Bless, the influencers themselves haven't done anything wrong, nevertheless, it's undeniable that their front-row appearance symbolises a dramatic, commercialised shift in dance music's culture.
Dance music formed it's roots underground. The genre did not harbour mainstream attention nor the financial benefit in return. The people who made it, were fuelled by genuine passion for the art. This gave dance music it's authenticity and integrity. It gave it its edge.
But recently, dance music has emerged from the shadows and began basking in the mainstream's light. Dave Jenks acknowledges this transition and the reasons for it in his article. Ultimately, the evolution of technology has given more people the platform to not only make dance music, but access it too: tracks are made from the comfort of a bedroom, and then uploaded to the internet. Social media then provides an accessible platform for artists to generate a following. The mainstream consciousness has subsequently recognised the potential of dance music and embraced the genre and with open arms, signing artists to record labels and promoting EDM Festivals.
So is cringing at Calfreezy and WillNE's front-row appearance a pessimistic contradictory? Their influential status parallels and essentially celebrates the new-found popularity of dance music. So many underground scenes foster talent that never have the chance to get heard. Shouldn’t we embrace the mainstream exposure that is giving smaller artists well-deserved success?
Unfortunately dance music's rise in popularity is simultaneous with it's commercialization, leaving a bittersweet taste in critics mouths. Jenks acknowledges the criticism of commercial success having 'diluted the artistic integrity of dance music, leading to a proliferation of formulaic and generic tracks'. A genre that was once recognised for its honest passion has been streamlined into a process of generic production and dangerously close to losing its authenticity. Calfreezy and WillNE's presence - unfortunately - also nods to this loss of speciality and 'edge'.
A genre that was once recognised for its honest passion has been streamlined into a process of generic production
But are people really concerned with the music? How much is this loss of 'edge' actually a personal concern of individual identity and ego? Human beings are desperate to define their identity. And with the ongoing influence of *cough, cough* commercialisation, many like to digress from the mainstream, feeling more fulfilled by finding an identity uncorrupted by what the mass media imposes. Thus when dance music supposedly loses its 'edge', they feel as if they have too. Their niche interest is no longer an individual choice but a mass-consumed product; and their ego has taken a toll.
That is why when WillNE and Calfreezy take front row at Kettama, consumers are suddenly discouraged from enjoying the music. Dance music has not changed. There are undoubtedly moral and economical concerns that come with its commercialisation, but the sound is essentially the same, if not produced even better. So if you're irritated that two lads are enjoying your favourite genre, question if you're internally trying to gate-keep Dance music and enjoy its new-age of popularity.