Techno is Dying in Berlin Nightlife, a Trend is Upbeat and Colourful

For fifteen years, Berlin’s nightlife has been synonymous with an all-black, leather-clad aesthetic, a uniform that signaled entry into the city’s legendary techno temples. This era, characterized by its austere, industrial sound and strict door policies, appears to be drawing to a close, as a new wave of vibrant, eclectic, and decidedly more upbeat music and culture is taking hold. The city, long the undisputed capital of techno, is witnessing a significant shift, with a growing demand for experiences that prioritize inclusivity, joy, and a departure from the monolithic dominance of a single genre.

The prevailing image of Berlin clubbing, as often recounted, involved arduous queues, even in the biting December cold, followed by a scrutinizing gaze from a formidable bouncer. The implicit expectation was a adherence to an unwritten code of dress and demeanor, a "vibe" that dictated who was deemed worthy of entry. While this scenario is an extreme, it reflects a widely shared experience for those seeking to immerse themselves in the world’s techno epicenter. The mystique surrounding Berlin’s cavernous nightclubs, where hedonism and trance-inducing beats could sustain for days, became intrinsically linked to the city’s 21st-century identity. This cultural significance was further solidified in 2023 when Berlin’s techno scene was officially recognized by UNESCO as an intangible cultural heritage. However, beneath this celebrated facade, the city’s sonic landscape has been subtly, yet definitively, evolving.

The Rise of Toy Tonics: A Counter-Movement

At the forefront of this transformation is Toy Tonics, an independent Berlin-based house music label that has consciously positioned itself as a vibrant counterpoint to the established "techno gods" of the city. Mathias Modica, the founder of Toy Tonics and a respected DJ and producer known as Kapote, articulates this ethos clearly. "We’re coming out of a decade in which a ‘cold mood’ was ruling in fashion and electronic music – dark sounds, black clothes, industrial aesthetics, and aloof behavior came from the underground and became mainstream," Modica explains. "Being surrounded by so many dark and monotone sounds like techno and trance in Berlin, we wanted Toy Tonics to bring a positive vibe and attitude."

This philosophy is visually embodied in Modica’s personal style, which often features bright colors and playful slogans, such as a blue cap emblazoned with "Fuck Bauhaus." This choice is a deliberate rejection of what he terms "the old Gods of German rationality" and an embrace of a more expressive, rule-breaking aesthetic. Toy Tonics draws inspiration from figures like Andy Warhol and the colorful, often chaotic, artistic output of German artist Isa Genzken. "These people broke the rules with a certain sprezzatura, as the Italians call it – an ironic ease that carries positivity and an open-minded attitude, rejecting rigid rules and restrictions," Modica states, highlighting a core tenet of the label’s identity.

A Night of Vibrant Rebellion at Studio 1111

The label’s commitment to this ethos was palpable at a recent event hosted at the newly constructed Studio 1111 venue in Schöneberg. The celebration, held as part of the city-wide Erster Mai (May Day) festivities, presented a stark contrast to the traditional, often somber, Berlin clubbing experience. The party spilled out onto the streets, with an impromptu jam session led by a hip-hop band creating a lively, communal atmosphere. In a symbolic gesture of the shifting priorities, the venue’s doorperson, Atari, momentarily stepped away from her post to engage in freestyle rapping, illustrating a breakdown of rigid hierarchies and an embrace of spontaneous creativity.

The crowd at Studio 1111 reflected this departure from the established techno uniform. Attendees sported a diverse array of styles, from full camouflage to vibrant printed tees, with only the occasional nod to the traditional black leather jacket. This visual heterogeneity underscored Modica’s assertion that "Kindness is the new coolness." In a world grappling with political extremism, economic instability, and global conflicts, Modica believes that empathy and openness are more crucial than ever. "In times where extreme right-wing politicians are known for their arrogance, and when we are surrounded by growing economic problems and new wars, it’s not the time to be cool and cold: it’s the time to be open and friendly," he emphasizes.

The musical offering at the Art Jam was equally antithetical to the stoic techno sound. The Afro-disco-house sets were characterized by melodic flourishes and explosive drops, eliciting an enthusiastic response from the crowd. Attendees were seen clapping, singing, and cheering in unison, a testament to the infectious energy of the music and the inclusive atmosphere. As the night progressed, the sense of connection and camaraderie was evident, with many revelers embracing the spirit of the event.

Declining Fortunes of Traditional Techno

The rise of movements like Toy Tonics is occurring against a backdrop of a demonstrable decline in Berlin’s traditional techno scene. In recent years, a significant number of clubs have shuttered their doors, a trend exacerbated by a decrease in "techno tourism." The UNESCO designation for Berghain, while a recognition of its cultural importance, is viewed by many as a necessary measure to secure government funding and prevent the iconic venue from facing closure, rather than a sign of enduring popularity. Data from industry reports indicates a plateauing or even slight decline in attendance at some established techno venues, prompting a reevaluation of the genre’s long-term viability in its traditional stronghold.

Toy Tonics, in contrast, stands as a notable exception to this trend, having hosted an impressive 190 events in the past year alone, demonstrating a robust demand for its alternative approach.

The Broader Trend: Embracing "Silly" Music for Escapism

This shift towards more upbeat and inclusive music is not unique to Berlin; it reflects a broader trend observed in dance music culture since the COVID-19 pandemic. This phenomenon has been described as a move towards "silly music," a concept that encompasses maximalist, often meme-adjacent sonics that offer an escape from the pervasive anxieties of modern life. The rise of artists like Skrillex, who has transitioned from pioneering "brostep" to becoming an unlikely figurehead for this new wave, exemplifies this evolution. Stars such as Underscores and Ninajirachi are also emblematic of this movement, with their music often characterized by an unadulterated sense of fun and escapism.

This craving for unadulterated joy can be understood as a direct response to the multifaceted challenges facing Gen Z, including the pandemic, political instability, the rise of far-right ideologies, global conflicts, and the existential threats of climate change and artificial intelligence. In a world perceived as increasingly grim, "silly" music provides a vital outlet for uninhibited, escapist pleasure.

Skrillex’s Invasion of Berlin’s Techno Heartlands

The impact of this trend is even reaching the hallowed grounds of Berlin’s techno institutions. The upcoming two-day takeover of Kraftwerk, a venue that houses both Tresor, the city’s oldest techno club, and the renowned Berghain, by Skrillex is a significant indicator of this cultural recalibration. The event is set to feature a diverse lineup, including the assertive dubstep sonics of Oxford DJ Hamdi and the vibrant cloud rap of Tokyo’s Tohji. This planned "invasion" by artists associated with more eclectic and upbeat sounds signals a profound shift within the very core of Berlin’s techno identity, challenging its long-held exclusivity.

Reinterpreting Techno: A Legacy of Inclusivity

Lovefoxy, a DJ known for her upbeat house and Detroit-style techno sets, concurs with the observation of a growing emphasis on kindness within Berlin’s club scene. She describes her role as playing "silly, fun music" to offer young people a respite from societal pressures. Crucially, Lovefoxy does not advocate for a complete rejection of techno, but rather a reinterpretation of its recent history. She points out that techno has historically coexisted with house music in Berlin’s clubs, and it was only in the last fifteen years that it solidified into its current "stone-faced, leather-clad monolith."

"In the 80s, it was more disco-house-y. Techno was definitely around but not to the extent that it [has been recently]," she explains, drawing parallels with her mother, who opened one of Berlin’s first house and techno clubs in 1989, before the fall of the Berlin Wall. "This was before the Berlin Wall fell, and West Berlin became a strong community. People didn’t care about the headliners; it was a loose, fun approach to partying. [In the last decade], the music has become harder, and there’s the myth that you have to dress in all-black to get into Berghain. That definitely isn’t the case. Come as you are, be as you are – that is what Berlin has always stood for."

The Future of Berlin Nightlife: Acceptance and Welcome

Ultimately, the current vibe shift in Berlin’s nightlife points to a fundamental desire for acceptance and welcome. The stern-faced bouncers and mythical dress codes that once guarded the gates of techno clubs are giving way to an atmosphere where individuality is celebrated. Whether it’s techno, house, or the genre-bending chaos championed by artists like Skrillex, the future of Berlin’s nightlife appears to lie in spaces that prioritize inclusivity and genuine human connection. The anecdotal evidence, such as the doorperson engrossed in a freestyle over Bob Marley’s "One Love" in the smoking area, suggests a potent reimagining of what it means to party in Berlin – a shift towards a more open, joyful, and fundamentally welcoming experience.