Column: Sensory Evolution In The Electronic Music Scene Explained

Written by Saar Amptmeijer Wednesday, 19 May 2010 18:00

Festivals, and the global music scene in general, have witnessed a spectacular revolution over the past few years when it comes to audiovisual elements being part of events. But what has been the impact on visitors? How have these events been affected by these developments? BnB's Arts & Lifestyle reporter Saar Amptmeijer went to find out and presents her view on integral audiovisial festival experiences extraordinaire...

The first edition of the Lowlands festival, officially the largest and most popular musical gathering in the Netherlands, did not host any form of theatre whatsoever. The same goes for Dutch acclaimed dance music festival Mysteryland, which in the mid-nineties did not even came close to match the amount of impressive styling and decoration of its forthcoming 2010 edition. With music being one of the most intensive, sense-tickling forms of arts, it is hardly a surprise to conclude that music and arts have always formed a powerful partnership that continues to fund new ways to express itself at today’s musical gathering.

The concept of house parties was conceived at the end of the 80s, and whoever thinks that these parties were only intended to check out new music couldn’t be farther from the truth. Back then, promoters came up with various creative audiovisual ways to let the crowd become ‘part’ of the night instead of merely a visitor. However, these creative outings do not even come close to taking on the competition with the audiovisual and arty stuff we encounter at today’s house parties. Looking back on the history of house music festivals, promoters have constantly been raising the bar when it comes to decoration and arts to the point at which these elements have become of essential importance. Entire areas are filled to the roof with video screens, DJs and artists who present themselves as living art ornaments, while stages are being transformed into interactive areas on which dancers and actors engage in various forms of performing arts. And I didn’t even mention video clips and CD/LP cover art yet. The latter has become of utter importance to the artist’s image using a well thought-out form of art.

What fascinates me the most though are festivals. The image of a festival seems to get more and more defined by the way it’s incorporating its environment as a major factor in the overall experience. Music no longer is of primary importance. It’s the visitor himself who is becoming an essential factor in the event’s theme and atmosphere: It is here where common 2D-images are transformed into surreal 3D experiences… As your senses are being transposed to what almost seems to be an overload of emotions, you slowly feel yourself disappear while at the same time becoming part of your environment. The sound system is banging. Upon opening your eyes you’re immediately blinded by the many lasers shooting across the floor. The stage and other parts of the area are being transformed into huge constructions in any imaginable form. You’re no longer just listening, you’re experiencing.

The art of fusing audio with visuals has also become the playground of various artists. A good example of an artist who has been playing an important role in this field is Richie Hawtin who has been hosting numerous shows that are remarked by a bizarre collage of audiovisual elements. Take the way he incorporates visuals in his shows, for instance. These visuals seem to match perfectly to his abstract, electronic minimal music: It is as if they connect, interact, communicate if you will. Furthermore, Richie often uses a combination of green and blue colors in such a way that it greatly enhances the overall experience of the party, therewith taking the concept of innovative clubbing to new and adventurous dimensions…

On the Dutch side of things, the Extrema Festival has always been on the forefront of impressive decoration and sensational visualization. Next to the many fantastic aspects that form the decoration of each separate stage, the whole festival site is packed with both huge as small elements that make you feel like you’re someplace magic. Its fireworks show at the end of the festival is regarded by many as the cherry on the pie. Today, almost every promotor is doing his utmost to make their festival concept is turned into an overall experience. Just look at festivals such as Lowlands, Global Gathering, and Mysteryland and see the difference as compared to a decade ago. Impressive decoration, visuals and light shows have become major factors at these events. It would be safe to say that visitors have evolved from spectators into participants. Instead of standing in a room watching an artist, one becomes part of the overall setting, and an even more important factor in the festival’s overall vibe.  

The best part of this all is that festivals have been able to ‘take arts out of museums’. For centuries, artists have struggled to get art out of the so-called ‘White cube’, and in a way, the music scene has managed to do this. The piece of art in this context is no longer a boring artifact, but an interactive experience that is to be enjoyed by all.

Richie Hawtin @ TDK Timewarp, Mannheim Germany, April 2nd 2005, 7:30 AM