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Normale Ansicht

‘Very authoritarian, very brutal’: three decades after the UK’s anti-rave crackdown, why is France doing the same?

16. September 2026 um 15:29

With tear gas, grenades and a new law, French authorities are targeting unlicensed music gatherings. Those in the rave scene explore the parallels with the UK in the 90s

When Spiral Tribe fled England in 1992, they left behind an indelible mark on rave history. The itinerant sound system collective are best known for their involvement with Castlemorton Common festival, an unlicensed free party drawing more than 30,000 people and lasting nearly a week. After a drawn-out and notoriously expensive trial for public order offences, Spiral Tribe were acquitted of all charges. They decided to drive their repurposed military caravans out of the UK and never look back.

Their documented history often stops there. But little known is the fact that they then kicked off “the biggest illegal underground movement that Europe had ever seen”, says Spiral Tribe associate Sebastian Vaughan, AKA electronic musician 69db.

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© Photograph: Spiral Tribe Exhibition Archive

© Photograph: Spiral Tribe Exhibition Archive

© Photograph: Spiral Tribe Exhibition Archive

  • ✇The Guardian
  • ‘The music could not stop for three days’: how Sirāt went on a road trip to the dark heart of rave
    Club culture is notoriously hard to capture on film. Oscar-tipped director Oliver Laxe explains why he had to organise his own music festival in the Moroccan desert to find deeper meaning in dance-floor ecstasyIn the opening scene of Oliver Laxe’s existential mystery thriller Sirāt, a crowd of partygoers stack up a sound system for a rave in the southern Moroccan desert, where the paths of the film’s protagonists cross for the first time. Crucially, Laxe explains, the revellers were no ordinary
     

‘The music could not stop for three days’: how Sirāt went on a road trip to the dark heart of rave

09. Februar 2026 um 07:00

Club culture is notoriously hard to capture on film. Oscar-tipped director Oliver Laxe explains why he had to organise his own music festival in the Moroccan desert to find deeper meaning in dance-floor ecstasy

In the opening scene of Oliver Laxe’s existential mystery thriller Sirāt, a crowd of partygoers stack up a sound system for a rave in the southern Moroccan desert, where the paths of the film’s protagonists cross for the first time. Crucially, Laxe explains, the revellers were no ordinary extras. Most of them were committed, lifelong ravers who had travelled to the makeshift festival from across Europe. One of the DJs who played, Sebastian Vaughan AKA 69db, was a core member of Spiral Tribe, the pioneering British “free party” collective of the 1990s.

“In film, reality is usually made to adapt to the rules of cinema,” the French-born Spanish director tells me when we meet in Berlin. “But we do the opposite: we adapt cinema to reality.” When negotiating with the ravers how to best represent them in the film, he recalls, “they told us that the music cannot stop for three days. And we were really pleased with this idea”.

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© Photograph: Altitude Film Sales

© Photograph: Altitude Film Sales

© Photograph: Altitude Film Sales

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