“Eileen Chan, cofounder of Singapore venues Headquarters and Tuff Club, died this week at the age of 32. Chan, who DJ'd as Cats On Crack, was a critical player in Singapore's electronic underground. An outspoken champion of club culture, she worked tirelessly to create a community for techno and house music enthusiasts by providing safe spaces to rave—a major accomplishment in a country where underground subcultures have traditionally had little infrastructure. Her cause of death has yet to be confirmed. In 2016, Chan cofounded events collective The Council with fellow DJ and nightlife stalwart Clement Chin. After throwing parties in various locations around Singapore, the duo launched their own club, Headquarters, commonly known as HQ. From its beginning as a graffiti-covered, one-room space, HQ eventually expanded to two floors, becoming a prime arena for locals talents, both emerging and established, to hone their skills. Its crimson-tinted dance floor fostered deep friendships between like-minded strangers, drawing a loyal clientele that was always greeted by Chan. After establishing HQ, The Council opened their second venue, Tuff Club, while still organising warehouse parties in ice factories, basement spaces, houseboats and other unconventional locations. Equally focused on educating as much as entertaining crowds, Chan took a strategic approach to overseas bookings. She welcomed the likes of Peggy Gou, DJ BORING and Amelie Lens before they blew up on the international stage, as well as veterans such as Tin Man and Gerd Janson. The Council's weekly stream of acts from Europe, North America and beyond put Singapore on the global nightlife map, making it a coveted destination for touring artists. Chan was also committed to strengthening the South East Asian community of DJs, producers, bookers and dancers. She regularly booked artists from neighbouring countries in an effort to deepen regional ties. Her collaborative nature and dedication to showcasing names such as Bangkok-based Mendy Indigo and Seoul's Marcus L were instrumental in the development of a unified scene. Her efforts produced results—local crowds grew more knowledgeable about leftfield artists and began showing up even when they didn't recognise names on the bill. Emerging nightlife economies often look to the DIY movements of Berlin and London for inspiration but Chan was always adamant about the need for Singapore to form its own club culture. She rejected comparisons between Asian dance markets and their Western counterparts because, as she repeatedly explained, each come with a different set of societal norms. Chan was also unafraid to vocalise her frustration with Singapore's strict licensing rules and curbs on liquor sales that have long weighed on the nightlife sector. She worked closely with other venues to create a better business environment. In interviews, she spoke candidly and urged Singapore's officials to recoginse nightlife's immense social capital. Chan, who would have been 33 next month, was a skilled DJ herself. She played at China's Great Wall Festival, Wonderfruit Festival in Thailand, Seoul club Faust and The Lighthouse in Ho Chi Minh City, among many others, in addition to recording mixes for fabric and DGTL.”
