As a long-time enthusiast of the Teletech events, I approached this year’s Teletech Festival with sky-high expectations. Known for its commitment to innovation, community, and resistance to the mainstream, Teletech has always been a bastion of what techno stands for: underground roots, a shared passion, and a pursuit of musical brilliance. So why did I leave with a somewhat sour taste in my mouth, considering we only got the chance to go on the Saturday?
Watch the highlights of Saturday 👇
Teletech has undeniably cultivated a loyal following, something that was evident in the sheer volume of merchandise adorning festival-goers and the brisk sales at the event. It felt like a cult at one point, with fans proudly sporting their Teletech gear as if it were a badge of honor. The musicians on the lineup were, without a doubt, some of the best in the techno scene, reaffirming Teletech’s reputation for curating stellar acts. Yet, there was an underlying sense of disillusionment, one that stemmed from the festival's creeping commerciality.
Instead of a pure celebration of techno, there was an overbearing push to sell the Teletech brand—whether through merchandise or the relentless branding of its ‘uniqueness’. This might have been bearable, but what truly left a bad taste was the apparent disregard for the very fans who had made the festival such a success.
The Boiler Room Debacle
The Boiler Room has always been a highlight of any Teletech event, famed for its intimate yet electric atmosphere. This year, however, it turned into a symbol of frustration. With around 15,000 tickets sold over the two days and a rumoured capacity of just 3,000 people in the Boiler Room, it became clear that not everyone would get to experience this iconic stage.
Some might argue, “Get there earlier,” but the reality is that even those who arrived well in advance were left disappointed. Queuing for hours only to be turned away, or worse, being mocked as “NPCs” for wanting to see popular acts like Basswell and BLK, was an experience that left many feeling disheartened. The promise of seeing your favourite artists felt like a cruel joke when entry was uncertain at best, creating a false hope that marred the day for many.
Having attended a few raves at the BEC Centre before, I was familiar with its quirks. The Serpent Stage, unfortunately, was a logistical nightmare, with bottlenecks and hazardous rubble causing chaos and sending people tumbling. Yet, there were redeeming features. The Trance Tunnel, for instance, lived up to its name as a godsend, and the Shipping Yard impressed with its acoustically sound environment.
Ironically, the Boiler Room, despite its capacity issues, boasted the best sound of all. It’s a shame that so many of us couldn’t enjoy it to its full potential for most of the day.
A Cash Grab in Disguise?
Perhaps the most disappointing aspect was the sense that this year’s Teletech Festival was more about profit than the pure love of techno. The addition of a bar and toilets inside the Boiler Room seemed like a token gesture rather than a solution to the overcrowding issue. Instead of addressing the problem, it exacerbated the situation, with people choosing to camp out in the Boiler Room all day, leaving others stuck outside in interminable queues.
Why not make better use of the available space? The Warehouse, for example, only opened at 22:45 with no acts on beforehand, a wasted opportunity that could have alleviated some of the pressure on the Boiler Room.
Despite the shortcomings, the music, as always, was the festival’s saving grace. The artists delivered with incredible sets that reminded us why we love Teletech in the first place. CARV and Creeds, whom I hadn’t seen before, absolutely blew us away. I was also thrilled by the performances of Omaks, Oguz, and Azyr, who delivered hard-hitting anthems that kept the crowd moving. A personal highlight was EARGASM GOD, whose opening set was the perfect way to kickstart a long day of raving.
Yet, the lingering disappointment over missed acts like BLK, Vendex, and Basswell, all confined to the elusive Boiler Room, tempered the day’s highs.
In the end, my experience at Teletech Festival 2024 was a mix of triumphs and tribulations. The music was sublime, the artists incredible, but the festival’s growing commerciality and organisational flaws left a mark. For a brand that prides itself on its underground ethos, this year’s event felt too much like a cash grab, leaving me and many others questioning whether the festival is losing sight of what made it great in the first place.
Teletech, I still love you—but let’s not forget the roots that got us here.
As always guys, we will see you at the front!
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