The Sydney Dance Music Scene and the Global Diffusion of Contemporary Club Culture

Abstract

The development of contemporary, post-disco dance music and its associated culture, as representative of a (supposedly) underground, radical subculture, has been given extensive consideration within popular music studies. Significantly less attention has been given to the commercial, mainstream manifestations of this music. Furthermore, demonstrating the influence of subculture theory, existing studies of dance culture focus largely on youth-based audience participation, and as such, those who engage with dance music on a professional level have been somewhat overlooked. In an attempt to rectify these imbalances, this paper examines the contemporary commercial dance music scene in Sydney, Australia, incorporating an analytical framework that revolves mainly around the work of DJs and the commercial scene they operate within. Given the increasingly global and corporate nature of the dance music scene, there is a sense that the music and culture are becoming less ‘local’ and more ‘international’, with this global movement affecting the identity and development of local scenes, the understandings and practices of those who are involved with these scenes, and the very definition of a ‘scene’ itself. The ideas, opinions and interpretations of a selection of local DJs and other music industry practitioners who work in Sydney are central to the paper’s analysis of DJ culture within the city. It is my intention to place the local scene in Sydney into some sort of wider cultural and global context, but at the same time to highlight what aspects of the scene give it a unique local identity. Being a scene that relies quite heavily on overseas dance culture, and indeed places a certain emphasis on the cultural value of overseas music and international DJs, it can be somewhat difficult for local DJs and producers to establish themselves, and thus a certain tension exists between the local and the global.

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