The multiplication of electronic music festivals
French pioneers in the genre, namely Nuits Sonores in Lyon, Astropolis in Brest, Nordik Impact in Caen and N.A.M.E Festival in Lille, have been joined by Paris in 2013 with two electronic music festivals, the Weather Festival organized by the Surprize agency and the Peacock Society by the We Love Art agency. The emergence of other local scenes, in Nantes, Bordeaux, and in the PACA region, makes up for the French lagging behind on the electronic scene where most stakeholders agree that the beginning of the 2000s was a sort of barren desert.
French festivals encouraging the mobility of audiences from all regions, indeed from Europe, makes for an electronic music market whose explosion can be witnessed throughout the national territory. The springing up of new festivals, parties, clubs, collectives and artists has accelerated in the last few years. Many subscribe to a creative approach whose strong identity and shared aesthetic unifies various scenes and above all audiences.
There are some sixty electronic music festivals in France.
The brand new strength of collectives
DJs and other electronic music artists increasingly unite within collectives generating an unprecedented creative rivalry on the current scene. Beyond artistic stimulation, the advantage of such a gathering also lies in the ability to share the means of production and promotion.
Young and connected stakeholders
Today’s newcomers, all of them as young as their audience, master new technologies that alter the modes of music creation and production (home studio) as well as the way to broadcast and access the produced works (platforms and social networks).
Digital natives creating for digital natives.
Perfectly abreast with the history of electronic music, they manifest a learning ability that is boosted tenfold by the Internet’s power. The ecosystem of electronic music thus sees its dividing lines constantly moving.
A constantly renewing ecosystem
The multiplication of stakeholders in an expanding market, including production as well as broadcasting or consumption, modifies behaviours and practices.
To outline, one can separate:
- the market segment which deals with the monetisation of the growing broadcasting of dance music works through traditional channels (radio, TV, nightclubs) but which is weakly represented in a live context
- a market segment composed of techno/house music, whose artists appear mostly live but whose works are almost never broadcast on traditional channels, to the benefit of low income broadcasting on the internet whose main purpose is communication.
Thus electronic music stakeholders are spread across a wide spectrum of structuring and practices, defining diverse and more or less compatible issues and strategies.
Electronic Music Factory answers all your questions whatever is your aesthetics or purposes!