Nightlife is in flux. Industrial factories became clubs, and clubs became flats, wiping away the last totems of industry. Storied venues are taking bookings not just from DJs and promoters but from brands staging events and conferences, in an attempt to diversify revenue. Younger, sober-curious generations are retreating indoors, by choice or by force. Ownership of cultural production has shifted towards a cluster of tech and promotion empires. The established clubs that outspent smaller spots are being eaten up themselves; Goliath has become David.

It’s a perfect storm for brands seeking cultural relevance. With the state failing to protect venues and artists, they can be both the saviours and profiteers of nightlife. The trouble is, not everyone wants them there. This is explored in Selling the Night, a new book by Andy Crysell, whose career has straddled the worlds of music and brands, from organising parties to writing for music magazines to establishing agencies Ramp and Crowd DNA.

After selling up, Crysell decided to document the history and future of the dance music scene by looking at its relationship with the creative industries (“club culture was a very good route into [a creative career] for people in the working classes”), as well as its increasingly contentious relationship with brands and advertisers.