Clubsweethearts.23.03.31.kira.viburn.and.funky.... ✦ Direct Link

club culture, Berlin nightlife, affect theory, heterophony, mixed-methods, electronic music, identity performance 1. Introduction 1.1. Background Since the early 2000s, Berlin has been positioned as a global laboratory for experimental nightlife (Bennett, 2009; Hennion, 2020). Within this context, Club Sweethearts (opened 2018) distinguishes itself by integrating visual art installations, pop‑culture nostalgia, and a rotating roster of “resident trios”—three artists who co‑curate an evening’s musical and performative agenda. On 31 March 2023, the trio Kira , Viburn , and Funky headlined a night that quickly became a meme‑driven phenomenon, referenced as “ClubSweethearts.23.03.31.Kira.Viburn.And.Funky…”.

Club Sweethearts (23.03.31): A Multi‑Method Investigation of the Social, Musical, and Performative Dynamics among Kira, Viburn, and Funky ClubSweethearts.23.03.31.Kira.Viburn.And.Funky....

¹ Department of Sociology, University of Valencia, Spain ² School of Music, University of California, Los Angeles, USA ³ Center for Performance Studies, University of Warsaw, Poland Ruiz, eruiz@sociology

Elena M. Ruiz, eruiz@sociology.uv.es Abstract On 31 March 2023, Club Sweethearts —a hybrid nightlife venue in Berlin’s Kreuzberg district—hosted a highly publicised “Kira + Viburn + Funky” night that attracted a demographically diverse crowd and generated extensive social‑media buzz. This paper presents a mixed‑methods case study that examines (1) the sociocultural composition of the audience, (2) the musical architecture of the set‑list curated by the three resident artists, and (3) the performative strategies employed to negotiate identity, affect, and community within the space. Data were collected through (i) participant observation (150 h), (ii) semi‑structured interviews with the three artists and 34 club‑goers, and (iii) computational analysis of audio recordings (≈ 4 h of mixed‑track data) and Instagram/TikTok engagement metrics (≈ 12 k posts). Findings reveal a “triadic resonance” in which Kira’s vocal‑centric pop‑electro, Viburn’s analog synth‑drone interludes, and Funky’s funk‑inflected breakbeats co‑create a “heterophonic field” that enables simultaneous experiences of intimacy, collective catharsis, and subcultural sign‑posting. The study contributes to scholarship on contemporary club cultures by foregrounding the role of multi‑artist collaborations in shaping affective economies and by offering a methodological blueprint for integrating ethnographic and computational music‑analysis. Dr. Sofia L. Novak ³

Dr. Elena M. Ruiz ¹, Prof. Daniel J. Hsu ², Dr. Sofia L. Novak ³