Everything wrong with the Dance Music Scene Right Now

House music is at its record high right now. Saying - "I Love House Music" has become a status symbol - as if were a cult. Ask these people what is their favourite song - it breaks my heart when people answer 'Move' by Adam Port or 'Adore You' by Hugel, it just shatters me from within. Today, songs are made for TikTok and Instagram, not turntables. A 15-second hook that "slaps" matters more than the other 2 minutes and 45 seconds. It’s not about feeling anymore—it’s about gaming the algorithm. When the word 'Move' repeats 20 times or 'I Adore You' uses the same beat and formula as 'Move', with changed lyrics goes viral, it is proof of how blindsided the house music community is. Instagram and TikTok have changed the basic message and meaning of house music. House music fans, who are there for the experience are now replaced by reels of people who know three songs by Keinemusik throwning themselves house music genuises. That is like me saying I am a rock music fan after listening to. 'Smells Like Teen Spirit'.

These algorithm-based singles have won people's hearts so well, that albums are recieving a quite death. Why would an artist decide to go through the hassle of making an entire album when they know one formulaic song is going to make them the money. Take Zerb’s viral hit “Mwaki”, a song that is, on the surface, a breath of fresh air, African vocals, global beats, deep house vibes. But dig deeper and what you find is a manufactured cultural mash-up tailored to trick the algorithm. The Kikuyu-language vocals from Sofiya Nzau were originally available as downloadable samples, now spun into a club-friendly context by a Brazilian producer. Even worse, tracks like “Addicted” with the Chainsmokers, “Location” and the remix of “feelslikeimfallinginlove” by Coldplay all sound eerily similar. They follow the same blueprint, the same synth and the algorithm simply one the battle for Zerb.

Instead of serving as inspiration for producers to push boundaries, "The Days (Notion Remix)" became a template, a checklist of tempo, bassline, and shuffle. Within months, everyone from underground DJs to top-tier acts like John Summit were hopping on the sound. His track “Light Years”? Slap a bouncy bassline under it, speed up the BPM, sprinkle in rave stabs and airy female vocals, and boom - you’ve got yourself a "speed house banger" designed to hit For You pages and Hype Charts.

But where’s the soul? Where’s the risk?

What we’re getting now is a sanitized, Spotify-optimized version of the UK Garage culture. The shuffle is cleaner, the basslines are simpler, and the drops are engineered to get a crowd reaction within 10 seconds.

It’s not a revival - it’s a commodification.

Let’s talk about the rise of the press-play superstar. Festivals now book Instagram influencers who can barely beatmatch, while local legends with serious skills get passed over. It's not about the journey of the set, it's about the hype around the name. What happened to craft?

Bring back the messy transitions, the unpredictable bangers. Bring back soul to dance music!