How to get noticed by promoters and maintain a good relationship - Ep #18
Apr 29, 2024Episode 18
Ilia & Nino
Prepare to elevate your DJ game to the next level! We're Ilia and Nino, your guides through the electrifying world of music and image on The Clever DJ podcast. This time, we're slicing through the noise to bring you the essentials of professionalism, punctuality, and the subtle art of self-promotion. If you're a DJ aiming for the stars or an event organizer scouting for top-notch talent, this episode is your golden ticket. We dissect the do's and don'ts of DJ etiquette, shine a spotlight on the power of event promotion, and offer invaluable advice to ensure you're the act everyone's dying to book – or the organizer who always knows the perfect pick.
Tune in as we lay down the law on what not to do if you want to avoid the dreaded blacklist and ensure you're the DJ with the reputation everyone respects. From reading the room like a pro to understanding when to step back and let the headliner shine, we've got your back. We strip back the layers of event dynamics, so whether you're spinning the decks or running the show, you'll be armed with knowledge to create an unforgettable experience for your crowd. Don't miss this deep dive with us, Gilead and Nino, as we provide the ultimate playbook for DJs and event organizers alike. Join us on this rhythm-filled journey to the heart of the music scene.
Prepare to elevate your DJ game to the next level! We're Ilia and Nino, your guides through the electrifying world of music and image on The Clever DJ podcast. This time, we're slicing through the noise to bring you the essentials of professionalism, punctuality, and the subtle art of self-promotion. If you're a DJ aiming for the stars or an event organizer scouting for top-notch talent, this episode is your golden ticket. We dissect the do's and don'ts of DJ etiquette, shine a spotlight on the power of event promotion, and offer invaluable advice to ensure you're the act everyone's dying to book – or the organizer who always knows the perfect pick.
Tune in as we lay down the law on what not to do if you want to avoid the dreaded blacklist and ensure you're the DJ with the reputation everyone respects. From reading the room like a pro to understanding when to step back and let the headliner shine, we've got your back. We strip back the layers of event dynamics, so whether you're spinning the decks or running the show, you'll be armed with knowledge to create an unforgettable experience for your crowd. Don't miss this deep dive with us, Gilead and Nino, as we provide the ultimate playbook for DJs and event organizers alike. Join us on this rhythm-filled journey to the heart of the music scene.
Welcome back to another episode of The Clever DJ with Gilead
Speaker 2:
and Nino. This is the episode number nineteen.
Speaker 1:
Number eighteen, going strong. Alright. Then we have an episode that is very important. There are pretty important, but this is this is one you should definitely listen to. Definitely. This is for everyone who just wants to know what's the best way to create that first impression that proper image for, you know, for the promoters to to like them to want to book them to the best venues, the the best parties, and also yourself as an organizer what you wanna look for. So it's who you want to be as a DJ to have the right image. And what d j's you wanna look for. So it's it's looking at it from both perspectives. Now, you know, you you dealt with a lot of DJs over the years because you have your own company. Right? So you're not really a promoter. Back in the day, you were kind of in the club scene, but
Speaker 2:
Mhmm.
Speaker 1:
Right now, it's not about being a promoter. Right now, it's just making sure you have the correct DJs who are on your roaster so you know who to give the gigs to. Right?
Speaker 2:
Yeah.
Speaker 1:
Exactly. It also works for that. So really if you need if in DJs on your team or if it's because you have a one time event or you have several events a year or you just are not an organizer, but you're like, why am I getting booked? Right? I'm a good DJ.
Speaker 2:
You're a good DJ, but it's
Speaker 1:
listening. Yeah. Right? So that's what we're gonna talk about today. Alright. So I have a list here to go through. Number one thing. I don't even know if that's number one actually. They're all important. But the first thing I have on the list here is it's kind of like a two parter. VJ's who cancel a lot of gigs or doesn't have to be a lot. They kind of frequently cancel. They they could they they have a high cancellation rate.
Speaker 2:
I think you're talking about, like, if you're booked at an event and they make a flyer and stuff and then you cancel it when Yeah.
Speaker 1:
Whether you have a legitimate reason or not, you don't have a backup
Speaker 2:
It just looks bad on you.
Speaker 1:
Yeah. Just
Speaker 2:
in general, it doesn't this not all a good luck.
Speaker 1:
No. Because you just messed it up for everyone.
Speaker 2:
Yeah.
Speaker 1:
Especially if you're the headliner. Yeah. Right? So don't say yes. Unless you're sure, I I had a few opportunities to say yes to some really cool gigs and I said no because I know that there is a chance a ten percent, fifteen percent chance, I won't be able to make it. Right? That client you you gave me Mhmm. A year and a half, two years ago, they start booking me regularly. Right?
Speaker 2:
Yes.
Speaker 1:
And then they asked me to be to do another event of theirs. And I told them I most likely won't be available during the time of year. Get a backup Let me know though I would love to do your event, but let me know before it's too late when you wanna talk about it as a kind of like we need to know now.
Speaker 2:
Yeah.
Speaker 1:
And I told them, hey, if you do it any other day, I'll do it. But that day, as it turns out, I'm still unavailable. Yeah.
Speaker 2:
And you're being honest. Right? But promoters and event organizers that was looking for reliability in this case.
Speaker 1:
Yeah. Reliability for sure. You gotta be accountable for what you're saying. And then the second part is being late for your gigs. I mean, this goes without saying so unprofessional. Yeah. Again, you're standing everyone up. You're making everyone suffer because of
Speaker 2:
your your tardiness. Like, this this is
Speaker 1:
something punctual.
Speaker 2:
This is something that they won't forget too. Right? It'll it'll it's it leaves a bad taste in their mouth right from the beginning. Right? So
Speaker 1:
and there are a lot of DJs out there who are amazing DJs Mhmm. But they just Don't have the time to promote. They don't care about promoting, which baffles me. It's your gig. Right? You might be even the headliner. Don't you want people to know?
Speaker 2:
Yeah. Of course.
Speaker 1:
Don't you wanna create some hype. Right? Even if it's absolutely selfish. And you're just doing this for your own ego and hey, check me out. I'm gonna be performing here. And plus, the more people come, the better you look, the better you get paid every time because they know, oh, this person is bringing a crowd each time.
Speaker 2:
Yeah. And that's the world we live in in the DJ world now. We're not just DJ's. We have to promote as well.
Speaker 1:
You have to. Yeah. Just the producers, back in the day they were just doing a couple of things.
Speaker 2:
Mhmm.
Speaker 1:
Right? But now a producer is everything. It's a one stop shop from the idea of the track to the release of the track and promotion and everything. Yeah. Marketing.
Speaker 2:
Yeah. Marketing. D j ing is another way another avenue of getting the music out as well.
Speaker 1:
Yeah. Massive. Now producers are also DJs. Right? I mean, it's been like that for a while, but Yeah. Another thing is coming and going. If you're one of those DJs who shows up to to do his set, let's say you're well, there's like there's four DJs, and you're like the first or second one. And then there is, you know, at the end, there's the one who goes is gonna open it for the headliner. And then the headliner, but you are not even there anymore. You are the first or second DJ. You showed up, you did your thing, and then left, and then left. Maybe you hung out for that a few months, but I then you leave because you you finished your your part.
Speaker 2:
And it's it's sad on you. You need to stay and just create that vibe and just add to the event because you you know you're a part of it. Right? They expect you to to party with them.
Speaker 1:
There's this spot here in Toronto that I really like. And it's very unique. I've never seen anything like this, where they have their own CDJ setup. And it's kinda like an underground place where you come in and you get your half an hour slot if you sign up. And you you just, you know, you play your set.
Speaker 2:
We do your thing.
Speaker 1:
Right. Sometimes it's a longer set. Sometimes it's, you know, really long. It depends on on what kind of night and who you are. But normally, it's half an hour per DG. I rarely see a DJ play and leave. Ninety percent of the people there stay and promote because sometimes the place is empty. Believe it or not, I don't understand how it's such an awesome spot. Management is pretty cool. Drinks aren't aren't expensive and it's in a pretty good location. But it's, you know, they're there. They don't know who you are. You'd think they're friends, they're best friends, the person who just switched with the other person, they don't know each other. Maybe they've seen each other a couple times.
Speaker 2:
Yeah.
Speaker 1:
Especially if their friends are staying. Right? But you need to support your event promoters, organizers, like, you need to support the DJ, the crowd. You you're there to make that event successful. You know just there to to play music. Exactly. And do your piece and leave. Right?
Speaker 2:
Exactly. You need to stay stick around. And it's it's again, it's it's connecting with other DJs. You can get more events if you're if you're just your face is just everywhere. Right?
Speaker 1:
Yes. Now We're we're in the process of organizing an event right now, a pretty big one. And with some d j's we spoke to, do not know how to use the equipment. Now I'm not gonna be hypocritical here. I don't know how to use some of that equipment, but I'm not the one Beijing. I'm not the one claiming that I that I can do all that stuff. But they want us to hire them when they can't use that equipment and they're saying, you know what? I'll learn, you know, a week before or something. No. I'm not up for taking the risk. No. You gotta know how to use that equipment as well as you're using your FLX four or whatever it is you're using. Right? Yeah. So some of them are professional DJs. They don't have that gear at home, but they've used it enough that they know how to use it. That's fine.
Speaker 2:
Just as long as you know have to
Speaker 1:
As long as you know, the basics. Right? If you don't know at all, you just have no experience with it. I don't care if you own it. But if you don't know at all, then I'm not okay with it.
Speaker 2:
No. No. No. Yeah. That's cool.
Speaker 1:
And So, yeah, this is pretty much it about knowing how to use your equipment. I mean, it's if you're coming to a gig where they're gonna use a certain kind of equipment, make sure you have experience with it. And if you don't, because I don't tell them that you
Speaker 2:
Obviously, you you're gonna know what equipment you're gonna use in beforehand. So it's your job to make sure you know how to use it. Right?
Speaker 1:
Yeah. And don't say you do if you don't. Yeah.
Speaker 2:
Exactly.
Speaker 1:
Alright. So another big one is getting intoxicated, man. It's Yeah. So it's not that you could just make mistakes. If you're high on drugs, you know, if you drank a lot of alcohol. It's not that you could only make mistakes. You could be kind of lethargic, not very approachable. There there's just it it invites so many issues. I've seen some people that it's better if they're on some kind of substance. Honestly, that's they're better on it.
Speaker 2:
It it makes their sets better.
Speaker 1:
And it's sad that that's what they need, but that's just how they are.
Speaker 2:
That's how they work. Right? But It's not a Yes. Not a good look if you're pissed drunk when you're you're DJ. Right?
Speaker 1:
Yes. And it's normally normally the brain operates in a way that it's not gonna help you. Some people, I don't know, it just brings out a better person. But as a rule of thumb, or saying no, do not be one of those people who is always intoxicated. I mean, if you can If you just have that image and everyone knows that you'll be fine, I guess, I guess, fine, but no.
Speaker 2:
If you have that You have that image that you're always drunk, you're probably not gonna get anyway.
Speaker 1:
Yeah. So
Speaker 2:
Right? And and this in this day of age, there's cell phones everywhere taking pictures. You don't wanna be audios.
Speaker 1:
Yeah. These people. I will definitely make sure I have that.
Speaker 2:
Exactly.
Speaker 1:
Yeah. So you're filmed all the time. And if you're not filmed, people will remember it. So in either case, you don't wanna have that bad image. And that promoter or that other DJ who organized the event is never gonna forget what you did or never. So And then they have friends and then they have their own contact. So
Speaker 2:
it's They'll they'll tell their friends and They're
Speaker 1:
getting blacklisted, ma'am.
Speaker 2:
Never got any bookings in that ever again in that. Circle.
Speaker 1:
Yes. Now a huge one. We spoke about it a couple times. Digits who don't read the crowd. So this is true for every kind of event. If you don't read the crowd, then you're disconnected with the audience, the people who paid all this money to get there.
Speaker 2:
Mhmm.
Speaker 1:
And they're gonna probably blame the organizers, the promoters Yeah. Like, who brought this person? Like, he's not even playing the music we wanna we wanna hear.
Speaker 2:
A lot of DJs are just stuck up on playing what they like. You gotta play what the people are moving to and what they're reacting to. Right? So it also depends on the genre you're playing. Now if you're stuck on one genre, you have to know the big songs. That's now your music knowledge is very important.
Speaker 1:
Yeah. And and, like, again, if it's like an EDM event and people expect something completely unrelated. And they're saying, oh, you're not reading the crowd. That's that's not it. Then they're in the wrong event.
Speaker 2:
Mhmm.
Speaker 1:
But if if you're in an an an EDM event, and you're playing the wrong music within that event. And everyone knows you should be playing something else, whether it's within your genre or maybe another genre that's acceptable that they expected you to have in your list then that's what we're talking about. Next, that's a huge one. That's huge. Do not play the headliners tracks. Yeah. That also happens with the when there's a band and a DJ who's spoke about that too.
Speaker 2:
Yeah. Yeah. Sometimes the DJ plays what the bands play the band is gonna play and then vice versa. Right? So they don't communicate, but it it's almost like it's known that you're not gonna play all the bangers in your set, like the headliner stuff. Right?
Speaker 1:
So Yeah. So make sure that you know how to handle that situation. You know, if I don't know a certain genre very well and I don't know, like, what are the best songs and I'm just gonna assume what they are. If I'm in that in that position, I'm just not gonna take that gig. Mhmm. If I'm not controlling that that that kinda knowledge knowing what they're gonna play when I'm gonna play. I'm just not gonna go go and do that because I'm not gonna be in a situation where I pissed off the headliner. Yeah. Right? Because
Speaker 2:
they're never gonna get get booked again from that.
Speaker 1:
Like a motor. Likely. Yeah. Again, it depends how how bad you action burn, like, with your mistakes. But, yeah, don't play the headliner straps. It's a common common etiquette.
Speaker 2:
Another well, another thing that would DJ's, like, big DJs. Headline of DJs will say it too. It's, like, there's enough bangers to go around and you can argue that as well.
Speaker 1:
You could.
Speaker 2:
You could. Right? But you know the bangers, like, the the the tracks that'll get people, like, riled up.
Speaker 1:
Yeah. But that's on your job as popular. You know, it's supposed to rile them up to that level. Right?
Speaker 2:
Honestly, I I've seen d j's warm d j's who have played bangers. And the headliner doesn't mind because I have a lot of songs in my bag. I don't it doesn't matter what you play. I'm good.
Speaker 1:
But then it it depends. Right?
Speaker 2:
It it it also just does the prepared.
Speaker 1:
Yeah. The dynamic. The pet. Yeah. Right? Maybe they know each other. They've they've done this before. If you go to a place where you don't know who to expect, I mean, don't think that risk.
Speaker 2:
It also depends too in the crowd, man, if they're feeling it, sometimes sometimes the crowd there's there's a the crowd leaves and comes, there's a, like, what's a wave? Right? And it's okay if you replay songs in that way. And a lot of DJs in Miami do this as well. Say Okay. So
Speaker 1:
that crowd circulates your
Speaker 2:
Yeah. That circulates Okay. That that works. Right? There's a lot
Speaker 1:
I wasn't sure what you're talking about. There's a lot
Speaker 2:
instances that we're talking about that are that different. But in general, you don't wanna play ballers. Yes.
Speaker 1:
At first, I thought you mean, like, they they went out for a small and came back. No. Okay.
Speaker 2:
So Yeah.
Speaker 1:
I'm like, yeah. And really, you're gonna replace some.
Speaker 2:
This is this is actually new new new style, like Yeah. D j's, like, the I'm thinking this way now.
Speaker 1:
Yeah. Another one, and I've seen that I've seen that early on being impolite just rude d j's. They just have a huge ego and they and they think that the world is there for them. And they're the main
Speaker 2:
everybody's there for them. Yeah. Because nobody else.
Speaker 1:
And why wouldn't you hire me? I don't care how I'm gonna talk to you. This is this is who I am. You're not news flash. You're not the only DJ out there. There's lots of other people who will take your your your spot. So treat people the way you wanna be treated? Yes. Everyone knows that line. But, I mean,
Speaker 2:
it pays to be nice.
Speaker 1:
Why do I even have to say this? I mean, I actually I'm saying this because it's at every list that lived online, it's talking about that because some did just have a really bad attitude.
Speaker 2:
What do you wanna wants to work with?
Speaker 1:
Yeah. And they're good. DJ's, a bad bad attitude. Right? Yeah. A good I mean, like, their transitions, their musical knowledge, but just crappy attitude. Right? So definitely don't think you're safe if you have everything, but you don't have that. Unless somebody is really desperate. Right? But, yeah, you don't wanna bank on that. Also, going back to promoting. Just promoting is not enough. Right? I mean, you gotta make sure you invite the right people.
Speaker 2:
Mhmm.
Speaker 1:
So don't don't invite troublemakers. Right? One of the things that we spoke about with with one of the owners of the venues for for the event that's coming up. Or what kind of promoters we're gonna bring.
Speaker 2:
Yeah.
Speaker 1:
And and he knows that certain promoters also bring in the wrong crowd.
Speaker 2:
Like, thugs
Speaker 1:
Yeah. Right? Yeah. People who are there for the wrong reasons. Yeah. So that's extremely important that you if you are promoting it, you're promoting it to the right crowd. Like, you can't control everyone's gonna come. Right?
Speaker 2:
But to to an extent, you you can with with who who you invite.
Speaker 1:
Yeah. Make sure you have the well, as as the actual event organizer, make sure you have the right promoters and then and and as the DJ I mean, you know which communities to promote and and which friends to personally invite and
Speaker 2:
Mhmm.
Speaker 1:
Which friends to ask to bring their friends. Right? Mhmm. That's really important. I know that some friends that I have, they're amazing friends, but they hang out with some people that I'm like, would never ask them to bring those people along. And if they said they'll bring bring them, I'll probably tell them not to.
Speaker 2:
Yeah.
Speaker 1:
I have no there's no shame in that. Right? It's my event or it's my like, the organizer's event, I'm gonna be careful with the who's coming there. Right. If I can control it, I'll I'll intervene.
Speaker 2:
You don't wanna drive by shooting. Happening anymore.
Speaker 1:
Yeah. Anything like that. You don't want the event to just get canceled or, you know, just anything unfortunate to happen. A big one. And I'm still learning how to do that. Right? I mean, we we we play back to back sometimes and and sometimes you swoop in and you still teach me how to do that correctly. Mhmm. DG's who don't know how to switch. So your your DJing and then somebody else is the the next DJ is coming up and and the transition from one to another is not seamless.
Speaker 2:
Yeah. It's not smooth. And this is this actually you need to actually learn how to change up or do different transitions to to change in between DJ. Just just for example, if if you're an opener, and you you have someone coming in for the headliner. They have to know how to switch in with with you. Right? So whether it is getting somebody getting on the microphone, while they're changing with their laptop or or getting
Speaker 1:
What do you yeah.
Speaker 2:
Different different types of transitioning.
Speaker 1:
Right? Yeah. So there's not one way
Speaker 2:
There's tons. Different ways.
Speaker 1:
Normally, it's just the USBs, you know, like, in the CDJs, and it's really easy. Yeah. But
Speaker 2:
normally, there's two sound cards for mixers, so you can switch it seamlessly. Right? Another way is just transitioning from one song to another, and you can you can kind of coordinate with the DJ that's playing right now to switch in. Yeah. A couple of ways that you can switch in. So you have to make sure that you know how to do that properly.
Speaker 1:
Another one is, you know, if you did everything right, like maybe you're excited overly excited, or maybe you I don't gonna have a last minute change, but then you have ten other last minute changes, like in with the with the guest list. And you're just bugging the promoter the whole time. Don't get on their nerves. Don't become that person that they're like, It's that person again. Yeah. You know, why am I hiring this person and he's driving me crazy?
Speaker 2:
They're they're stressed. They're they're running an event. Yeah. So you wanna leave them alone. In this space.
Speaker 1:
So don't bug the promoter too much. Make sure that before you talk to the promoter, you double check triple check everything you had to do. In regards to what you wanna talk about and make sure it's final and then bring it to the promoter. But normally have everything prepared ahead of time. If they tell you, hey, I need the guest list by this month or by this date, I need to know this this and that by this date. Make sure you have it. Don't leave it to the last minute because then you'll end up messaging them, and it's gonna get back and forth, and they're not gonna appreciate that. Anything else?
Speaker 2:
Mm-mm. I think that's pretty much it and covered it.
Speaker 1:
Yeah. There's there's there's so many more things, I guess, we could talk about that right now we might not be thinking about. But I think if you handle this list we just we just went over
Speaker 2:
Mhmm.
Speaker 1:
As the DJ, you'll get booked And as the organizer, you'll know who to book. And that's what we're learning now. That's what we're going through now. Alright. Well, this is another episode. Thank you very much for tuning in.