I’ve noticed with interest the growing trend in the last 5-10 years for reconfiguring acid house classics with a full orchestra. Brands like Pete Tong’s Heritage Orchestra – belting out Ibiza classics – and Hacienda Classical give a classical twist to all your favorite late 80s and 90s house and techno stompers. Too old and creaky to stand in a field at 4am next to a 4 K turbo sound system shaking your internal organs whilst you work out the pill you bought off a toothless traveller was moody? Instead, sip Prosecco and eat organic olives at the Hollywood Bowl – Pete Tong was there recently conducting his wind and horn sections – whilst the orchestra does a version of A Guy Called Gerald’s ‘Voodoo Ray’ in G Major. It’s Glyndebourne on Acid House.

I haven’t been to one of these events so who am I to sneer down my nose at it condescendingly? I do admire the cleverness of it all – it’s good marketing in how it offers a practical solution to repackage music in a new format for older ravers who like the music but don’t want to be the oldest swinger in town at an illegal Hackney rave. Plus by offering classical interpretations of Derrick May’s ’Strings of Life’, 808 State’s ‘Pacific State’ and Alison Limericks’s ‘Where Love Lives’ etc, the punter feels they are more sophisticated and mature, suitable to their advancing years and expanding waistline. Wave your hands in the air to Joe Smooth’s ‘Promised Land’ AND be home in time to kiss Henry and Imogen good night before they go to bed. And no comedown. Result!

Nostalgia is a huge industry. Pete Tong – a great businessman –  looked at all the big money generated by the traditional nostalgia circuit as punters splash out to see all their favorite acts from their youth. Adam and the Ants, Duran Duran, The Cure, Depeche Mode, The Police, Culture Club – the list is endless of acts who now sell out bigger stadiums than in their heyday to their older and cash rich fanbase who will think nothing of spending 500 and upwards for a VIP experience and front house seats. Whilst buying the T-Shirt and two expensive bottles of wine. Maybe a meet and greet with the band thrown in. Ka-ching. Tong looked at this, then thought demographically speaking: ’how can I replicate this for all the millions of middle aged ravers who want to cling on to their youth but don’t want to stand in a muddy field and get tinnitus’? We can swap back ache for Bach ache in C Flat Minor.

https://youtube.com/watch?v=VFhxpMnfHB0

Older people trying to recreate their youth is big business. It’s so ripe for exploitation as it’s very emotional and music – and all it’s surrounding culture and fashion – is perhaps the best conduit to powerful memories. I only have to hear the opening chords to ’Strings of Life’ (which incidentally renders really well to the classical treatment) to be instantly teleported back, including the hairs on the back of my neck erecting. It’s very typical for emerging young adults – 16-22 – who have their first intense musical experiences at a time when they are very open and impressionable and then go on to spend the rest of their lives trying to replicate it. The Two-Tone ska fan who still dresses in the black and white suit. The 55 year old punk with tattoos and colored hair. The Cure fan who still dresses like Robert Smith and still knows all the words. You only have to look – as I frequently do – at the comments sections on YouTube videos of footage of classic raves and acid house anthems to see the emotional pull and resonance the golden age of 1988-1992 still has. ’So glad to be alive in those times…its not the same these days…the best years of my life…’ etc etc. A look back through rose tinted glasses at a time when they were young, the world was more innocent, there was no internet or smart phones and the drugs and music were better. I should know – I was there. It really was a golden age and we were really having the times of our lives as part of a movement and youth culture that felt life changing and important. How do I go back? Mr Tong?

I’m not sure whether I’d be up for one of the new classical rave events though – it does seem too obviously a reformatting of a culture for an older demographic. I’m not sure how authentic I would feel waving my hands in the air to the crescendo of Cafe Del Mar’s ‘Energy 52’, although who am I too judge without actually doing it. It does feel right that a man like the Pete Tong seems to have cornered the market. Driving up the M1 in the 90s to a northern house night wouldn’t be the same without Tong’s Essential Mix in the background – ‘and we continue’ (one of his catchphrases)  – so it only seems right he’s now playlisting  and reformatting the soundtrack for the older raving crew. It’s all gone Pete Tong? Not if you took a look at his bank account, I imagine.