You think its bad when you’re a tourist? Imagine being the other side of the fence. I spent a lot of time the last couple of years in the Costas, working with Tribute Acts and they are the real victims here. No ones going to stuff a couple of Euros in a pint pot to listen to you do Chappell Roan or Kaytranada or Saja Boys/Andrew Choi/ Neckwav (i have no idea but they are 6 and 7 in todays UK top 10). All theyve got is Robbie Williams, Rod Stewart and Sinatra. Maybe a bit of Ronan/ Boyzone if the Irish are in. And this audience is literally dying. And with it the great tradition of the Tribute Act.
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Ha oh shit we’ve just literally booked a week in Majorca. Last minute cheap n cheerful all inclusive kinda thing. Tbh we dont intend to leave the hotel pool area much but I’m expecting a mucho bad music and Brexit ham sunbed warfare type deal anyway.
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I’ll let you know. We can go for dinner and you guys can pick who on my staff you want to be for when I expense it.
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We’re in Cala Millor which is nice enough i guess. Hotel is pretty much all German but heard a fair amount of English voices in town. On the upside theres no sunbed shortage at ours and people arent getting too daft with putting towels out.
Its very much as you’d expect really - these places dont change much!
it is pretty awful but a direct descendent of eurodisco, for better or worse. It came about when hardcore got too junglistic or too (hard) techno for a certain part of the demographics and they went back to that mid 90s euro/UK house and toughened it up (idk what you call it). A lot of that house sounds very cheap now.
Just a harder version of this sort of thing. Skeletons in the closet?
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I would actually rather that than some fluffy organic tropical house/burning man lee burrage (?) record with the 4x4 and wooshing pads tbh. Once couldn’t go to bloody sleep after a new years binge because they were playing that kind of pseudo-deep house at the afters, and I was crying out for some gabba or at least hard acid to rejuvenate me. Nothing worse than not being able to sleep because some 4x4 ‘progressive’ shite that even sasha forgot to take the 50P HMV sticker off is chugging away at 124 bpm and doing absolutely nothing.
Most people don’t have the 70s jazz/rare groove crates to soundtrack dining or chilling out.
Once got my mate to play this at the bar he was working at for a laugh. and scared the other bunters 
.
Love how this was signed to Papa Sven’s fairly credible label. 1992, when there were no limits!
Zakia is good. Afrodeutsch is also good but she’s on a friday evening. Can’t recommend Ruby Savage on NTS enough.
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Ruby is the absolute best. Lovely person as well.
People in management who don’t grow people. We just had someone quit and they’re leaving because they felt they weren’t being given any opportunities for growth by their supervisor. The supervisor in question just called me in a panic because of how important that person is to their operation seeing if I could call them and ask them to withdraw their resignation. If they’re that important then don’t let them stagnate. Give them ownership. It’s not difficult. Also, passing your poor management onto someone else so they can fix it is pretty rum as well.
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What do we think of this then. I mean DJing over the Cloud was always coming, but is this pushing us more and more into streaming ultimately meaning that artists will get paid even less?
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I have never understood hierarchical micro managers who don’t allow people to have ownership of their work or fully involve them in what they are working on.
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…and who don’t allow people to have opportunities or try to grow them.
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Interesting one.
I’m of the generation that still wants to own my music. If not a physical copy, I want to own a file.
Played at a party recently and another DJ was streaming from Tidal. It sounded glitchy. So you’d definitely need bullet proof WiFi if you were going to stream.
If we assume every DJ could stream any tune they wanted I think that actually makes the art of selecting/programming harder. It’s certainly not a given that easier access to more music in the moment makes for a better set.
Ultimately I think you’ll see streaming being the go to for commercial DJs but for the underground it will accelerate the movement towards exclusivity: playing stuff no one else can just stream. Whether that’s vinyl or exclusive productions or edits.
This might create a better (albeit small) market for underground artists to still supply the music for the best DJs and parties.
But yes, once most people access music through streams it will continue to drive commercial music towards being created by AI or generating tiny fees per stream, only benefiting the big players.
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Punter requests are going to become even more obnoxious. You won’t be able to say you don’t have it.
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100 per cent the near future. I can’t imagine in a short few years why USBs would be much of a thing for most DJs, most will be playing off either their own cloud or streaming services. Everyone will have access to almost everything for a subscription probably. All in all, potentially more bad news for artists.
If i was the kind of DJ that could play off streaming or a cloud service, i still dont have that much faith in technology to not go tits up at the absolute worst moment.
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Not necessarily…
If all tracks played in a night are logged, and the PRS pulled their finger out, I don’t see why they couldn’t create a performance space license where a cut of that income went directly to those artists whose music was actually played.
When I was promoting live music & managing bands in the 80s/90s PRS took a cut of the gross door (3% I think), which was divvied up amongst the bands in proportion to the number of songs they played*, all done by filling out their notorious green forms at the end of the night.
If streaming means data of what is played is already there, then a beneficial system like this could easily be automated.
*If The Ramones played 40 songs warming up for Pink Floyd who played 10 really long songs, The Ramones would get 80% of the PRS money! Canny support bands would always add a few numbers when filling out thier form.
Of course lots of bands didn’t bother doing it and promoters would forget to send off the forms, leaving an excess in the pot which was given - in classic PRS style - to the top 10 live earners.
“Come on, fill it in, otherwise George Michael gets your money”
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I already find this a bit of an issue when playing b2b with my freinds. They use sticks and Rekord box etc while i only have records.
I know it’s not competitive but it feels like an uneven playing field in that they can select bits of music that they’d never be able to obtain on vinyl either through cost, scarcity or just unavailability.
This can then lead to the imposter syndrome talked about in another thread, Which I totally get by the way, except when I’m playing on my own or to my kids 
but yes, the internal dialogue when going through a box of 100 records everytime it’s my turn is interesting and along the lines of “you never set foot in the same river twice” 
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The Format Wars were one of the things that did for me. Cant play vinyl there, this night will be CDJs, no point trying to take Serato to Venue X theres no room in the booth and the decks are dodgy, so+so is on first using USBs next week so may as well follow suit etc
Unless i was doing the whole night start to finish it just became a ball ache trying to be prepared for every possible scenario.
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I’m going to take this gripe, and move it further. Any music in restaurant is fucking annoying (apart from gentle sitar stuff in in the background at a curry house).
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