosphere builds its own appeal.

Stephenson argues there are no strict rules in dance culture; people will explore both large-scale spectacles and smaller rooms. Mary Wolff, co-founder of NYC Rave Girls, emphasises education rather than gatekeeping. What remains non-negotiable, she says, is the purpose of the dance floor itself.

“Dance floors are one of the last public spaces where strangers are allowed to be emotionally and physically open with each other,” she says. “Without dancing, it’s just not a rave. It’s more like a very loud screen.”

Original report source here

About Bloomberg

Bloomberg is a global financial news and information company providing business, markets, economics and policy coverage to professional and consumer audiences worldwide. Through Bloomberg News, its journalism division delivers in-depth reporting across industries including finance, technology, energy, healthcare and geopolitics. Bloomberg’s reporting is widely cited by major international publications and broadcasters, and its newsroom operates across multiple continents with correspondents covering real-time market developments and long-form investigative features. The organisation is also known for its Bloomberg Terminal, a data and analytics platform used extensively in financial markets, as well as Bloomberg Television, Bloomberg Radio and digital news platforms. Bloomberg’s coverage of cultural and economic trends frequently examines the intersection of business, society and global consumer behaviour, providing context-driven analysis grounded in verified reporting and industry data.

Contact VRDJ for immersive workshops, events and gigs here

Disclaimer

The information provided in this article is for general informational purposes only and from publicly available sources and internal company disclosures. While we strive for accuracy, we do not make any representations or warranties, express or implied, regarding the completeness, reliability, or validity of the content. This article does not make any direct claims about specific companies, individuals, or organizations beyond stated facts. Readers are encouraged to conduct their own research and seek professional advice before making business or technology decisions. We disclaim any liability for any losses or damages incurred as a result of reliance on the information provided.