MIKE GUIMOND: This is the end. Solarplexia was put to bed in a bittersweet, yet triumphant fashion two weekends ago at the Brooklyn Bazaar. Our collective hero, Justin Strauss, dropped the final needle at around 6:05am… the house lights turned on, and a family-filled floor wrapped each other in embrace for one last dance. Arthur Russell’s “This Is How We Walk On The Moon” closed the curtains on an amazing four years. I would like to thank the team, Seth and the late 90s actor Tom Arnold for an amazing run. Tom really helped out at the end.
Why did you stop?
MIKE: We stopped for a slew of reasons. If you want the full story you will have to come to the residency launch and ask me... but many of the reasons have two sides to the same coin. As one example: the nightlife scene is more saturated than it's ever been – ask any longtime jockey or native NYC dance music fan. This is, 1) amazing for the dancers of New York with so many options but, 2) creates a lot of competition between promoters and clubs who want more or less a slice of the same pie. People told me, "raise your ticket prices, you're way below the average" but I refused to do that. Dance music shouldn't have economic boundaries.
SETH MAGOON: Specifically in the last 24 months we noticed it becoming increasingly difficult to book the talent we really wanted, for the fees that we could afford. Typically we’d be strung along by agents for 6-10 weeks before getting a "no" on an offer, and we’d frequently watch them pop up at a big name nightclub on that same date instead. Understandable for the most part, yes, but our frustration really boiled down to the increasing lack of interest shown for the smaller promoters with true built in communities behind them. These are the people that are working incredibly hard in NYC to do their thing.