Detroit’s Movement festival (aka Detroit Electronic Music
Festival, aka DEMF) happened May 23 to 25 at Hart Plaza, a
large outdoor space on the Motor City’s riverfront. For three days from
noon to midnight on four stages, dozens of elite DJs and
electronic-music producers—mostly of the techno and house
persuasions—performed for wildly diverse crowds (well, compared
to those that attend other large fests of its ilk, like Montreal’s
MUTEK and Seattle’s Decibel). Decibel director Sean
Horton—who grew up in metro Detroit—attended Movement,
as he’s done for several years. Surely he’s thought about the
differences and similarities between the two events; here I will posit
my unsolicited 2¢ on what he and Decibel (now in its sixth year)
can learn from Movement.
Do:
…hold as many performances outdoors as possible. Movement 2009 benefited from pleasant, sunny weather; generally, people
inherently enjoy themselves more outdoors than they do in dark clubs.
Decibel held outdoor gigs for the first time in 2008, at Volunteer Park
and in Havana’s parking lot, and those were many attendees’ favorite
experiences of the festival. Horton and company should strive to host
even more sets alfresco. Moving the event to earlier in September or
even to August could ensure better temps for such a scenario.
…secure Cal Anderson and/or Volunteer parks. One advantage
of this: Daytime outdoors sets are more likely to draw random
spectators, especially those not necessarily fanatical about electronic
music, but who dig big gatherings in verdant settings. Decibel needs to
move beyond tech-industry geeks and Resident Advisor readers in order
to grow, and this would be an aggressive way to take its brand to the
general populace and, crucially, minors.
…arrange for select vendors to sell their wares at a heavily
trafficked site. Movement had a nice bazaar set up where folks
could buy records, clothes, jewelry, incense, and other goods. This
could raise significant revenue for Decibel.
Don’t:
…emulate Movement’s schedule. It’s too damned long.
Starting each day at noon seems absurd when many rage till 5:00 or 6:00
a.m. at Movement’s vast array of afterparties—many of whose bills
surpass the fest proper for quality talent. Artists assigned early
slots inevitably feel cheated; and, really, who wants to get festive at
noon after a marathon day/night of debauchery? In this regard, Decibel
does it right, starting shows in the early evening, thereby giving
punters at least a fighting chance of getting some sleep without the
nagging feeling of missing something good.
…follow Movement’s stylistic narrowness. As expected for an
extravaganza in techno’s birthplace, Movement’s organizers naturally
feel obligated to emphasize that style. While Decibel obviously books a
fair number of techno artists, its range is broader, encompassing
several genres that mostly appeal to discerning electronic-music
aficionados. Walking around Movement’s grounds, one sometimes heard a
numbing monotony of sounds. Thankfully, Horton’s aesthetics are strong
and diverse; he’s unlikely to steer Decibel too heavily in any one
direction. 
