A Brief Timeline of House Music

To understand the loyalty and popularity of House music, we have to first reflect on the foundations it was built on.

Late 60's

The Disco Day's

Disco was introduced to the nightlife scene during the 1960s. Marginalised communities who were vulnerable because of the increase in racial and homophobic riots would come together at discotheques. Clubs that allowed people from all walks of life to come together, dance and escape judgement.

1977 - 1980

Anti-Disco Movement

The disco movement became popular quickly, with major record labels investing in disco as it reached the mainstream media.

However this popularity did not last long, as the ‘Anti-Disco Movement’ during 1979 influenced attacks on the genre. because of the fall of Disco music, club DJs were forced to experiment with mixing and remixing techniques, in order to keep their set’s alive.

From this exploration, house music was born.

1980 - 1985

Development Of The Genre

Around the mid 80’s, distinct electronic genres and sub-genres of House emerged such as Acid and Deep House. As defining characteristics were formed, the tempo, deeper baselines, and styles of vocals became more distinguished.

Frankie Knuckles was an influential name during this time. He was a DJ living and performing in a Chicago club called ‘The Warehouse.’ He is iconically known as "The Godfather" as he's considered the inventor of House and one of the first people to experiment with new remixing techniques using already popular songs.

1985 - 1990

The International and Mainstream Rise

The equipment used to produce house music became widely accessible and more affordable as the music quickly gained popularity, spreading to major cities like Detroit and New York. By the mid-80’s, House had spread internationally, becoming one of the most popular genres in Europe.

As the 90's turned around more sub-genres and subcultures appeared as the genre went global. House became mainstream when the hit song “Vogue” by Madonna was produced during 1990, topping the US charts and becoming an international hit.

1990 - Present

Iconic and Influential Style

The influential style of House music continues to develop to this day and remains exciting through its emerging technologies, cultural influences, and strong roots.

Artists like Daft Punk, with their iconic helmets and unique stylings, heavily influenced and continue to influence the House music genre.

When did you get the idea to create your band and why did you choose the name WYTCH?

"The idea for Wytch had been brewing for at least three years before it truly took shape. Growing up, I played in a glam rock band, which was a lot of fun, but I always wanted to dive into something more modern that still captured the spirit of 70s rock.

As for the name Wytch, we always knew we wanted to be called 'Witch.' By spelling it differently, we figured it would stand out—if people asked about the unusual spelling, it’d stick with them, making it even more memorable."

Who would you say your main inspirations are?

'My biggest inspirations will always be Fleetwood Mac and Stevie Nicks. I always admired the fact they hated each other but still managed to pull it together and make great music.

Meatloaf is also up there, I feel like the thing missing in Indie music today is none of it is theatrical. I love the big outfits and costume changes that give people things to remember! '

When you’re making your music, who do you envision listening to it?

I'd say my focus is on the younger generation, mainly because growing up I was super into the bands that no one else was paying attention to.

You would assume I would be trying to communicate with an older age range, as they were around with the music that I'm influenced by but unfortunately, many people are stuck in their ways and I feel are less likely to be open to discovering new bands compared with younger audiences.

I think there is also too much of people being told what to listen to and what they should like, rather than being given a broader scope and being encouraged to explore new music.

Do you enjoy performing for student crowds?

I used to do a lot of gigs on the student nights at buffalo, Winton. Buffalo had a tendency to be absolutely dead on live music night, until the students came back, and it was rammed.

I loved that there was always one table of a few people that didn’t know anything I was playing but would always be like, what was that, that was so great. The ability to share my favourite music, which most people our age wouldn’t know, is wonderful. It was mostly covers back then, and sometimes I would throw in an original and sometimes people would think it was a cover anyways. I do get nervous doing my own songs, especially solo.

I feel like the songs I write only really become a full when I hear all the parts coming together. Sometimes I can become almost too aware of my voice being more isolated without all the elements present. So I usually use a loop pedal when I play cover gigs or gigs on my own so I can record myself and play over that.

What’s the craziest story you guys have whilst creating your album?

"When we were shooting photos for the album, we’d already been recording for days and were sleep-deprived and running on fumes. We had a spare five minutes when the rest of the band wasn’t around, so I thought, why not do some archery? I’m a hobbyist archer, and I’d brought my own hunting bow to the retreat—not a training bow, but a serious one that could definitely take down a small deer.

Chloe managed to shoot an arrow straight past the massive target and into this marshland. Everyone was like, ‘Just leave the arrow,’ but I thought, absolutely not. So, in my first outfit for the photos—an all-white suit and brand-new boots—I went into the marsh to get it. I ended up covered in mud up to my knees. Chloe asked if I really wanted to keep wearing the outfit now that it was completely messed up for the photos, and I thought, yeah, screw it, it'll look cool."

Where do you normally perform and what’s your favourite venue?

Over the years, I’ve performed at a lot of different places, including San Francisco, France, Jersey, and we even did something in LA when we were there recently. If I had to narrow it down to specific venues, I would probably choose the smaller ones rather than the big ones because they provide bands the space to truly start their careers.

My favorite venue of all time is The Three Compasses in Dorchester. It’s a tiny little pub with a skittle alley, reflecting its history. The owners are like old East Londoners, reminiscent of characters from a gangster film, but they are genuinely the loveliest people. They have the utmost respect for every artist or band that performs there. It was at this venue that I had the incredible opportunity to perform a couple of songs with the keyboard player for the Rolling Stones.

Another venue that’s special to me is The Lighthouse in Poole. That’s where we did our first gig, and I know the team there really well. It’s always nice to have a dressing room and a supportive atmosphere.

What would you say your biggest challenges are both individually and as a band?

"There will always be people who have an issue with the way I present myself on stage. My style is very feminine, and there’s definitely a queer element to it, so I know not everyone will appreciate that. But I actually like the challenge—especially when I meet people who might be anti that but still love and respect the music for what it is. I love my big outfits and the theatrics, but at the end of the day, I never want any of that to overshadow the songs themselves.

As a band, our biggest challenge is simply getting people to listen, which isn’t easy. I’ve had it a bit easier because I’ve been doing this for so long and already have the attention of people I need—I've been gigging solo since I was 13, and now I’m 24. But for someone just starting out, it’s tough to get a foot in the door. With the internet making it easy for anyone to record and release music, things have become oversaturated. It’s hard to stand out without getting lost in the mix, and that’s why it’s so important to set yourself apart from other bands."

What’s your dream for the band?

"My dream is to build a stable career where I can tour. It would take me away from my personal life, but it’d be time spent truly living—which I think a lot of people don’t get to do these days. Being self-employed gives me the freedom to choose all my gigs and plan my calendar however I want. I don’t think I could go back to a 9-to-5 job now.

I want the band to be sustainable, but more importantly, I want our music to help people feel less alone in being different. The music I write is a bit unusual, especially for someone my age, and I have all kinds of random influences—even medieval rock songs. My goal is to keep our identity flexible, so we can do a folk rock tune one moment and a sad ballad the next.

I want our band to make people feel good, but I don’t want to get political. I have strong beliefs about what’s right and wrong, but I’ve always seen my job as helping people escape from all that, even just for a few hours, giving them a chance to zone out and disconnect from the outside world."

If someone wanted to get into the industry and asked you for advice, what would you say?

"First of all, don’t listen to people who say, 'You can’t make a career out of music!' You absolutely can—I’m living proof of that. I always joke, (and I’ve said this for years, both with the band and as a solo artist,) that on weekends, I earn more than my mum. It’s enough to live on, and it’s doable. It takes time, but my advice would be to get out there, see where other people are playing and try to talk to venue owners. Building connections often comes from simply being in the right room when things are happening. People remember you if they see you in person.

Don’t bother with calls or emails because you’ll likely get lost in the shuffle. And don’t undersell yourself; you have to recognise that what you do has value. If a venue wants you, they should be willing to pay what you’re worth. I also have a few niches in my performances, especially in my solo sets—I do a lot of impressions, like singing in the style of Kate Bush.

In conclusion, I’d say: find a niche, don’t undervalue yourself, and remember that a career in music is possible."