Can you Remain Still?: May 2013

A question I've asked myself a few times lately: "What is DJing?"

A lot of people don't understand what is involved and I've had to explain it to them. A lot of people think you just go up and press play a bunch of times, that the music does the job itself. This is slightly true, in that I press play about 100 times per hour and the songs are really good. But there is so much more to it than that. Technical skills like the blending of songs, knowing the songs well enough so things like lyrics or certain parts of the songs don't cross over in the wrong place and sound bad, and of course just beat-matching (which is the heart of the ability to be a DJ)... So once you have thousands of songs to choose from (my USB has over 1000 songs that I consider playing every night, and is constantly growing in number), know them all well enough to mix them together in a decent fashion, AND have the basic ability to actually beat-match, you can start learning the hard part. This is the part that I feel is what DJing really is, the conceptual part...

Have you ever walked in to a club or show at like 930 with the place pretty much empty, and the music just sounds noisy? Its awkward, to say the least. If you're at a club, chances are the DJ knows it is just going to get busy so it doesn't matter what he plays early. He can play any song he wants and it'll slowly get busier and people will hear their current favorite song and be drunk enough to hit up the dance floor. It's different at a show. There are rules. As an opener, you aren't the reason people are there. You are there to get people ready for the headliner.

Never outplay the headliner.

All my opening spots have been quite the eye-opening experience. 9-10 doesn't really matter. You can play what you want. Chances are people aren't going to be there till 1015 anyways so play some new music, practice some things on the big sound system, or I like to play some really chill music for the staff to hang out and so people walk in to a vibe that isn't intimidating. There is no awkwardness to the dance floor being empty because it's early, and the music is almost just background music instead of noise and pressure for a crowd.

The 10-11 set is a bit different. Sometimes it gets busier earlier, sometimes later. I had a pre-defined set once, and honestly it will be the last time. I find it impossible, and just not smart in general, to assume that you'll know what someone is going to do. I've found the most success in reading what is happening and reacting based on that. Starting at 10 and keeping that chill background vibe, then slowly picking up. As more people come in the dance floor tension starts to build. People line up around the dance floor waiting for a song they want to dance to. It creates a vibe of anticipation to dance instead of having all the good songs play, but not being able to dance because you are scared to be the one to take the first step on to the dance floor. It lets people sit and drink and hang out. Bob their heads and wait for a beat that makes them want to move more. When that happens it doesn't matter who is on the dance floor and who is watching because it is solely about the feel of the music. That tension can never be predicted in my opinion. It just kind of happens at some point, and that's when you pick it up for the person following you.

Sunday was my first 11-12 set. I knew it was going to be busy by the end of it, but I was surprised how busy it was at the beginning. This was a tough set to play for the first time. Keep people dancing, play good music, but don't put out more energy than the guy after you has to. In reality that's all there is to it. Start out with some good music and pick it up a bit near the end so people are even more pumped for the next guy. It's basically just a constant energy incline that you should know how to make plateau at certain points.

As easy as it all sounds there are so many things to think about at once. Multi-tasking the feel of the whole room while skillfully blending from one track to the next. Making sure to switch the style of the mixes so it isn't simple and boring. And of course making sure to have the newest and best tracks to play (Not mandatory though. Stuff people haven't heard is always good but old shit is good for a reason. Nothing wrong with that). Finally, the last aspect of DJing and what I have found to be the most important in my journey: the ability to be vulnerable.

People have told me I only DJ because I want to be up on stage and the center of attention but its kind of funny because it is the last thing on my mind. I don't get up there to have you judge me and tell me what I'm doing is good or not. Ya I want you to have a good time, but I do it because I love the music and I want to be the one controlling that room. I've been in the crowd and know how it feels to ride on music. I felt that I could be the one that provides the ride instead, and do it well. The vulnerability I've learned in the past year has been incredible and I've found that vulnerability doesn't mean weakness, if anything it means strength. The people I see that can't be vulnerable in the DJ booth are the ones that are being left behind, stuck in their ways and unable to open up to new music or new styles. I've let myself expand in to generes and play them for crowds. Generes that I started listening to only hours before playing my set. That vulnerability, the ability to open myself to something unknown and not be scared about fucking it up is what is driving my climb through the DJ ranks in Edmonton.

I've made many mistakes, some big and noticeable, and others very small that only I notice. But these are things that have made me stronger. And every time I am in a spot that I feel myself having to be vulnerable, it becomes easier because I trust myself to get through it and trust anyone that is involved to support me in the best way they can.

-Remain Still

Can you Remain Still?

Monday, May 27, 2013

Mix 26: This is What It Feels Like

Friday, May 24, 2013

Here to Stay