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Here's An Advice Every Dj Needs To Hear

From Audio: FMP 022 – ill-esha

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station description The Freio Music Podcast: Musician Interviews - Featuring artists from around the w... read more
The Freio Music Podcast
Duration: 02:43
A valuable skill learned from years of deejaying that you had be crazy not to listen to.
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A valuable skill learned from years of deejaying that you had be crazy not to listen to.
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now when you perform live, how much of it is like spontaneous and how much of it is preplant? Uh, it's probably about 50 50 and it also depends on what kind of said I'm doing. Like if I'm going to a festival and that's usually the kind of set up where I'll bring my key tar and might have, like extra effects and maybe even plan to have, like, a guest vocalist or a dancer. Those are a lot more planned, and that's just because I have a lot more going on and I have to, you know, plan. People don't think about this. But when when I rehearsed or when I jam out, one of the things I'm practicing is actually just kinesthetic movement, like not just Can I mix this track that's actually easy for me. It's okay. At this point, I have to play a key tar solo while rapping and changing my effects pedal. And then I have to turn around and do this and are my hands on my playing Twister at this point? Okay, Time to troubleshoot that. So, um you know, I think I think that that part, it makes it really plan. But when I do kind of more loose D J sets and trust me, I didn't used to do this. I used to just bring my key tar and bring everything to every club show. And then I started realizing that the booster up to my nose. Sometimes I'm not that tall and there's no point. So now when I go to a club, I would I would do a more free form set, and usually in that case I'll have obviously a crate full of new stuff and stuff that I want to play. But the way that I arrange it was totally going to be free form and adjust. And that being said, I've definitely gotten to a festival with this very specific agenda and gotten 10 minutes in and being like they're not feeling this and just changed. So I think that that's a really valuable skill that I brought with me from all my years of being a deejay like a vinyl D. J was just It's so important to be able to adapt, even if you do like, yeah, okay, if you're doing a big stadium show and you gotta lighting person and people are literally there to see you, and they've been waiting for hours. It's totally different. But if you're playing some kind of open format festival and there's a lot of people and everything is going on, you better be able to adapt because sometimes, like this is just not right. Sometimes you thought, Oh, it's the middle of the day, People want to chill and what's actually happened is they've been hearing chill music all day and they're dying to get down. So I think that having that intuitive crowd reading back and forth kind of vibe is so important. And what we're really pisses me off is when I see people D J out of able to him like they're not doing anything alive with it. They've just got all their tracks warped and they're just flipping the cross faded back and forth, and then it's like they're still that inflexible. You know, they're maybe they're set runs like, Oh, I'm sorry, I'm out of songs. That's it. I'm done. I played my songs in my order and I am finished. So that is that is my greatest sort of fear, and that's why I always keep this very flexible, Um, keep my whole collection with me, Have a lot of different ways of organizing it because I always want to be able to reach for stuff in the spur of the moment. That's awesome.
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