Electronic dance music: Evolution of a cultural identity | Karen Mamo

Karen Mamo is a Researcher

The development of Malta’s cultural identity is potentially best captured by the phrase ‘a kaleidoscopic mosaic forged across time and space’.

Located in the middle of the Mediterranean region Malta has for centuries absorbed, re-interpreted and re-modelled various cultural, artistic and music influences from across the region. Throughout history, the importation of musical tastes and sounds evolved hand in hand with the development of different social classes and political structures mirroring new social norms and rules, including a clear distinction between ‘us’ and ‘them’.

In a post-World War II era and throughout the following years, the emergence of local bands and other artists inspired by jazz, punk, rock, electronica and pop emanating from mainland Europe and the USA continued to inspire young generations. Most significantly, it encouraged young generations to break away from traditional recreational practices and norms, and through clothing, music, and shared practices and behaviours, propelled Malta’s youth to develop and identify with new cultural identities.

One of these identities is that linked with electronic dance music, and the evolution of the dancefloor as a unique recreational and social space. As Malta’s youths explored the benefits of new technologies such as radio and TV, northern musical influences did not take long to reach our shores.

Increasing in popularity across Europe in the late 1980s and early 1990s, nightclubs and bars that turned into dancefloors increased their presence also in Malta. The establishment of the iconic Axis discotheque in St Julians, and collaboration with Italian Djs such as Francesco Zappalla, Dino Lenny, and Claudio Coccoluto directly impacted the permanence of this new socialising and cultural space.

In the early 1990s Malta also experienced the first wave of illegal raves—an event held outside the confines of a physical club—going by the name of Sex Is Nature, or as they were called, Sin Parties. These spaces represented the pinnacle of a budding community engaged in a relatively new artistic expression and cultural identity for Malta. The opportunity to dance to new beats till the early hours of the morning with sometimes complete strangers created the right platform for a thriving young population of emerging artists, and enthusiasts keen to be part of this growing subculture, the rave culture.

Nonetheless, between the years 1993 and 2022 media portrayals of electronic music events and people who organised such events have been usually negative. A study by Gorg Vella looked at the rave scene as a contemporary political phenomenon. The study observed that media reporting and debates on the electronic dance music scene focused predominantly on drug abuse, and promiscuous sexual behaviour. In fact, the Maltese rave scene, especially people organising and attending these events were portrayed as culprits of harm and villains. The researcher concluded that despite repeated attempts by ‘villains’ to be part of decision making and policy developments concerning their profession and life, participation was close to in-existent.

In another local study, Giulia Zampini and myself interviewed a number of people who attend electronic dance music events. Many participants reflected that music, clubbing and the use of substances for recreational purposes had an overall positive effect on their lives, allowing them to have fun, make connections with others, nurture a passion for music and becoming part of a community. However, most participants explained that due to social stigma, this part of their life needed to remain hidden and concealed from work colleagues or parents. Participants explained that they often felt misunderstood by others, as media depictions of people engaged with this cultural identity were mostly inaccurate and pushed by negative stereotypes. The study highlighted how people constantly need to negotiate between their ‘real’ self and their ‘public’ persona.

One may observe how electronic dance music in Malta remains a somewhat niche artistic expression and economic activity. In present times it continues to swing in between the multiplicity of cultural identities, negative social perceptions, and a thriving economic activity. Interestingly, the NGO Electronic Music Malta has for the past 10 years been a pivotal contributor to promote the scene beyond the confines of the dancefloor. In 2025, EMM opened its community and activity hub in Hamrun called ISSA: Każin għall-arti emerġenti. The space has hosted a number of workshops, talks, and networking opportunities for different artists, musicians and community groups.

As the electronic dance music scene continues to evolve, one may reconfirm the beauty of celebrating cultural diversity and of ensuring the plurality of culture as a basis for more prosperous and inclusive societies.