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The Overmono dance duo, known for their energetic performances, have had a successful year in the underground rave scene. They have sold-out headline shows, their debut album made it onto the charts, and they have had a busy festival season playing prime time slots. To add to their accomplishments, they will be performing three shows during the new year period. Surprisingly, their highly sought-after tickets can be found in Australia.
Not only Overmono, but also multiple well-known artists will be performing internationally this upcoming year. In the past, it was common for every club in the UK to host a New Year’s Eve party where DJs would have two or three sets in one night.
Scottish promoter, Nick Checketts, who is 27 years old, suggests the possibility of an earlier show in Glasgow followed by a drive to Edinburgh or Manchester. However, due to smaller promoters avoiding New Year’s Eve and some clubs being closed, this year may be different. Nick explains that he would definitely organize a show if he was certain that it would attract a large crowd and be successful, but it is a difficult task.
Steven Braines, one of the founders of the event series He. She. They., has also decided not to participate in this year’s New Year’s Eve celebrations. “The behaviors of those who go out on New Year’s Eve have significantly shifted. House parties have become popular again, or individuals are seeking a grand moment and a sense of community. As a result, clubs are facing challenges.”
Indeed, one of the most significant end-of-year parties will be a 24-hour livestream pre-recorded rave in a packed Brooklyn warehouse featuring star DJs Peggy Gou, Kaytranada and Honey Dijon – released on Apple Music. The live events that have sold out in advance are enormous: 12,500 tickets at Wembley arena for Defected Records, 10,000 at Warehouse Project in Manchester. The mid-level club night is being decimated, and industry insiders say club culture is over.
According to Finlay Johnson of the Association for Electronic Music, the increase in ticket prices has caused young people to save their money and prioritize investing in major events. This trend is negatively impacting the smaller-capacity clubs, as their core audience is diminishing. Johnson also notes that numerous popular UK artists have chosen to perform in countries such as Australia, Dubai, or Europe for their end-of-year concerts. Some artists have even decided not to tour at all.
Sacha Lord, who serves as the night-time economy adviser for Greater Manchester and is also a co-founder of Warehouse Project, predicts that the upcoming year will bring significant changes. According to Lord, traditional nightclubs found on high streets, with their carpeted floors, are quickly becoming a thing of the past. He anticipates that there will be numerous closures of major nightclub chains in the next 12 months due to ongoing challenges.
Over the past year, 125 establishments have been compelled to shut down because of the financial difficulties caused by the high cost of living. Kelly Wood, the national organizer for live performances at the Musicians’ Union, warns that the recent closure of beloved venue Moles in Bath is a clear indication of this problem.
A recent study by Rekom UK revealed that social media plays a significant role in the decision-making process for nearly a quarter of people when planning a night out. According to the report, TikTok is a popular platform for finding inspiration and ideas for events. William Aspden, XL recordings’ head of A&R and manager of Overmono, explains that social media showcases big events in a more appealing and exciting way, making them more appealing to attend with friends. The desire to be a part of the moment captured on social media is a driving factor for event attendance.
Smaller clubs are losing ticket sales due to festivals. According to Michael Kill, CEO of the Night Time Industries Association, this year’s festival season has been exceptional. He believes that these large events, where numerous artists perform in one night, are a continuation of this trend. Kill explains that they provide a festival-like atmosphere in any venue, regardless of the weather.
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The preference for big nights does not come cheap. At Wembley, first-release tickets started at £52; for VIP packages it was £104. At the Warehouse Project, tickets were £45 or more. Transport costs are rising too, with taxi firms on the cusp of being obliged to charge VAT on top of fares. “If a £10 journey becomes £12, it’s starting to get to a point where, through taxation, we’re creating a financially inaccessible environment for people who are already under pressure,” says Kill.
Furthermore, establishments that stay open late at night are facing difficulty in attracting a younger demographic, especially since one in five individuals under the age of 25 are opting not to consume alcohol.
The pandemic has also altered behaviors, resulting in a group of young individuals who prefer to stay at home. According to DJ and Not A Diving Podcast host Paul Rose, the trend has shifted towards online experiences instead of clubbing. This has even affected rising artists like Yunè Pinku, who have expressed their dislike for the club scene. Hunger Magazine has labeled them as “ravers who loathe raving”.
Could this be the start of the decline for nightclubs? It seems that way. According to Rose, “Clubbing is no longer seen as cool.” She also mentioned that these types of venues have a limited lifespan and that smaller clubs with great music are not as popular anymore.
Source: theguardian.com
