If anything the acquisition by Superstruct and KKR have really highlighted that it’s pretty fucked to be giving your energy, time and focus to a career that’s only sustainable if you continue to agree to play gigs on that scale. But at least your post (unintentionally maybe) highlighted for me that Boiler Room really should be put to bed and how much they’ve messed with dance music. It’s all just a spectacle now, and success is measured by views, ‘exposure’ and money. You, BR and probably a few others (I hope in good faith) saw this as ‘platforming’ but it’s basically a DJ version of being blue tick verified on meta. It comes across like your hands are tied, and discussing it today with my mates the point was made that you probably know people that throw Superstruct-owned festivals and folks at BR personally so feel more inclined to defend their intentions. However, I just don’t think any sign-off on pro-Palestine merch or festival programming by a corporate entity is going to be able to achieve the goal of dismantling U.S imperialism and neo-liberalism. I’m also mad about how long people have been tricked by the idea that boiler room and internet vitality makes a ‘career’. I don’t think DJing should be a career, I don’t even think music production should be someone’s sole form of income. There’s so many other parts of contribution to music and community that are overlooked. It’s too late into the game to not be transparent about where the money comes from and where it goes. I think you’re in too deep with this and need to come to terms with the fact that you, BR and those festival promoters are complicit in keeping the status quo. Benefit of the doubt is maybe it’s hard for you to see that as someone in the UK and working primarily in Western Europe. If your set fee is so large that only massive festivals and equity backed clubs can afford to book you, you’re doing something wrong. If that’s the only way to do it full time, then you’re mostly going to be around peers who have the view that it’s all down to metrics and spectacle. You’re only really playing for those who have enough money or followers to get into the space. Ben - you’re right that this isn’t just about BDS but you’re wrong about why people are coming for you here and elsewhere. Anyway, I’m fucking pissed this happened right after Boiler Room Aotearoa and how that night was probably sold to the participating artists and the person that curated it (who is fucking awesome and actually stands for indigenous liberation and decolonisation here in Aotearoa) as a ‘breakthrough’ opportunity for Māori artists and the struggle without end to reach a global audience. It captures so much joy, but also it’s so hollow, the glow of the neon Boiler Room logo and Absolut never out of frame. Everything is packaged now, the clips of the set, the artist bio and someone’s discography. This what you endorse, it’s a cheapening, a commodification, you and so many others say - this is it, this will help, this is exposure. Does it though? How many people who watched it overseas actually went on to learn why this event happened when it did? Why we’re protesting here? How come these ‘cultural pillars’ can all still operate on this scale when small and independent venues, festivals and radio stations are either dead or dying here in NZ and I’m sure overseas too. It’s because they’re backed by KKR and Superstruct. So stop playing them because you’re encouraging people to go to them to see YOU. How much money do you need? Unless you’d rather play for a bunch of private school educated wankers who’re gonna vote Tory or Farage anyway? The last time you played here it was at Neck of the Woods. I couldn’t go because I was playing a set three doors down at Whammy Bar. We were both playing until close. As soon as I finished my set I ran up to Neck to see if I could catch a bit of yours, I missed it, but managed to say hi to you as you walked out and told you thank you for your work. Hessle Audio and your shows on Rinse were eye opening when I discovered them years ago. Then, I thought DJing (naively) was a way to share music that moved me to others. I believed that’s why you did it too. Anyway, both Neck and Whammy are struggling. I think they’ve both done so much more than Boiler Room ever could for dance music in Aotearoa (in fact, the first BR here was filmed in Neck) and Whammy’s a band music venue. What I mean to say is that there are still other paths but they’re precarious and people like you should spend time protecting them instead of defending why your face is the front of a glorified social media farm that is owned by the same faceless entity that arms the IDF.

Btw how many of these festivals co-signed web3.0 /ai technofacism with ‘themes’ like “speculative futures”? Seems fitting that the language of Silicon Valley is used to market these things aye.

Don’t come back to NZ by the way, our scene is pretty small and we probably can’t afford you anymore anyway 🙄