A recurring series of parties has been launched at the Chop Shop in Chicago to mark the return of the famous nightclub called The Warehouse. The iconic venue, part of Chicago’s LGBTQ+ community, was the home of the late DJ Frankie Knuckles and its defining sound became a widely recognised genre of house music. The bi-monthly series has been launched in collaboration with Warehouse’s founder, Robert Williams. The objective is to introduce back authenticity to the Chicago house music scene that has become commercialised and lost unity.
The series debuted last weekend with performances by Juan Atkins, Casey Dittmer (KC Wray), Shaun J. Wright, and CtrlZora. There are plans to take the parties beyond Chicago and across America and then into Europe. KC Wray, who is one of the Warehouse Presents series organiser, initiated the project in response to the commodification of house music. At the root of Wray’s objective is to link the industry back to its core progressive values.
According to Dittmer, the current house music scene sanitises the genre’s core progressive values, and the pioneers of house music “hold no equity within dance music”. Dittmer uses the examples of Drake and Beyoncé winning Grammys for their music inspired by house music. While on the other hand, the innovators of house music receive no recognition. Williams appears to share similar views, thinking that egos have taken control over the dance floor; whereas, the focus should be on the dance floor and the music.
Interestingly, The Warehouse began doubling its admission fees in response to Frankie Knuckles’ move to start his own club, the Power Plant, which later became Power House. The Music Box was initiated in response to The Warehouse doubling its admission fees. The Music Box became influential in its right, with Ron Hardy being a notable resident. The Warehouse itself became associated with the term “house music”, as Knuckles began experimenting with rhythm makers and drum machines while mixing disco classics.
In conclusion, The Warehouse returning to the Chicago scene is a significant moment for the city’s music industry. The Warehouse, as a club, has become a recognised landmark of Chicago’s history and played a significant role in keeping the genre of house music alive and kicking. Its feature nights in collaboration with the original founder should return the genre to its roots and provide a much-needed antidote to commodification
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