‘We’re ripping ourselves to shreds’: with dance music bitterly divided, how far should cultural boycotts go?

Some artists and audiences are boycotting Boiler Room and other events over its parent company’s links with Israel – creating fierce debate about the best way to protest and how to remain uncompromised

Those attending Boiler Room’s two-day festival in London’s Burgess Park in August may have noticed a troubling message spray-painted on the site’s perimeter fence: “Boiler Room is owned by Israeli arms investors.” In nearby Brockwell Park, which hosted Field Day, Cross the Tracks and Mighty Hoopla – three festivals belonging to the same group as Boiler Room – graffiti depicted a bomb with the letters “KKR” emblazoned on it.

In June 2024, the controversial private equity giant KKR acquired Superstruct Entertainment, the company that owns these four festivals and tens of others, many of which were the subjects of boycotts by artists this summer. That’s because KKR has considerable business interests in Israel, including investments in Axel Springer SE, a German media company that runs classified ads for housing developments in the illegally occupied West Bank. Ravers for Palestine, an anonymously run Instagram page that has backed dozens of boycotts, characterised KKR in a recent post as “the beating heart of western capitalism where an insatiable lust for profits and power has no moral boundaries”.