Constructing Atmosphere and Community: Anthropological Perspectives on FOLD, London’s Electronic Music Venue

Jonathan Berber [ Email ]

How can the same DJ set evoke completely different feelings depending on the venue? Why can music sound so similar, yet the experience varies so greatly based on the space where it’s played? This paper investigates how electronic music clubs are intentionally designed to elevate atmosphere and audience engagement. Focusing on the renowned nightclub FOLD in London, it examines how spatial design and sensory elements are utilised to connect with diverse audiences. By analysing these factors, the paper explores the tools clubs use to enhance the listener's experience, questioning the assumption that music alone defines the success of a night.

In architecture and design, nightclubs have mostly been overlooked and considered as simple venues. This perception has shifted in recent years, with the architectural community starting to recognise the challenges in designing clubs. In 2018, the Vitra Design Museum in Germany presented an exhibition titled “Night Fever: Designing Club Culture, 1960-Today” (Vitra Design Museum. 2018). This exhibition focused on how club design had evolved and adapted over the years and how these designs differed from country to country. Illustrating how, through the decades, design trends developed, from the psychedelic interiors of the 60s to the minimalist present day. Although there have been many evolutions of aesthetics, the central theme in the design of clubs has never changed: they focus on the people who inhabit these spaces. This design philosophy uses every element from lighting, sound and layout and has been deliberately planned to function to elevate atmosphere and experience. The design has to accommodate people’s needs democratically and dictate how people use the space. I argue that nightclubs are not static places; they need to be filled by people to be completed. This essay explores how the prominent electronic music nightclub: FOLD, London, has created an atmosphere and community through design. Looking at how FOLD considers function, sensory experiences and the role of safe spaces in creating atmosphere.

“FOLD is not just a static product. The whole building is alive.”

 - David Conde, FOLD team member. (Murray. H, 2019)

Context: FOLD

The pilgrimage to FOLD is unassuming, walking from the busy developments surrounding Canning Town Station, North, over the A13 and down a small road through an industrial estate. The club’s exterior melts in with its industrial neighbours, offering little hint of its use to people passing it. Upon approach, you are asked to place stickers on your phone camera; no stickers, no entry. This aligns with the club’s dedication to preserving privacy and atmosphere. The entrance houses the first set of lockers; the club uses lockers for your belongings, encouraging a sense of freedom and self-expression. The lockers are an underestimated design feature; by giving people full agency over what they can wear at any time, the club acknowledges how essential people are to the art. 

The main room of FOLD is a testament to minimalist design with industrial embellishments. The walls, cloaked in black, focus attention on the music and communal experience. At the far end is the DJ booth, placed not as a towering pedestal but on a level with the main floor. The only elevated structures are made of galvanised steel scaffolding for people to dance on. This design puts the people at the forefront; you can only see the DJ from the front, but you can see people from these elevated areas from every corner of the club. It brings people’s attention away from the DJ and into the present, focusing on the music they are playing. During day events, the slat windows running down the floor’s left wall carve beams of light across the room, adding a dynamic visual layer and creating an industrial aesthetic.

The smoking area (figure 2) serves as a communal extension for rest for the club. Caged in with the same scaffolding inside the club, the smoking area continues the minimalist, industrial aesthetic. It offers immediate views of the neighbouring scrap tip and the further backdrop of highrises surrounding Canning Town. It is a common area where people's differences are disregarded and where acceptance prevails. This sense of community extends to every nook and cranny of the club, including the toilets. It is not uncommon for there to be a larger queue of women at the men’s toilets, but no one complains; everyone is respectful of each other. To add, the toilets are decorated from floor to ceiling with stickers and writing left behind by others; although this may be unintentional vandalism, the club has not attempted to clear it, it is a reminder that people use this space and have played a part in designing it.

tHEORETICAL FRAMEWORK

Space, Place, and Atmosphere in Anthropology

Anthropological discourse offers a rich understanding of the complex interactions between humans and their environments through the perspective of space, place and atmosphere. By delving into the theoretical framework here, we can better analyse how FOLD has been purposefully designed and created to be a place of meaningful social interaction for people. By aligning their design with the unique social aesthetics of electronic music, FOLD have understood the importance of design and curation in presenting an art form for a specific group of people (Born. G, et al. 2017). We will explore social aesthetics and their role in creating atmospheres and the other variables that mould them with the use of Stone Techno Festival (figure 3) as our model case study.

Frank Heidemann’s conceptualisation of atmosphere within social aesthetics shows the importance of contextual factors in connecting individuals, senses and design (Heidemann, 2017). Heidemann emphasises the importance of auditory experiences as a pivotal third dimension in social aesthetics. He argues that for a comprehensive understanding of social aesthetics within space, we must also acknowledge its effect on the body by incorporating proprioception. Proprioception is an especially relevant subject in our understanding of club design, it describes bodily movement that is done without thinking. In the context of techno clubs, proprioception is important because it allows the mind to focus on its inputs, the music and space. letting your body react, rather than think about its movement, helping your body go into automatic mode so that your brain can appreciate the music. This consideration for an individual’s bodily awareness within a context adds another variable factor to analysing the complex nature of the social aesthetic of a space.

Stuart Grant expands on similar concepts of social aesthetics, acknowledging their complex and multisensory framework, but highlights how social aesthetics affect individual emotion. This emotional engagement with different social aesthetics creates an atmosphere of a mediator (Grant. S, 2013). It is this emotional response to varying social aesthetics that people relate to in different ways, whether that is positive or negative. Noting the complexity of human emotion and social aesthetics, as explained by Heideman, Grant (2013) emphasises the transient nature of atmospheres, noting their complexity and dependency on multiple factors, which means they are delicate and constantly evolving. This transient quality of atmospheric experiences requires any analysis to be immediate, present and contingent upon temporal specificity. This makes any form of analytical assessment of atmospheres challenging. Jürgen Hasse also shares this view that atmospheres are hard to gauge. His work has looked at how omnipresent atmospheres are, presenting moods as ‘basic affectivities’ that individuals are in constantly. However small this mood may be, it still affects our perception (Hasse. J. 2014). In terms of social aesthetics, design expresses different meanings to people through gestures that are either purposeful or not but dependent on context and the individual, which can impact their mood. Asserting that architects wield the power to embed emotion into their designs through gestures, for example, “to impress, for directing the attention, for subtle suggestions, for ideology-constitution” (Hasse. J, 2014. 224). This appreciation for emotion as a form of expression and reception underscores the complex interplay between social aesthetics, emotion, and atmosphere.

Stone Techno Festival has had significant praise within the electronic music community for its unique setting at the UNESCO World Heritage Zollverein in Essen, an old industrial coal mine. Unlike clubs, which offer a permanent and familiar space for their communities, festivals like Stone Techno are temporary, presenting both challenges and opportunities. Clubs, such as FOLD, create a consistent presence, fostering strong community ties as evidenced by loyal members who return week after week. Festivals occur once a year and have higher ticket prices which demands greater trust and commitment from their attendees. However, the temporality of festivals allows them to have far more creative freedom to make fully immersive experiences, pairing a specific aesthetic of a space to sound. Throughout the following section on the theory behind atmosphere and community I will be using Stone Techno Festival as the primary case study because festivals are not bound creatively in the same way as clubs; they give us a much clearer understanding of how theory can be applied to evidence. By looking at the far more pronounced and obvious aesthetic elements at Stone Techno Festival we can then go onto appreciate the more subtle elements that FOLD uses. 

Stone Techno Festival has engaged with Jürgen Hasse’s work on atmosphere and aesthetic. By pairing the industrial sounds of techno with the backdrop of the industrial coal mine the festival has shown its understanding of its audience and community (Figure 4). The raw industrial aesthetic of the disused coal mine may be morbid to some, but in the context of a techno festival, these elements resonate deeply with the genre’s history and community. Techno’s roots and inspiration started in the steel yards of Detroit and its history of illegal raves, forced raves into abandoned industrial areas when the genre was young and underground. The use of the coal mine shows how the festival has embraced its temporality by using a space that, as a heritage site, could never be used as a club. Its use of temporality has meant the festival has been able to bring the techno community into a space that most aligns with its aesthetic. This precise alignment of design elements to individuals, as Hasse has asserted, has an impact on mood and atmosphere to the people inside (Hasse. J. 2014). 

Examining these theoretical perspectives gives us a deeper appreciation for the intricate layers that constitute atmosphere. Dependent variables of context, sensory experience, and individual subjectivities form these layers. This understanding lays the groundwork for exploring how these theories apply to the design of club spaces, where the amalgamation of architecture, emotion, and sensory engagement plays a critical role in crafting the overarching atmosphere. I argue that in order to analyse club spaces we should acknowledge the significance of atmosphere on the people that inhabit these spaces. Clubs try to design spaces with social aesthetics in mind to create a preferred atmosphere. However, as I’ve previously discussed clubs are not static places they are made by the people who inhabit them. Therefore, by including atmospheres into our analysis of club design we include the importance of people in their design. The next section will seek to understand what cultural factors need to be addressed in techno club design aesthetic, to establish a positive atmosphere. By looking at the theories behind what creates atmosphere, we can unpack how FOLD has designed its space purposefully to benefit the people.

Ethnomusicology and Electronic Music Spaces

As I have discussed, techno clubs are designed with the aim of creating an atmosphere. Atmosphere is dependent on context, sensory experience, and individual subjectivity. Context and sensory experience are two factors that are within the control of the club, however, individual subjectivity is far harder to control. We will now examine literature in ethnomusicology to appreciate techno culture more broadly. By unpacking techno culture we can identify the links between club design and culture, the two factors that constitute social aesthetic. When we understand what social aesthetic is recognised by the community we can begin to identify design elements that are receptive to a positive atmosphere among its community. By viewing these spaces as more than mere entertainment venues, we can see they are crucial sites for communal identity, inclusivity, and transformative experiences.

From the majority of discourse on electronic music, ethnomusicology scholars liken club spaces to religious spaces. Becker and Woebs (1999) conceptualises electronic music spaces as modern iterations of ritual spaces. This comparison highlights the club’s function as a “sensoric temple,” where auditory and visual stimulations converge to facilitate a departure from the mundane into states of heightened consciousness and communal ecstasy (Becker. T & Woebs. R. 1999. p64). Drawing similarities from studies on tribal dance cultures where dance is used as more than entertainment but for spiritual practices—arguing that these spaces are not only venues for listening and dancing but also for experiencing a form of social ritual that reinforces group identities and a sense of belonging. In a study by Solberg, sixteen participants were studied listening to electronic music, which heightened their enjoyment through the group synchronised motions typical in club spaces (Solberg. R. T, 2016). Solberg’s empirical study shows how this synchronised dancing from listening to the repetitive beat in electronic music creates a “fellow feeling” (Soberg. R, T, 2016, p304). Similarly, Becker and Woebs also noted this collective feeling, calling it “we-feeling” (Becker. T & Woebs. R. 1999. p70). The unity found through dance can help us understand electronic music’s spiritual elements and emphasise how important community is in techno culture.

This common perception of rave culture in ethnomusicology emphasises the sensory environment and its immersive power over the collective. Rietveld argues that electronic music spaces offer a spiritual escape and foster a strong sense of belonging among marginalised groups (Rietveld. H. C, 2004). Stating that by creating a sense of communal soul through shared experiences of trance and ecstasy, electronic music spaces are “powerful when one belongs to a marginalised social class; hence the intensity of, say, gay dance gatherings” (Rietveld. H. C, 2004, p 48). This view is shared with Saldanha, that electronic music has transformative potential in transcending social barriers, in their study of Goan trance music scene, where the unifying power of dance music was evidence (Saldanha. A, 2003). However, Saldanha (2003) is careful to acknowledge that while rave culture has spiritual elements, it lacks specific power dynamics that are common in most faiths. Its lack of power dynamics in rave spirituality is irrelevant to this essay. However, exploring how spirituality is vital in understanding what social aesthetics expect and why people go on pilgrimages to club spaces will help us access what design elements FOLD uses to elevate people’s unity and collectivism.

Figure 5 and the link are taken from Stone Techno Festival 2023. The video of Marrøn’s set from the festival embodies the deeply spiritual and communal aspects of electronic music culture. Marrøn’s sounds draw inspiration from Africa with a greater focus on groove and percussion, over industrial sounds. (Rose. E. for FOLD). Whilst watching his set you can begin to appreciate how his tribal rhythm can create a ‘fellow feeling’ or ‘we-feeling’ (Soberg. R, T, 2016, p304; Becker. T et al., 1999, p70). The crowd moves as one, the collective looks like a breathing organism. The collective can be seen in an almost trance like state. People are not filming or talking, but only focused on the music. 

Due to the collective nature of listening to electronic music, club spaces are havens for marginalised groups who seek community. Kolioulis highlights essential social platforms club spaces are for LGBTQ+, queer refugees and other marginalised groups as inclusive spaces that foster diverse and vibrant urban cultures (Kolioulis. A, 2018). Kolioulis’s work gives us a more built environment perspective in studying music venues and the night time economy. Stating that clubs are often repurposed post-industrial spaces that promote gentrification surrounding them. As found in the case of Printworks, the former printing factory which was developed into a mega club in Canada Water. Printworks closed in 2022 to be turned into office space because of the revitalisation of the area and its proximity to Canary Wharf. Printworks had been pushed by gentrification to relocate to an old Ikea in Tottenham and rebranded under the new name, Drumsheds. Kolioulis cites gentrification as a considerable threat to electronic music clubs in London, “where 50% of nightclubs have disappeared in the last decade” (Kolioulis. A, 2018, p 207). He argues that this threat to clubs also threatens the marginalised communities who inhabit them. The connecting and liberal nature of club spaces make them important communes for marginalised groups, amplifying their importance in society. The decline of clubs means that there are fewer communal safe spaces for marginalised communities in London. It reveals the broader role clubs play. FOLD is a queer positive club not specifically a gay club. I argue by not identifying as a gay club they do more for building a constructive communal ground. It's a safe space for all and in a world where politics are becoming increasingly more divisive FOLD is a space that breaks that division.  

 Collectively, these perspectives reveal the electronic music club as a complex social and cultural space that fosters safe spaces for marginalised communities, facilitating communal dance rituals embedded in the urban landscape. Acknowledging the ethnomusicology of electronic music is crucial to understanding variables that influence atmosphere in club settings. Discourse on atmosphere emphasises the role of the senses as a variable in creating atmosphere. The senses are also cited as a key reason why people enjoy electronic music in ethnomusicology, including the way proprioception creates this collective feeling. By combining the two discourses, we can begin to appreciate what design considerations are necessary for creating a club that hosts an atmosphere specifically for the electronic music community, particularly one that provides for their spiritual needs and affords refuge for marginalised groups.

FOLD’s Design and Management

The minds who designed FOLD

Lasha Jorjoliani and Seb Glover, the co-founders of FOLD, not only set out to establish a music venue but endeavoured to foster one with a vibrant community through their inclusive ethos. The conceptualisation and realisation of their club have come with a distinctly anthropological understanding that reflects broader socio-cultural dynamics. Jorjoliani’s perspective encapsulates this mission: “We are artist-led, the space is built for artists and our community, and we are continuously evolving and growing” (O’Connor. N. 2021). This artist-led ethos embodies an intersection of neoliberal principles. At its core, neoliberalism champions individualism, market freedom, and entrepreneurial innovation, qualities that FOLD seemingly embraces through its commitment to being artist-led and its goal to “build a new type of space which supports a wide range of local emerging and international artists” (O’Connor. N. 2021). They use community-based management principles to create a space which at its core is for the community.

Moreover, their collaboration with local entities and the ambition to integrate with the wider Newham community is articulated by Jorjoliani: “We are working with Newham Council to grow and expand and provide more opportunities for the local community to get involved in what we do and aim to partner with local schools and art/music groups within Newham” (O’Connor. N, 2021). This reflects a clear intention to become a cultural hub, fostering partnerships that resonate with their inclusive ethos and artistic direction. Seb Glover’s reflections on the challenges faced by London’s nightlife show that they see their relationship with the local area as symbiotic. “London, unlike other leading European cities such as Berlin or Amsterdam, has struggled in recent times… What we have created at FOLD is a new home, tucked away from the pressures of the city,” Glover’s emphasis on creating a “new home” for London’s electronic music scene speaks to their desire to cultivate a space that allows for freedom of expression and connection, away from the city’s intensifying pressures (Murray. R, 2018).

Jorjoliani and Glover’s search for community is considered at every point, particularly visible with their Sunday day rave, UNFOLD (figure 7). “UNFOLD is not just a party to us it is political; this is not just expressed through our resident artists, but also through the placing of the decks in the middle of the room to democratise the relationship between the artists and the audience – and create a ritualistic atmosphere” (DJ MAG, 2021). This quote, taken from an interview the two had with,  the electronic music magazine, Mixmag—after winning best small club in the UK in 2021—demonstrates their dedication to creating a space which puts community at its core by implementing design features that foster a sense of equality. Which in turn has added to the atmosphere in the space. Furthermore, FOLD relies on its community atmosphere to drive people to come; unlike conventional venues that drive demand through famous DJs, UNFOLD does not release their lineup, and people only know who is playing when they are inside. Glover emphasises: “All our decisions have been creatively led and very much from the heart. We took a big risk early on by following that approach because we were putting on more challenging lineups. We weren’t just booking the names by throwing money at them to try and attract a crowd” (Roberts. J, 2019). This business model insists on creating a place where people want to come rather than attracting people through advertising and big lineups.

Its FOLD’s persistence in creating community through its design and management demands anthropological analysis. Jorjoliani and Glover have, against all odds, created a successful club in London through unconventional means. The following parts of this essay will examine how the club has created a community. It will also reflect on ways these community based design elements foster the atmosphere in the space by adhering to specific social aesthetics reliant to electronic music, comparing them to the academic literature on the community in ethnomusicology and atmosphere. 

FOLD’s location in the built environment, gentrification and community

FOLD’s establishment in an industrial estate by Canning Town is emblematic of trends in urban regeneration and cultural electronic music spaces observed in academic circles. The location, described as a “scene from a dystopian sci-fi movie” (O’Connor. N, 2021), is explained by Holt and Wergin as a common theme in urban cultural circles, rejecting consumerism and gentrification and choosing locations that act not merely as backdrops but as critical elements to the space’s identity (Holt & Wergin, 2013). While FOLD’s location embodies its identity as inclusive and anti-consumerist, the building it resides in denotes this point. Kolioulis highlights the recognised link between clubbing and gentrification, noting the transformation of post-industrial spaces into cultural venues (Kolioulis. A. 2018). FOLD embodies this trend, by repurposing a former-printworks into an electronic music venue. Although Kolioulis has linked clubs and the growth of gentrification surrounding them, FOLD has actively engaged with its local community through employment opportunities and youth programmes.

Krystallia Kamvasinou’s work on temporary cultural spaces, specifically Canning Town, insists on the importance of cultural spaces in fostering resilience and community solidarity, citing the top-down redevelopments of East London during the recession as pushing communities away (Kamvasinou. K, 2017). Watt also echoes this point, stating that rather than improving the community that’s already there, regeneration looks at methods of slum clearance that bring in new developments (Watt. P, 2013). FOLD plays a role in engaging in community in the face of gentrification. Whatsmore, there are few other places where gentrification is more visible than from the smoking area of the club, where you can view the industrial estate below alongside new developments encroaching in the distance.

Interior community at FOLD

FOLD’s design intertwines minimalist aesthetic with industrial elements, reflecting and facilitating the venue’s ethos of community, privacy, and immersive experience. This design approach, focusing on the functional and communal aspects aligns with and contributes to academic discussions on the interplay between space, identity, and social interaction within urban cultural settings.

No-photo policy

FOLD’s no-photo policy is more than an operational rule; it is a strategic design choice that profoundly shapes the club’s atmosphere and reinforces its commitment to creating a safe, immersive space. By banning photography, FOLD shifts focus from digital documentation to lived experience, fostering a communal atmosphere where music and collective engagement are paramount. The policy allows people to let their guard down and fully express themselves. Foucault’s concept of panopticism explores how surveillance of one’s peers shapes people’s behaviour, suggesting that FOLD’s absence of cameras helps people behave freely, thus creating a more authentic atmosphere (Sargiacomo. M, 2009). This desire for anonymity within the electronic music community is apparent in photography projects like ‘Faceless Techno’ by Yis Kid, who stated in an interview, “Usually, most people in the techno scene prefer to remain anonymous. It makes them feel more comfortable to fully express themselves in terms of aesthetics, and be more playful with their identity” (Sidhu. T, 2021).

Usefully, in the same interview, Kid also mentions that FOLD is the only club they regularly go to because of its authentic techno community. By removing the lens of social media and external judgement, FOLD is encouraging the return of the core values of techno culture, by emphasising the spiritual and ritualistic aspects of music and dance. Becker and Rietveld explain this as a spiritual side that some would argue has been lost because of social media (Becker. T. 1999; Rietveld. H. C, 2004). Glover reflects on FOLD’s spiritual resemblance, “someone commented as if it is a church or a temple… bringing this uplift and cathartic experience, and a sense of togetherness” (Roberts. J, 2019). In taking people’s cameras, FOLD has turned people’s focus on the present, encouraging self-expression and a deeper engagement with the music and communal experience. Without phones, people are pushed into the moment, creating a sense of togetherness that resonates with academic discourses on the atmospheric creation within social spaces. As Gernot Böhme states, atmosphere emerges from the co-presence and co-experience of individuals within a space, which makes it necessary for people to be present in order for a fully immersive atmosphere to be present (Heidemann. F, 2017). Making the same point, Jürgen Hasse highlights the nature of atmospheres as being only measurable in the present (Hasse. J, 2014). By forcing its community to be in the present, FOLD enhances the club’s atmosphere and aligns with broader understandings of how shared experiences can deepen connections among participants. This makes FOLD an important case study in how club policy can influence social atmospheres positively.

Layout and interior design

FOLD’s interior is orientated around comfort and function, so its minimalist aesthetic puts people’s experiences first. The club’s incorporation of lockers (figure 6) instead of a clock room is part of their effort to create a home for people. Referencing why FOLD has a locker, a team member stated, “It’s all about that human attitude… when the artists and dancers come here, it’s like welcoming someone into our home” (Murray. H, 2019). Allowing people personal space to secure their belongings means they are more comfortable. Elizabeth Shrove has also made this link between convenience and comfort in spaces (Shrove. E, 2003). FOLD provides comfort by creating a space that gives people the freedom of what they want to wear and when. In a comfortable setting, people can forget about their discomforts and focus on the music and the present. This also relates to our understanding of how individuals’ moods alter their perception of their environment and atmosphere (Gandy. M, 2017). Heidemann’s work on proprioception, sensory experiences and bodily awareness within a space contributes to the overall atmosphere and affects social interactions (Heidemann. F, 2017). If people are not comfortable in what they are wearing in FOLD, then it will negatively impact their mood and the atmosphere of the club as a whole; by ensuring that people have agency in what they are wearing throughout the night, they can focus more on the music rather than any discomfort they have.

The main dance floor differs from other conventional clubs where typically the DJ is the centre of attention and elevated for everyone to see. As discussed earlier, FOLD wants to create a space that people can visit because of the venue itself rather than individual DJs attracting audiences. So, the demand to visibly see the DJ is lessened, and so is the no-photos policy, meaning people cannot photograph their favourite DJ anyway. Instead, the only elevated platforms in FOLD are for people to dance on (figure 10). By elevating the dancers, FOLD brings people’s attention to their peers. This design philosophy aligns with Cross’s and Solberg’s study on people’s observation of others dancing and their enhanced enjoyment through communal activity (Solberg. R. T, 2016 & Cross. E. S, 2011). By seeing the individual as both audience and actor, FOLD also engages with broader ethnomusicology on electronic music by creating a common performance (Becker. T & Woebs. R, 1999).

In an invisible design element, FOLD has also ensured that the “capacity will never be more than what enables each dancer to have a healthy amount of personal space” (Murray. H, 2019). This is another design element that puts the dancers first but perhaps not immediately appreciated. Their commitment to ensuring people’s space also shows that they put the potential profit of maximising the number of people paying to come in second, under the community. In ensuring the enjoyment of individuals, FOLD is ensuring the enjoyment of the whole community. The prevailing discourse in ethnomusicology agrees that most enjoyment of music comes from the entire collective participation in it, rather than people’s bodies reacting to sound waves but “contagious suggestions of motion” (Riedel. F. 2020, p22). Here, it is possible to see how FOLD’s focus on its community’s comfort is a practical application of ethnomusicology and a crucial reason for the club’s success.

Sensory Experience: Sight and Sound

While much of FOLD’s management and interior design pursues community unity, no one would come if they did not have the correct sound system. With the use of a Funktion-One sound system and by capitalising on the soundproofing of the old printing factory it resides in, FOLD is optimised for sonic experience (Murray. H, 2019). The state-of-the-art sound system, Funktion-One, is used worldwide, most notably in Berghain, Berlin (Townsend. M, 2023). The building’s old industrial past means it is naturally soundproofed and capable of playing music at 110db (Roberts. J, 2018) without being over its noise licensing, which hinders other clubs (Koliouslis. A. 2018). Its low ceilings and comparatively small main room mean the acoustics inside are naturally excellent. Combining all these elements, FOLD has curated a masterful sound system that delivers crisp, powerful sound in every corner of the room. This technical setup underscores the club’s commitment to high-quality sound but mirrors the importance of sound quality in rave culture. In a study on frequent concert-goers, Yuxiao found that this audience had the same appreciation of sound quality as trained musicians (Yuxiao. C & Densil. C, 2022). Suggesting that audiences like the FOLD community have a higher capacity to recognise sound quality, making it necessary for them to have a sound system that is demanded of them. Additionally, sound quality functions as a pivotal feature in fostering community through transcendental auditory experiences. In rave culture, the DJ has been compared to a priest and the speakers as their voice is central to the ritual that creates the collective (Becker. T & Woebs. R, 1999). Having an enhanced sonic immersion acts as a catalyst for the sense of community found in FOLD and other electronic music venues, prompting communal movement and reinforcing social connections (Rietveld. H. C, 2004; Solberg. R. T & Jensenius. A. R, 2016). Here, we can see how, even in FOLDs’ appreciation for the sound quality, they are creating a space that elevates the community experience by utilising sonic experiences.

 FOLD’s minimalist approach to lighting plays a crucial role in cultivating a sensory environment that emphasises communal experience over individual spectacle. A common draw of most electronic music clubs is huge, intricate light shows that run over the music. FOLD, however, has a comparatively more simplistic lighting system and, during daylight hours, completely turns them off, with the only light coming through slat windows (figure 11)--Minimal lighting means you are not distracted from the music. Lighting is unique in electronic music because it does not play a significant role in creating a feeling of togetherness but only acts for individual enjoyment. In Brunner’s account of visiting the now-closed club Plastic People, famous for its sound system and minimal lighting of one red light, they recall how the sensory impairment of sight helped enhance hearing (Brunner. C, 2013). The minimal lighting helps elevate people’s perception of sound and the design of the slat windows are artistic and unique to FOLD. Henry Murray writes about his experience at FOLD, specifically the lights. “Going only by the slitted sunlight through the windows, the hazy aesthetics were more than enough to compensate for the lights which had been sensically turned off” (Murray. H, 2019). By taking a different approach to lighting from other clubs, FOLD has seriously considered how the sensory experience of lighting contributes to the overall ambience, becoming an active participant in creating the club’s character and social aesthetic (Grant. S, 2013).

Comparative review of FOLD and Berghain

Comparisons between FOLD and legendary club Berghain frequently emerge within journalistic narratives. Berghain, located in Berlin, a city often dubbed the techno capital, is known for its exclusivity and weekend-long raves. FOLD distinguishes itself through its ethos of inclusivity and safety, differing from Berghain’s infamously selective door policy, where people can wait for up to 3 hours to be turned around, with online sites people have created to tell you how long the queue is live and a virtual simulator to teach you how to act at the door (Fact Mag, 2015; Taylor. B, 2021). The differences are exemplified in FOLD’s selective choice of security, who are friendly and approachable. FOLDs security only asks you at the door whether you have been inside before, and if not, asks you to follow the club’s policy of “no racism, no sexism, no homophobia, no transphobia” which can be seen plastered on the club's walls. I argue that this policy is a more constructive way of approaching safe spaces than Berghain’s more exclusive policy. By including heterosexuals or non-marginalised people in the queer-positive space, FOLD also performs as a place where both groups have a common ground where they can all enjoy their love of electronic music together. FOLD’s inclusive policy sets an atmosphere of respect for others; FOLD’s community is one of the equals rather than Berghain, who has received support from creating exclusivity. 

Conclusion

FOLD’s unique approach to design and management is an example of how spaces can create a profound sense of atmosphere and community. The club’s minimalist yet functional layout, emphasises personal freedom and expression through the innovative use of lockers and a democratic dance floor design. Designing the club with such attention to community at its heart, FOLD have provided a space for people to become a collective, a key reason we saw in ethnomusicology why people like electronic music, the fellow feeling. Enhancing communal engagement through design and management the club has understood what people would like from an electronic music venue. Theories on atmospheres show how important social aesthetics in shaping people's moods and emotions in a space. FOLD has embedded collective experience and cultural production that's tailored to the electronic music social aesthetic which makes it so conducive in creating a transformative atmosphere that keeps people coming back.

Lastly, I’d like to share an experience I had at FOLD, which I believe gives you a glimpse of its atmosphere. This essay has relied largely upon academic literature and analysis on FOLDs design and how that creates atmosphere, with limited tangible proof. The audio linked below was taken by myself at 09:58 am, on the 21st of July after the legendary, Berlin based Freddy K, finished his 10 hour vinyl techno set. I’ve never experienced a club so full that late before, everything about that night was a true reflection of techno culture, and deserves ethnomusicological attention. Although the audio quality is poor I think it shows the atmosphere of FOLD more than anything I’ve discussed in this essay. The audio was taken in the silence between the last track of his set and his closing track “Sigue Sigue Sputnik - Love Missile F1-11”, where FOLD shared their love for Freddy K.

REFERENCES

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