Is electronic music the new punk rock? In this feature from Tone Deaf, several industry executives discuss the influence that electronic music has had in the way that music is promoted, published, and even performed.

Electronic music has seen an undeniable boom in the last five years, and at the forefront of that growth has been a host of electronic music promoters pushing the genre forward.

Electronic music has seen an undeniable boom in the last five years, and at the forefront of that growth has been a host of electronic music promoters pushing the genre forward.
With the move into the online realm, are those involved with the electronic scene inherently better positioned to deal with the challenges of modern music promotion?
To answer this, we’ve asked three industry professionals for their thoughts on why electronic promoters are now leading the way – and what’s next for the promotion of the genre in an ever-changing digital marketplace.

  • Matt Bonner, Director of Let Them Eat Cake, the boutique New Years Day electronic festival that has seen rapid growth since its inception only a few years ago in 2013.
  • Walter Juan, who has long been involved in electronic music promotion, and currently works in electronic music and event publicity with his company I Like The Noise It Makes.
  • Gavin Heron, Creative Director of Thick as Thieves, a Melbourne-based touring and events company providing a stage for DJs and producers from around the world.

(Jon Hopkins, the modern headliner)


Has electronic promotion hit the front of the pack in recent years and, if so, why?

“The electronic music scene will, by its nature, be aligned with whatever the current technology is,” Matt tells us. “It’s technologically-based music, so our promotion will always follow suit. I think that’s given the scene a real leg-up in terms of online promotion.

“Which isn’t to say there aren’t other scenes that haven’t used online promotion very well, but I think it’s that connection that has lead to the perception – which I believe is true – that the electronic scene is out front in the age of digital promotion.”

Walter agrees that the electronic scene may have been inherently better-positioned to react to the advent of new methods of promotion.

“I might be wrong,” he tells us, “but it feels like 20 years ago artists across the board used to operate on the same base level when it came to promotion – for example, everyone used to hand out flyers, use radio, do print media… there really wasn’t any separation between genres and how they were promoted.

“The rise of electronic music as a major musical force coincided with the rise of a whole new generation who grew up in a digital world, and they were always going to adapt better to the new promotional technologies. Also, it feels like the more old-school way of promoting through print media, radio, flyering etc. has a certain amount of romanticised charm attached to it that the band scene still holds onto.

(Boutique electronic festivals have gone from strength to strength in recent years)


Walter points out that, arguably, that romanticised ideal has begun to shift towards that of the ‘bedroom producer’, positioning the electronic genre as the inheritor of a very hefty mantle.

“The whole idea of the loner computer hacktivist sitting by himself in his room is the new romantic notion to strive for. Whether you like it or not, the DIY aesthetic of electronic music really has made it the new punk.”

The current audience demands and business concerns of course also play a large part in the recent success of electronic music promoters.

“It also boils down to a numbers game,” Walter tells us, “and now electronic music is the genre of choice – and big business. The rise of the home studio has definitely added to the popularity of electronic music. A whole host of cheap and easy-to-learn software, like Ableton and Logic Pro, has lead to electronic music becoming more accessible – and also beat off the challenge from other more instrumental-based genres which require expensive instruments. You don’t need a bass, drum or guitar players anymore – all you need is some samples, a DAW, and time.


Read the full story by Brandon John at Tonedeaf

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