| Tune into the crowd. They can feel it when you can. | | | | the promoter or club owner on what kind of style |
| When your heart beats faster and you're excited, they | | | | should go down well. |
| can feel it too. No one knows exactly why, they just | | | | 4. Girls or boys? |
| can. The key point is, it AIN'T SCIENCE! We don't | | | | Check the girls and the boys carefully when DJing, |
| understand everything in this world. We can only try to | | | | especially the girls. Why? Because when the girls |
| feel what we can't understand. | | | | dance the boys follow. You know how it is. The main |
| When you whip up the floor, the energy bounces off | | | | hot tip here is get the girls to dance. They lead the |
| the crowd back to you and then you bounce it right | | | | dancing, the boys do too, that means (nearly) |
| back. Some people have the natural ability to tune in, | | | | everyone is dancing. For some reason, it's nicer when |
| others take longer but get it eventually. It's like you're | | | | girls dance, it gives off a more positive vibe. |
| dancing with the audience, reacting to each other's | | | | So when you get to that point in the night when you |
| movements. | | | | have to get people moving (if you're playing in a club or |
| Reading their vibes and picking up their signals is the | | | | party) then think of the ladies. They tend to favour |
| first part, knowing how to react is the second part. | | | | lighter music with more emotion and with vocals as |
| What's that girl who's dancing away doing? Can you | | | | opposed to harder tunes. |
| follow up this tune with something even better? | | | | 5. Be ready to play outside your circle |
| Here are the top tips for reading and reacting to | | | | If you followed our precious advice on knowing your |
| crowds: | | | | music for DJing, then you'll be up on this. That means |
| 1. Pay attention to their reactions | | | | you have everything in your collection, even cheese. |
| When you play out, you'll have to pay a fair amount of | | | | "But I don't play cheese" you protest. You don't have |
| attention to your mix and your choice of music. | | | | to play cheese. You do have to be ready to go |
| However, just as importantly, remember to watch your | | | | outside your realm and play music that you may not |
| crowd and to try to read their reactions too. By this I | | | | like. |
| mean taking regular looks at your punters, feeling the | | | | I once turned up at a club in Paris and the owner was |
| atmosphere and adapting your music to it. Do you | | | | pretty sure about what he wanted. He explained right |
| have more girls than boys? Do they look more bling, | | | | away that he wanted well known, accessible tunes. |
| more rave or more indie? When you try out that new | | | | He didn't care for the latest cool Simian Mobile Disco |
| electro tune do they start smiling and perking up, some | | | | remix and such, he wanted favourites. |
| of them jigging a bit? If so, try more of that style. | | | | Now I didn't do exactly what he wanted, I gave the |
| The way people react to different styles you try on | | | | night my own twist. That meant that I played some |
| them is key to knowing what musical path to follow. | | | | cheese, but I used that cheese to get people on my |
| This doesn't mean following every request every | | | | wavelength. At that point, we established a rapport |
| drunk girl makes to play Abba or Whitney Houston, but | | | | because they knew that the DJ understood what they |
| it does mean that you're playing for the crowd and | | | | liked, so they opened out. |
| you should play what they want, not what you want. | | | | Dropping the odd cheese bomb was fine by me, after |
| You're not DJing for yourself. | | | | all, everyone danced in there. Once they got going, |
| 2. Know your musical styles | | | | they were more receptive to other, different tunes |
| Pretty obvious you may say. Not really in fact, you'd | | | | which I could happily drop, confident that they'd |
| be surprised. The best DJs have a wealth of different | | | | continue dancing. Guess what? I got asked back there |
| styles and a back up for anything that may not go as | | | | several times and the owner really insisted I play again. |
| planned. That is to say, do not turn up with just a single | | | | Unfortunately I couldn't make it though as I had other |
| musical style in your repertoire. Don't play house and | | | | gigs lined up. |
| have nothing else to play when you've been asked to | | | | The message is: dare to play music you don't |
| play in a place where house clearly doesn't go down | | | | particularly like when you're DJing as well. The |
| well. Experiment with other styles and when you get a | | | | important thing is that people are happy and dance. |
| positive reaction, it means you're on the path to a | | | | Having the will power to be able do this will get you a |
| better night. | | | | better reputation and improved gigs. Who cares if on |
| If you're playing in an indie place, don't play techno. | | | | occasions you drop a cheese bomb, it won't be like |
| You'll get ideas from the look of the people about their | | | | that all the time. Remember, it's about what they like, |
| musical tastes. Get into the habit of guessing what | | | | not just about what you like. |
| music people enjoy and trying it out on them. Of | | | | 6. React to them |
| course, this all comes down to knowing your music | | | | When you've been struggling for a bit and people |
| well enough, which you can read our tips on right here. | | | | aren't really dancing to what you put on only then they |
| 3. Check out the venue beforehand | | | | suddenly go unexpectedly crazy to your next tune, |
| When it's possible, check out a venue you've been | | | | make sure you react to them accordingly. When the |
| asked to play in. Visualize yourself behind the decks. | | | | dancefloor bursts into life, that's a sure sign the last |
| See what kind of people hang out there and spend | | | | tune you played is right up their street. That means the |
| time having a drink, maybe talking to people. Make | | | | next tune you play should be a reaction to that; you |
| friends with and chat to the bar staff and bar owners. | | | | have to try to keep them on the floor now for as long |
| Bar staff occasionally display a surprisingly good | | | | as you can. Not always easy, but you can do it. |
| knowledge of music due to the numerous DJs they | | | | Follow up that last rooflifter with another tune which is |
| get to see and hear and the reactions they observe to | | | | in some way similar to the previous one. Not identical, |
| them. They can also tell you what kind of crowd will | | | | but similar in some aspect, whether it's the style, the |
| be in the night you are programmed to play on. | | | | energy, the BPM or the key. Give your set some |
| Get the feeling and vibe of the crowd, see what music | | | | shape and flow and take your people on a musical |
| they dance to. For DJs who are travelling to another | | | | journey of enjoyment. One last important thing: Have |
| city to play where they've never played before, this | | | | some FUN! |
| obviously doesn't apply. In this case, it's better to talk to | | | | |