Earlier this month, Berlin-based booking agency Odd Fantastic announced its sudden shutdown after a decade in the business. The news came after Enyonam Afi, a booker who had been with the team for three years, said on social media that she was laid off without "proper employee entitlements" while other staffers kept their job thanks to Germany's social insurance program.

Carlos Souffront, one of three Black artists signed with Odd Fantastic, told Resident Advisor that he was upset that the company shut down without a proper explanation. "I heard about the closure from my agent," he said, adding that agency head Lisa Gobmeier should have notified everyone together. "Earlier, she had emailed all the artists to let us know that she was taking Enyo's statement seriously but she didn't decide to tell us about closing the agency," he continued. Lisa has not yet responded to RA's request for comment. Russell E.L. Butler also tweeted about their experience with Odd Fantastic in early July but declined to comment for this story.

Odd Fantastic is one of several dance music institutions to disband after being called out in recent weeks. Today, Amsterdam club De School said it would close due to the financial pressures of the pandemic after addressing claims of racism and sexual harassment at a panel discussion. Last month, London collective SIREN disbanded after DJ and artist Anu accused them of bullying. Anu has since criticized SIREN's decision.

According to many Black, Indigenous and people of color (BIPOC), these incidents were a lost chance to move towards a healthier electronic music ecosystem.

"The response so far from Europe in terms of being called out on unfavourable things has been to clam up, offer a weak apology and then disband without ever reckoning what actually happened," said New York artist DJ Wawa. "These are missed opportunities for the industry to change for good."

"I think the industry should respond to these allegations publicly and not shy away from having public discussions," added Christelle Oyiri, AKA Crystallmess, a Paris-based DJ, producer and writer. "Transparency and humility are the keys here as well as reparations. Why? Because these past few weeks have shown that a lot of lip service was done with little to no intent for significant change and action."

"I think these incidents, which are definitely not isolated, would have been a great opportunity for these organisations to address their own individual racism and the ways they contribute to it systematically," Anu told Resident Advisor. "These people have been given several opportunities to change, challenge and educate themselves prior to this big wave in the BLM movements, but they only seem to care now as more eyes are on them."

July's events have sparked serious conversations, both online and offline, on exactly how industry figures should react when called out for harmful behaviour. One factor that's been widely discussed is the need for players to engage with those they've hurt and understand exactly how mistakes were made.

"People in authority, when called out, should admit that they are part of the problem of structural racism and sexism," said Carlos Souffront, a Detroit native who's been DJing for more than two decades. "To do that, they first have to realize how their actions have been tantamount to complicity."

Going forward, it's clear that long-term changes are needed. Venues, in particular, are tasked with making their grounds less hostile to Black and LGBTQIA+ folk amid reports of racist and sexist security and staff.

Speaking at an online panel discussion hosted by Unsound Festival last week, the DJ and producer Jasmine Infiniti detailed personal experiences of harassment from club security: "There's a specific venue here in New York where I had an issue on a night that we were having a party. I had to leave the venue to go to another gig and upon my return, was rudely spoken to by the bouncers critiquing my appearance and presentation as a trans woman, basically telling me that I wasn't attractive to them and that they wouldn't let me back in. That kind of spiralled out into a series of events but that kind of treatment has been consistent."

"A lot of my issues revolve around my experience as a Black trans woman because with other trans women who might not be Black, they were treated differently in a lot of situations so it's been really interesting to note that," Jasmine added.

Carlos Souffront recalled encounters in Berlin: "Why is it that I can DJ at Berghain, but when I tried to go there as a punter and waited in a line where I was the only person of color, I was turned away? Why is it that I was singled out, again being the only person of color in line, and harassed by security to get into About Blank?"

Ønírica, a resident at Brazil's Batekoo parties, and Kampala-based artist Authentically Plastic offered other solutions during the Unsound chat. "We have to hire Black and trans women to be the security at our parties," Ønírica said, describing a festival in São Paulo where the entire security was composed of trans women. "Everybody who got into this place knew they were safe."

Authentically Plastic shared a similar story. "What we do is have a gender non-confirming person at the door and when people come to the party, whether they get in or not depends on how their interaction with that person is at the door. By that simple interaction, you're able to gauge how they would interact with all the other non-normative bodies in the space."

"It's really wild to me every time I come to parties in Europe or wherever that are claiming to be safe spaces and you find this cis male security guard controlling who gets in," Authentically Plastic continued.

Many are now wondering what exactly the industry can do to become more accessible. Increasing BIPOC representation behind the decks, behind-the-scenes and on dance floors is one solution that's currently being examined.

"Representation is critical. Black people at our events have told me they come because we book more POC artists," said Charles Olisanekwu, founder of London party crew Unbound Events. "Diversity in our selection of artists means a more diverse crowd, with Black people at our gigs often saying they feel a more free, open vibe than say a club with a mostly white crowd."

Quotas, in particular, have been a widely discussed measure to increase the number of BIPOC on lineups. Eris Drew, an artist on Odd Fantastic's roster, spoke out against this in late June. "As a trans person, my perspective is this: lineups are just the beginning and we need to put pressure on organizations to restructure to truly combat anti-blackness at a deep level," she stated.

Anu shared similar thoughts: "Key figures in the music industry need to start off by examining their own behaviour, personally and at work, before they start to think about making the industry more accessible to minorities… I think education at this point is the most important step that needs to be taken. Without educating yourself and your wider network, quotas seem redundant."

"I'm optimistic and cynical on this," said Charles from Unbound. "An increase in POC on lineups may start out as tokenism but it could become a standard practice in big business that eventually feels organic."

Long-term training programs are also considered essential to overall representation. Over the past few months, several talents have launched mentorship initiatives to that effect. They include drum & bass legend DJ Flight, Dutch producer Martyn, Mary Anne Hobbs, Rhythm Section International and Livin' Proof's Raji Rags among others.

Deep-seated frustration with systems that have hindered these communities is also loudening calls for BIPOC to invest in their own infrastructure. In 2018, Discwoman's Frankie Decaiza Hutchinson launched Dweller, a festival that celebrates Black talents in New York. This May, Gobstopper Records announced that it will only release music by Black electronic artists.

"The danger of tokenism lurks around the corner, which in my opinion is not going to help so what we need is more Black institutions that can help other Black professionals," said Ghamte Schmidt, founder of the creative agency and platform Bureau Punt in Amsterdam. "These can be open to anyone who understands the importance of Black-owned infrastructure and influence."

"Black artists who can afford it should cut the middle man and inject more funds into creating our own structures," added Crystallmess.

Carlos said he agreed with the idea but also pointed out how it could increase divisions and segregation in the industry. "Still," he said, "breaking apart and forming networks based on race might be the only solution."