Sydney Rave History

The Sydney Rave History website is a site dedicated to the rave scene and dance music culture in Sydney, Australia in the 1990s. 


We have captured the rave years from the Sydney rave scene from 1989-1998. A list of parties, mixtapes, videos, interviews, pictures and flyers. The days are fondly remembered by most and this site has been created for a place for us to document what we remember from that era and the list has been ever growing. If you have any information that you would like to update, please contact us via the form below. We would also love for you to share your photographs of your rave days as well as copies of any flyers you have. If we have posted any pictures on this site that belong to you or you want removed, just let us know. A huge thanks to all those that still have the passion and have contributed their flyers, mixtapes, pictures and time to make this site possible.


In the late 1980s, ‘raves’ emerged as colourful new sites for musical subcultural practices in urban Australia, mobilising the ‘warehouse party’ format already established in Chicago, Detroit and across Britain. With them, fresh sounds, and unique physical spaces for the production and consumption of cultural meaning were constructed.


Groups of young people clustered in sites not conventionally aligned with musical performance, to listen and dance to electronic dance music replayed by DJs into the early hours of Saturday and Sunday mornings. Unlike other musical subcultures already established in Sydney such as the alternative rock scene, where performances generally took place in formal regulated environments (such as concert venues, live pub music, disco night-clubs), the sites for performance of raves in big Australian cities such as Sydney began to include spaces normally used for industrial and manufacturing production – old warehouses, factories, carpet showrooms – or spaces whose meanings were inverted from those in the wider mainstream, suburban ‘world’ – bowling alleys, train stations, basketball gymnasiums, circus tents.


Rave culture, as phenomenon of late 1980s and 1990s, attempted to invert the traditional tropes of rock ‘n’ roll authenticity: re-playing and re-mixing already-recorded music became ‘live’ music (counter to the rock myth of recordings attempting to capture the ‘essence’ of a live band); and DJs, producers, re-mixers, and dancers themselves, began to occupy the creative cutting-edge of this ‘disc culture’ 


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