Ah, 1999. Those iconic album covers and the pure, electrifying energy that filled the air whenever you hit play – pure dance music gold. Back then, music wasn’t background noise; it was the soundtrack to our lives, bursting with unadulterated fun, joy, and positivity. Every beat pulsed with energy, and every melody invited us to move. It was a time when music wasn’t just listened to, it was lived.
I vividly remember many nights in ’99. My friends and I would drive out to house parties and small raves around the city. These places were always packed with people, all moving to the beats of local DJs who played varied sets of house, techno, big beat, and jungle tracks from their milk crates full of records. One night stands out in particular: as the opening notes of Underworld’s “Born Slippy” echoed through the speakers, the crowd erupted in cheers. We danced with wild abandon. That night, surrounded by strangers who felt like lifelong friends, we experienced the true magic of where the modern dance music scene was truly born.
The beauty of that era was its genre-bending spirit. Artists weren’t confined to a single sound. They freely explored and blended styles, from house and techno to breakbeat and trance. This constant innovation kept the dance floor fresh and exciting, with each track a unique sonic adventure. Even today, the influence of 1999’s genre-mashing magic is undeniable, and those classic albums still hold a special place in my sets.
A Dance Floor Time Capsule
1999 was a golden age for dance music, with a diverse range of genres dominating the airwaves and club scenes. Here’s a taste of what you would have heard on dance floors back then:
- Trance: Soaring melodies & driving beats (130-150 BPM) for a euphoric escape.
- House: Funky grooves & soulful vocals (120-130 BPM) to keep the party going.
- Big Beat: High-energy rock & electronic fusion (110-130 BPM) for a wild ride.
- Breakbeat: Chopped-up drum breaks adding rhythmic complexity across genres.
- Hardhouse: Raw energy & distorted kicks (130-140 BPM) for an intense experience.
- Speed Garage: UK Garage on fast forward (over 135 BPM) with dark basslines.
- Drum and Bass: Breakneck speed (160-180 BPM) & heavy bass for the ultimate sonic adventure.
- Downtempo/Chill-Out: Slower tempos & atmospheric soundscapes for a relaxing break.
Digging for Dance Floor Gold in 1999
Back then, music discovery wasn’t about algorithms or endless playlists. It was a thrilling adventure – a treasure hunt through dusty record stores, flipping through vinyl and CD’s, searching for that hidden gem that would make the crowd go wild. Unlike today’s instant gratification, the anticipation built with every dig crate explored, every record sleeve inspected. When you finally found that perfect track, it felt like striking gold. Here’s a glimpse into the artists who dominated the scene in 1999 , the ones whose music fueled those unforgettable nights:
The Chemical Brothers
The Chemical Brothers weren’t your average DJs; they were sonic architects, gleefully tossing rock, techno, and even a sprinkle of psychedelia into their musical beakers. The Chemical Brothers defied genre conventions, creating explosive concoctions that kept the crowds moving and headbanging simultaneously.
Their 1999 album “Surrender” was a tour de force, a genre-bending masterpiece that showcased their ability to weave together diverse sounds into a cohesive whole. Tracks like “Hey Boy, Hey Girl” were testaments to their explosive energy, guaranteed to get the dance floor erupting with their distorted guitars and pulverizing rock drums colliding with infectious techno grooves. And let’s not forget their legendary live shows (I personally witnessed one in 1999!), mind-bending audiovisual assaults that perfectly complemented their sonic onslaught.
Fatboy Slim
The Big Beat Party Starter Fatboy Slim was the undisputed leader of the Big Beat brigade, a party-starting pioneer who wasn’t afraid to get funky. He injected his productions with infectious breakbeat rhythms, groovy samples from across the musical spectrum, and melodies that burrowed deep into your head, making you move without even realizing it.
Anthems for the Dance Floor His 1999 album “You’ve Come a Long Way, Baby” was packed with dancefloor anthems like “Praise You” and “Rockafeller Skank,” tracks that were instantly recognizable for their playful, feel-good energy that could turn any frown upside down. Fatboy Slim’s music was a celebration of life, a reminder to let loose and have fun.
Basement Jaxx
Forget the crate-digging DJ stereotype. Basement Jaxx treated music like a vast, unexplored land, collecting unexpected sonic treasures across genres. Their studio became a mad scientist’s lab, where these finds were fused into a vibrant, genre-defying dance music explosion.
Their 1999 debut album, “Remedy“, solidified their status as genre-benders extraordinaire. Infectious house grooves formed the foundation, but soul infused “Rendez-Vu”, disco classics like “Red Alert”, and obscure funk samples were liberally injected, creating a vibrant, eclectic tapestry of sound. Playful anthems like “Bingo Bango” showcased their playful spirit, while their live shows were legendary full-on assaults on the senses, with synchronized dancers, outrageous costumes, and an energy that left audiences breathless.
Armand van Helden
Armand van Helden was a true sonic sculptor, a master manipulator of sounds who took well-known tracks and transformed them into something entirely new. Earning him the nickname “The Sample Slayer,” his technique involved chopping up, warping, and reimagining classic tracks into infectious dancefloor anthems.
His 1999 album “2Future4U” showcased his shape-shifting versatility, exploring a variety of styles from the soulful house vibes of “Flowerz” to the rock-infused energy of “Rock Da Spot.” But the most famous of these being “You Don’t Know Me,” built on a clever sample of Carrie Lucas’s “Dance With You,” solidified his reputation as a creative force who wasn’t afraid to experiment and push boundaries.
Moby
While the artists mentioned above were undoubtedly trailblazers, the year 1999 was absolutely stacked with essential albums that have stood the test of time. Moby‘s “Play” found mainstream success by incorporating elements of electronica, rock, and ambient music, with tracks like “Porcelain” and “Why Does My Heart Feel So Bad?” becoming ubiquitous anthems.
Jamiroquai
Jamiroquai‘s genre-bending wasn’t new in 1999. Their fourth album, “Synkronized,” continued their reign with tracks like the infectious title track and the futuristic groove of “Canned Heat.” This fusion of funk, acid jazz, and disco solidified their position as dance music royalty.
Groove Armada
Groove Armada‘s second studio album “Vertigo“offered a smooth blend of trip-hop, breakbeat, and house, marking a significant moment in the chill-out genre. Tracks like “At the River” and “Dusk You and Me” became synonymous with laid-back, stylish electronic music,.
Cassius
The pioneering work by Cassius in the French house music scene, brilliantly showcases the duo’s knack for crafting vibrant and infectious dance tracks on their rightly titled album “1999“. The album features a mix of funky bass lines, choppy disco samples, and a smooth blend of house and electronica, making it a standout during a time of significant musical innovation. Tracks like “Cassius 1999” and “Feeling for You” became instant club hits, emblematic of the era’s party spirit.
Underworld
Underworld‘s “Beaucoup Fish” stood out for its eclectic mix of techno, breakbeat, and trance influences, solidifying Underworld’s status in the electronic music world. Tracks like “Push Upstairs” and “Jumbo” highlighted their mastery of electronic music production.
Richie Hawtin
Released in 1999, “Decks, EFX & 909” by Richie Hawtin marked a pivotal moment in techno history. This stripped-down masterpiece, created with a minimalist setup, showcased Hawtin’s pioneering spirit and his ability to push boundaries. The album’s raw energy and genre-bending approach influenced countless techno producers in the years to come. From the hypnotic grooves of “Early Blow” to the pulsating intensity of “Call of the Wild,” “Decks, EFX & 909” remains a timeless classic and a testament to Hawtin’s enduring legacy.
Radio’s Lasting Influence
Before streaming took over, radio was the holy grail of music discovery. Imagine the thrill – a new track, blasting through the speakers, courtesy of your favorite DJ’s impeccable taste. In 1999, this power of radio wasn’t just entertainment, it was a force shaping the entire dance music scene.
Pete Tong
In the UK, BBC Radio 1 stood as a cultural powerhouse, particularly through shows like the legendary Essential Mix. Hosted by the iconic Pete Tong, the Essential Mix wasn’t just radio; it was a curated portal into the beating heart of the dance scene. Tong’s voice, instantly recognizable, became synonymous with cutting-edge electronic music. This wasn’t just entertainment; it was a masterclass in curation, exposing listeners to the hottest sounds of the year.
Paul Oakenfold
Another tastemaker wielding immense influence was Paul Oakenfold. He wasn’t just a DJ; his BBC Radio 1 residency on the Essential Mix, was legendary. Oakenfold’s mixes served as a masterclass in curation, showcasing the vast diversity of electronic music and turning listeners on to a world of sonic possibilities that we hadn’t heard to that day.
Being Canadian, I craved the Essential Mix but lacked access. Like global dance fiends, I scoured Napster and Limewire for pirated copies. These weren’t just mixes; they were digital gold, gateways to the magic crafted by DJs like Carl Cox and Paul Oakenfold (who dominated 60% of the shows with Pete!). More than guest spots, these were masterclasses in sonic tapestries, solidifying the DJs’ legend and taking listeners on euphoric journeys. Even across the Atlantic, the Essential Mix transcended borders, uniting fans through radio and the curators’ genius. We burned these mixes onto CDs, trading them like precious artifacts – a window into the electrifying sounds igniting dance floors worldwide. The Essential Mix might have been a UK institution, but its influence, and the hunger for new sounds, was undeniably international.
While the Essential Mix was undoubtedly the biggest name in the game, it wasn’t the only radio show or podcast shaping the dance music landscape in 1999. Shows like John Digweed‘s Transitions on Kiss FM and Danny Tenaglia‘s DJ Sessions on New York’s WKTU were also highly influential, exposing listeners to cutting-edge sounds and cementing the DJs’ legendary status. Hed Kandi, which would later become a global clubbing brand, even started its life as a radio show on Jazz FM in 1999, created by Mark Doyle. This rich tapestry of radio shows and compilations demonstrates the diverse forces that fueled the 1999 dance music scene.
Party Brands and Mixed Albums
In 1999, party brands weren’t just about the legendary clubs themselves; they were tastemakers, extending their influence beyond the dance floor. This was evident in their mixed albums, each capturing the energy and essence of their events. Gatecrasher cranked out high-octane compilations, while Ministry of Sound‘s mixes showcased the full spectrum of house music. Cream put together DJ sets that reflected the discerning taste of their residencies, and Space Ibiza bottled the magic of their iconic sunrise sessions with mixed albums. These compilations weren’t just souvenirs; they were portals, a way to experience the party brand’s signature sound, even if you couldn’t make it to the club itself.
Beyond the party brands, series like “Global Underground” captured the essence of a city’s electronic music scene through mixes by renowned DJs. Imagine a mix showcasing the sounds of Buenos Aires or the vibes of Hong Kong – that’s the magic of Global Underground.
Magazines: On the Pulse
In the late 1990s, dance music magazines were a DJ’s bible and a clubber’s essential companion. These publications served as the “pulse of the scene,” offering in-depth coverage, reviews, and insights into the ever-evolving world of electronic music. Beyond articles and interviews, many magazines included mixed CDs – a curated selection of the hottest tracks delivered straight to your mailbox, acting as a gateway to new sounds and artists.
Prominent titles like DJ Magazine, Mixmag, The Face, Muzik, and XLR8R dominated the scene. From DJ culture and music production to clubbing and emerging trends, these publications covered it all. They featured upcoming party lineups, keeping readers informed about who was spinning at the hottest clubs and what genres were dominating the dance floor. Interviews with legendary DJs and producers offered insights into the creative process and the latest gear shaping the sound. These magazines were essential reading for any dance music enthusiast, offering a glimpse into the cutting edge and the promise of new sonic adventures. The included mixed CDs were a cherished bonus, a tangible taste of the latest DJ sets that fueled fans’ (and my own) excitement.
In my opinion, DJ Mag’s Top 100 DJs poll truly captured the essence of electronic music in 1999. While the current methodology might spark debate, back then, the list felt like a genuine reflection chosen by the community itself. Fan votes and dance floor popularity were the driving forces, forging a direct link between DJs and the passionate crowds they ignited.
Landmark Dance Events
Beyond the glossy pages and mixed CDs, the heart of the dance music scene throbbed with the electrifying energy of live events. Club flyers weren’t just advertisements; they were portals to experiences unlike any other. Here’s a glimpse into the major dance events that made 1999 a landmark year for electronic music across the globe.
The Love Parade
“The Love Parade” in Berlin was one of the largest electronic dance music festivals in the world, attracting hundreds of thousands of participants to celebrate love, peace, and unity through music and dance. The 1999 edition went above and beyond, with over 1 million people taking to the streets. Elaborate floats throbbed with sound, and the air crackled with anticipation as top DJs like Sven Väth, Carl Cox, Paul van Dyk, and DJ Hell took turns igniting the massive crowd.
Creamfields
House and Techno’s UK Showcase “Creamfields” emerged as a premier dance music festival in the late 1990s, showcasing leading DJs and electronic acts across multiple stages. The 1999 edition featured an impressive lineup of artists like Paul Oakenfold, Carl Cox, Sasha, and many others, drawing massive crowds to the festival grounds.
Ultra Music Festival
Established in 1999, “Ultra Music Festival” quickly became a landmark event in the electronic music calendar. The inaugural edition featured performances by pioneering DJs such as Rabbit in the Moon, Josh Wink, and LTJ Bukem, marking the beginning of a legendary festival franchise that would go on to shape the global dance music scene.
Glastonbury
While not exclusively a dance music event, “Glastonbury” has always incorporated electronic music into its diverse lineup. The 1999 edition showcased electronic acts like Underworld, The Chemical Brothers, and Orbital, attracting a wide audience of music lovers from various genres and cementing dance music’s place in the mainstream consciousness.
Ibiza: The White Isle’s Undying Allure
No conversation about dance music destinations in 1999 is complete without mentioning Ibiza. The “White Isle” was already a magnet for clubbers seeking sun, sand, and world-class DJs. Legendary clubs like Amnesia, Space, and Pacha were in their prime, hosting residencies with iconic names like Danny Tenaglia, Paul van Dyk, David Guetta, and Sasha & Digweed, solidifying Ibiza’s status as the ultimate party destination.
Movies Get Groovy
While 1999 was a pivotal year for dance music on the club scene and airwaves, its influence transcended those boundaries. Films began to embrace the electrifying energy of electronic music, incorporating iconic tracks into their soundtracks in a way that transcended mere background noise.
Think of the adrenaline rush that kicks in when The Prodigy’s “Firestarter” explodes in “Fight Club,” perfectly mirroring the film’s raw energy. Or the now-legendary “Born Slippy” by Underworld, soundtracking the heart-pounding chase sequence in “Trainspotting” (released in 1996, but with such a lasting impact it deserves a mention).
These weren’t just accompaniments; they were characters themselves, adding an extra layer of energy and emotion to the films. 1999 movies like “Go“, “The Matrix“, and “Human Traffic” (a personal favorite) all followed suit, further solidifying the marriage of electronic music and cinema.
These soundtracks not only enhanced the viewing experience but also served as a gateway drug for a wider audience. The pulsating world of dance music, previously confined to nightclubs and niche radio shows, was thrust into the mainstream. This exposure sparked a new generation of electronic music fans, many of whom discovered their favorite artists and genres for the first time through the silver screen.
Fashion & Art: Dance Music’s Imprint
The 1999’s dance scene wasn’t just about catchy tunes, it was a cultural phenomenon impacting fashion and art. The vibrant energy of raves spilled over, influencing both men’s and women’s fashion. For women, brightly colored plastic accessories like chunky chokers and visors became ubiquitous. Platform sneakers added height and complemented the flowy bodycon dresses that hugged every curve.
Men embraced baggy pants in all shapes and sizes, often paired with oversized graphic tees featuring band logos or trippy designs. Bucket hats, a throwback from the 90s, were another staple, adding a casual touch.
This playful aesthetic contrasted sharply with the darker side of dance music. But even the more underground genres had a fashion impact. The industrial and futuristic vibes of drum and bass and breakbeat hardcore manifested in clothing with metallic accents and geometric patterns.
Beyond clothing, the rave scene spawned a whole new world of accessories. Fanny packs and backpacks in every neon color imaginable became the go-to bag for carrying essentials while dancing. Surprisingly, the brightly colored characters from Teletubbies were adopted as ironic rave mascots, appearing on everything from glowsticks to plush toys. The playful incongruity perfectly captured the spirit of the scene’s playful rebellion.
A Time We Won’t Forget
By day, record stores became our hunting grounds, each unearthed vinyl a potential sonic treasure. Nights pulsed with anticipation for the weekend’s radio shows, their coveted mixes a constant bassline humming in our veins. We craved that moment – unlocking the latest dance floor anthems blasting from the airwaves, a reward for our tireless vinyl hunts. But the real magic happened on the dance floor. Here, losing ourselves in the rhythm with kindred spirits forged friendships that transcended those fleeting nights.
Rewind and Reunite
The strobe lights and pounding bass might be a distant memory for some, but for me, they’re just a spin away. Blessed to still DJ and dance from time to time, a single beat, a familiar melody from 1999, can still whisk me right back to those euphoric nights. It’s like a magic portal – transported to pure, unadulterated joy. That’s the power of music, etching itself onto our memories forever. But for me, 1999 wasn’t just about the music. It was about the friendships forged on those sweaty dance floors. Those bonds are stronger than ever, a reminder of the magic that happens when music connects us. So crank up the volume, dust off those old mixes, and let’s get lost in the sounds of 1999 again. Because those friendships, fueled by shared passion, are the reason 1999 will always be unforgettable.
Ready to take a trip down memory lane? Buckle up with these 1999 classics!
If you want to read more about the 9’s rave scene please read this:
https://thedj-diaries.com/90s-rave-culture-beats-clubs-and-the-summer-of-love/
- “You Don’t Know Me” – Armand van Helden (Breakbeat)
- “Praise You” – Fatboy Slim (House)
- “Big Love” – Pete Heller (House)
- “Sing It Back” – Moloko (Electronic Pop)
- “Better Off Alone” – Alice DeeJay (Eurodance)
- “Ganja Man” (Little Louie Vega remix) – The STR4YK (Deep House)
- “Out of Space” – The Prodigy (Breakbeat)
- “The Rockafeller Skank” – Fatboy Slim (Breaks)
- “Strong Enough” – Cher (Eurodance)
- “God Is a DJ” by Faithless (Trip Hop/Electronic Rock)
- “No More Tears” – Tiesto (Trance)
- “It’s Not Right But It’s Okay” – Whitney Houston (Nu-Disco)
- “Get Get Down” – Paul Johnson (Breakbeat)
- “Red Alert” – Basement Jaxx (House)
- “The Launch” – DJ Jean (Hard House)
- “King of My Castle” – Wamdue Project (House)
- “Children” (Robert Miles remix) – Dream (Trance)
- “Beautiful Stranger” – Madonna (Electronic Pop)
- “Forms & Functions” – Photek (Drum and Bass)
- “Blue (Da Ba Dee)” – Eiffel 65 (Eurodance)
- “Windowlicker (1999)” – Aphex Twin (IDM/Breakbeat)
- “Kernkraft 400” – Zombie Nation (Industrial Rock/Breakbeat)
- “Silence” by Delerium featuring Sarah McLachlan (Trance) (Tiesto’s In Search of Sunrise Remix)
- “As the Rush Comes” by Motorcycle (Gabriel & Dresden Chillout Mix) (Trance)
- “Café del Mar” by Energy 52 (Three ‘N One Remix) (Chillout/House)
- “Cream” by Blank & Jones (Trance)
- “1998” by Binary Finary (Hard House)
- “L’Esperanza” by Sven Väth (Trance)
- “Synaesthesia (Fly Away)” by The Thrillseekers (Trance)
- “Sunchyme” by Dario G (Progressive House)
