Detroit’s beloved electronic music festival, The Movement, returns to Hart Plaza tomorrow (May 27) for its 21st edition. While the festival’s 30,000 attendees take in sets from Basement Jaxx, Skrillex, Kaskade, Kevin Sondresson, DJ Minx and many others, crews at Paxhau – the local independent rave promoter that has built the movement since 2006 – will spend the weekend like they always have Let’s do: Notes on how to improve for next year.
In 2000, the House & Techno (with a bit of hip-hop) fest became one of the first few dance music festivals to launch in the US, along with Ultra and EDC, incorporating the locally forged genre, techno. was the first , on a platform.
Yet unlike ultra and EDC, which have now become synonymous with EDM and all its glitzy commercial fanfare, the movement remains minimalist in its approach – it’s really still about the music, sans the fireworks and mega-stages.
“It’s a labor of love,” Paxahau founder Jason Huwere said of the company’s tight-knit team of OG reavers when we were all young. “Detroit techno culture is what we committed to years ago, it’s second nature. The sustainable business part is another matter.
But in an increasingly difficult landscape for independent event promoters, Paxhau is still turning a profit. The company is run by a team of 15-year, full-time employees in four departments: marketing and communications, production, talent and creative. During the movement, they bring in an event staff of 350 to help bring the event to life.
Paxhau first became involved with the movement by throwing its after-parties, before taking over the festival as producer in 2006. It’s stayed true to that opening ethos that it’s now hosting its own official afterparty, in collaboration with a number of labels, artists and other promoters. The company also hosts dance events throughout the year at its partner locations—Magic Stick, TV Lounge and Spot Light, and at Detroit’s Masonic and Russell Industrial Centers—for events of up to 1,500 people. Last year he hosted 56 shows.
But like other independent dance festivals around the country that survived the COVID shutdown (Southern California’s Lightning in a Bottle and CRSSD, Elements in Pennsylvania and Florida’s jam-band influenced Hulaween), the movement has struggled with ever-increasing production costs. Faced with existential threat. From cryo to porta-potty rental.
“It was like a lost generation,” Huvre says of people working in event production and other related jobs. He cites a 25 percent increase in production costs, an increase unheard of in previous years, and a continuing increase in prices.
To compensate for this, Paxhau had to raise 2023 ticket prices, but focused on reasonable rates, with three-day Tier Two GA passes going for $279 plus fees. (By comparison, Ultra’s 2024 Tier Two Weekend GA passes cost $400 and Goldenvoice’s Portola 2023, Two-Day Fest, Tier Two GA Passes are $360. Passes for the three-day Elements are $289.)
A big reason the movement still exists is because of the loyalty of its fans. The Huvare Movement calls on 2020’s third ticket-holders, who held onto their passes (instead of requesting refunds) after the festival was canceled during the pandemic, as the main reason for the festival’s survival. “I don’t know that I’ve heard any other story than all of our conference calls, shared emails and notes [with other festival organizers] That was the kind of response,” he says.
A partnership with Twitch, which reached out to Paxhau early in the pandemic about doing exclusive livestreams on its platform, provided a lifeline to both the company and its rich pool of Detroit artists, including Detroit residents DJ Holographic, Eddie Foulkes, Juan were involved. Atkins and many more. (The Movement itself is not livestreamed, though select sets have been recorded for later release.) 1.2 million unique viewers from the US, Canada, England, Germany, Russia and beyond tuned in during lockdown to get their Detroit house and techno Tune in to the Paxhau Twitch channel during solve.
Amazingly, livestreaming is at the core of the DJ set Paixhau’s birth. Back in 1998, when the Detroit underground electronic scene was being decimated by the police and the Internet, Paxhau turned to the world wide web to broadcast techno. While it’s now easy to livestream a DJ set from anywhere with a decent internet connection, in the dial-up days, Paxhau had to set up an ISDN line, build a server rack and use Winamp software called What was then called “Shoutcast”. ,
Fans can type this into their Winamp along with their Shoutcast server address and tune in, and Paxahau will celebrate when they have 12 simultaneous listeners. When a club called Motor started regularly booking dance music, Paxhau wired the club and started livestreaming from there.
By 2000, he began holding parties again and became a torchbearer for the movement in 2006, when techno progenitor Kevin Saunderson dropped out of hosting the Sixth Movement festival after doing so the year before. Paxahau was drawn to co-produce Saunderson’s stage at the festival, so he reached out to the city of Detroit and petitioned to run the event and keep it alive.
“The event at the time was a mess,” says Huavere. “It lost money six years in a row and had three different producers. We wanted to do whatever we could to stabilize it, and the city wanted to do whatever it could to identify the stabilizing agent.
While Paxhau was helped the first year through “some great relationships that came together to help us,” after that, he committed as the sole creator of the movement. “Fast forward a few years after that experience,” says Huwere, “we had rain storms, wind storms, cancellations and accidents—all kinds of things that kill festival promoters, and we definitely lost.” Went.” But “over time, through the natural process of evolution, the festival itself has become obsolete, and we have come of age.”
Detroit’s downtown has also changed significantly over the past 20-plus years, with its renaissance finally taking hold around 2008. Billions of dollars have gone into restoring long-abandoned historic buildings in the area, with the city’s downtown now filled with hotels and bars. and restaurants. Huvre says the city has supported the movement from the start and that “the techno culture is very much celebrated by the city’s residents and employees.”
The movement’s ticket revenue is meant to match the cost of throwing the festival with merch and beverage sales, along with the money generated by the partnership, allowing them to turn a profit. Their annual festival budget is designed to match the size of the audience, typically 30,000 attendees each day, although this number can be affected by the heavy rains that occur during the spring in Michigan.
Corporate partners—many of whom have worked for years—are a vital part of keeping the festival thriving. (“If we didn’t have sponsors, you’d notice,” Huvre says.) Big partners like Red Bulls and JARS Cannabis underwrote the costs of building some of the stages, while online music gear superstore Sweetwater hosts Movement Studios. , which provides a tent. Fans and DJs learning about how electronic music is made.
For Paxahua, it is essential that the sponsor brands match the fest’s ethos. The festival doesn’t even really have a sales team, all of these relationships have been organically established over the years with a focus on long-term partnerships.
Above all else, promoting Detroit dance music and supporting local artists is the most important thing that Paxhau and The Movement continue to do. “All of us have been working together for almost 30 years. It’s all one big organism, one big family,” Huvre insisted. Paxahau has hosted events with Craig and Saunderson — who Huvre says have long “brought their brand and Detroit to the whole world.” have been actively promoting” — since the company’s early days, and both tech giants often take over the stage at the festival.
For Paxhau, supporting the next generation of Detroit talent is also an “absolute duty.” The team, along with rising stars DJ Holographic and Henry Brooks, saw the play in small local venues and learned that it was just.
“Watching these artists grow over time and seeing them play in front of a bigger and bigger crowd and seeing the way the crowd reacts,” says Huvre, “that’s probably one of the best parts about this project.” One of them is to feel and be a part of that growth.
Part of the beauty of participating in the movement as an out-of-towner and tech lover is experiencing the city, the culture, and the people who make tech. Many of its founders and early innovators are still active on the scene, sharing their music and knowledge with the next generation of ravers and DJs. So the movement is also an excellent place to reminisce about, and educate on, dance music’s roots as a black, queer urban American art form.
Larger companies have expressed interest in acquiring Paixhau, but with The Movement’s status as one of the few remaining indie dance festivals, Hoover is grateful not to follow a business structure that is more in line with the company’s values and vision. does not align with
“One of the great things about [Paxahau’s] The culture is that we’re not goal-focused, but direction-focused,” he says. “It’s always been about the trajectory, the journey, the feeling. It’s never been about, ‘I need to get this done. ‘ or ‘I want to have this thing.’ For the future, I just want to preserve it.”