A Tribe Called Request – My Greatest Hits
It’s a fact of life for most DJs – they are going to get a lot of requests. Not all of them are going to make sense, many might be rude, and often there is no way to satisfy the person making the request without ruining the vibe you have created on the dancefloor.
Some DJs take the approach of a blanket “no” to all requests. Others find that saying “yes” to everything and then just carrying on regardless is the best approach.
Personally, I think that unless you are a ticket-seller of a name, where people have parted with their money specifically to see you and your choices, it goes with the territory. Doesn’t mean you have to say yes to requests, of course, but I think it’s generally best practice to at least listen to them – you never know, occasionally people have great ideas, or make you aware of really good songs you wouldn’t have heard of otherwise.
One other fringe benefit of taking requests in the age of social media – sometimes you get absolutely FANTASTIC content to post during or after your gigs! Once you can laugh about things like this, it helps move it away from being an annoyance or source of stress!
Here’s a selection of my greatest hits from over the years…
Sometimes people don’t really have much to add – this is a surprisingly common genre of request, the request that isn’t actually requesting anything.
“Do you take requests?” Sure… “Great, we don’t know this music.” That’s not a request. “So you take requests?” Yes, if they’re suitable. “I’ve never heard this song before”
“Do you take requests?” That depends on the request… “OK – so what’s a good song?”
“Can you play something I know?” What do you know? “Everything. But not this”
“Can you play some….. Oh, I don’t know?” *hopeful look*
“Can you play that song. They’re playing it a lot in Ibiza.” You’re going to have to be more specific… “And on the radio”
Other times, they know what they want, but they are struggling to express that in a useful way
“Have you got that song? It’s by a blonde lady”
“Have you got that song with the beat?”
“I heard a great song on the radio on the way in to town tonight, have you got that?”
“Have you got the one by the black guy? You know… wotsisname?”
Sometimes the requests are quite specific, while requiring a bit of thought and knowledge from the DJ…
“Have you got something for someone who’s with someone but wants to fuck someone else?”
“Play something a bank manager would like, you know, like 50 Cent or Lil Wayne or something.”
Occasionally they make it easy for you, and it’s basically a compliment.
“For the next song can you play one a bit like this one?”
Other times they are being less complimentary…
“I’ve been here an hour, I have to say I really don’t like what you are playing.”
You get a window into what music has slipped out of the public consciousness
“When are you going to play normal music?” I think James Brown is classed as normal music “Who’s James Brown?”
Occasionally you get a real treat, such as a friendly message on a napkin – I received this the same year that I competed in the World Final of Red Bull 3style…
More common these days than the napkin thing is the message on a phone – I’ve had some doozies with this, including a 20 minute argument with a woman who was CONVINCED that Avicii should be getting blasted at a hip-hop event…
. 
But very occasionally you get a massive confidence boost
“Do you take requests?” Depends on the request. “I request you continue doing what you are doing, because it’s amazing”
As you can see, whatever tricky moments you are getting in your DJ booths, DJs all over the world are experiencing similar! The key is to laugh them off when you can, keep it friendly and positive, and when you need to, make a note of the really good ones so you can share it with your mates later on – that certainly helps you get through those frustrating times with a difficult requester!
Here’s a couple of classic interactions that many DJs will be able to relate to
2019: The Year In Music
It’s the time of year again, where we take stock of the year just gone, and look forward to the year ahead. And one of the big things for DJs is to look back at what the biggest hitters were in their crates, and on the dancefloors.
Every year, we publish end of year charts for each genre, so here’s a quick round-up of what you can find there!
First up – hip-hop/R&B, which is probably the most popular genre on Heavy Hits, despite the massive boom in dance music, and the forward march of reggaeton around the globe!
The most downloaded track was No Guidance, no doubt a consequence of it being a collab between two of the biggest stars in the world, Drake & Chris Brown. Closely following this was Young Thug’s The London, again with a big support cast (this time J.Cole and Travis Scott). Drake reappears at #3 with Rick Ross, before the top female entry – Megan Thee Stallion. City Girls weren’t far behind, after a big year for them. Interestingly, 5 of the top 6 tracks sit around the 90-100bpm area – there definitely seems to have been a move back towards these mid-tempo areas.
https://www.heavyhits.com/playlist/hip-hop-rb-top-downloads-2019/
Over to pop – it’s been a huge year for Lizzo, and her track Truth Hurts tops this chart. Lil Nas X follows with his smash hit Old Town Road. Then we have another big collab – the UK’s Ed Sheeran and Canada’s Justin Bieber, doing a little bit to chip away at the American dominance of these charts so far! Ariana Grande, Camila Cabello and Shawn Mendes all feature high up in the pop chart, with the quirkier pop of Billie Eilish further down.
https://www.heavyhits.com/playlist/pop-top-40-top-downloads-2019/
On to Electronic / Dance – Major Lazer’s golden touch remained in place, with the high-energy Que Calor doing the business. The brilliant DJ BrainDeaD & Dutty Nation remix of Serani’s No Games proved a huge hit with the pool. In fact, remixes seem to be the most popular items here – beefed up flips of familiar tracks are always welcome in any DJ’s crates!
https://www.heavyhits.com/playlist/electronic-dance-top-downloads-2019/
Latin sounds, in particular reggaeton, have been exploding globally in recent years, so the latin chart is a very popular resource for the DJs looking to stay on top of that scene. Bad Bunny & Tainy top the chart with the very laid back Callaita, with hit-machine DJ Snake following up with Loco Contigo ft J Balvin (who also stars on Que Calor, he’s doing alright!). China borrows the melody from Shaggy’s It Wasn’t Me, while Con Calma goes for Snow’s Informer – everything is a remix of a sample of a cover of a homage these days! Black Eyed Peas seem to be hopping aboard the reggaeton bandwagon lately, with their track RITMO charting well here, and sampling classic dance track The Rhythm Of The Night.
https://www.heavyhits.com/playlist/latin-top-downloads-2019/
The international chart is topped by Davido ft Chris Brown – Blow My Mind. If reggaeton has had a good few years, this was the real breakout year of modern afrobeats, a genre that has been bubbling along in various forms for some time. Burna Boy features high, while Wiley’s huge hit Boasty takes #2 spot with help from Stefflon Don, Sean Paul & Idirs Elba, and Stormzy’s rise continues with Vossi Bop in at #3.
https://www.heavyhits.com/playlist/international-top-downloads-2019/
Finally we have Reggae/Dancehall, with Shenseea ft Tyga – Blessed taking the #1 spot. Two different versions of Koffee – Toast make the top 6. I heard one London DJ refer to the 2019 Notting Hill Carnival as the Toast vs Boasty derby, both tracks were HUGE in the UK through the summer, and around the world too it would seem. Vybz Kartel won’t let something minor like life imprisonment stop him making hits, and Konshens made the dancefloor move with Bad Man, which harked back to the legendary Bookshelf riddim.
https://www.heavyhits.com/playlist/dancehall-reggae-top-downloads-2019/
Dan Savidge – Euphonica
DJing is a lot of fun, but for many people it isn’t something they want to do full-time for their whole life – Dan Savidge is one such DJ, and here he tells us a little about how he created a business from his contacts made while DJing, and what he looks for in the DJs he hires for his company, Euphonica.
Can you tell us a bit about your path from DJing to what you do now, and tell us a little about Euphonica?
I’ve DJed professionally for 25 years, and along the way played on every continent, was resident at The End, released over 20 tracks and remixes on Defected, Strictly Rhythm, Ministry of Sound, Hed Kandi, Mn2S. I had a writing partnership with Byron Stingily, and have produced the likes of Robert Owens and Barbra Tucker. About 5 years ago, I yearned for daylight, and armed with a black book of DJ and venue contacts, founded Euphonica. We are a music agency, who curate music experiences at venues like Somerset House and Tate Modern, for private clients and brands like Dior, Google, Rolls Royce and Krug. We represent DJs, bands and classical musicians.
What led you to make the transition from front end to behind the scenes?
The nightclub / studio / tour life treated me well, but it was time to surface, blinking into the sun.
You work with a lot of DJs, across all manner of events. What sort of qualities will make you go back to DJs for regular bookings?
Selection – A DJ set at the V&A is going to be very different to a set at Printworks.
Consistency – we programme residency DJs seven nights a week at the likes of Skylight and Swingers – we require high standards day in day out.
Absence of ego. To quote Henry Rollins: “No one has time for your rock n roll star bullshit.”
What are the biggest challenges of having to rely on dozens of different DJs to represent your brand?
Performance is key, though subjective. Clients like Dior or Facebook won’t mind if a mix falls out or a guitarist misses a note. They get twitchy if an artist is late, or a dick. We respect and look out for our artists, and get the same from them.
What’s the most unusual venue you’ve organised an event for?
Euphonica delivered 20 drummers pitch-side at Twickenham Stadium for the Rugby World Cup Finals.
On a personal level, DJing in a church for 100 guests, where the only other act was Stevie Wonder.
What’s something about running an agency that nobody told you about?
HR! I have the best team I could wish for, but getting there took time.
How have audiences changed over the years that you have been involved with DJing? And what changes and challenges has this led to?
Smoking ban – half the club disappeared outside so you had to adapt to a more transient audience
Tinder – no one goes to clubs to meet people any more. Bars have taken precedence. Less vibe.
Phones – enough said
What does 2020 have in store for you and Euphonica?
Euphonica is moving offices, taking on new DJ residencies, with some amazing new acts to launch. Keep your eye on @euphonicalive and euphonica.com
Heavy Hits
Dan Savidge Pool Picks
Rob Pursey’s Rap Lists
There’s few people involved in hip-hop and R&B with the level of knowledge that Rob Pursey has – a DJ & Promoter who runs Hip Hop Karaoke, as well as events with his brand Southern Hospitality, around London, the UK and all major festivals. Southern Hospitality have been responsible for hip hop showcases at SXSW and A3C (Atlanta), and Rob has played Sonar, Glastonbury and more.
He’s also worked for Apple Music in curating rap/R&B playlists, judged for Red Bull Culture Clash, and was contributing editor for Hip Hop Connection Magazine. And anyone who follows him on social media will know that he LOVES a list – thought provoking, sometimes controversial, and always enlightening.
Up first – top 10 rap groups/artists from the 90s that were massive at the time, but now get left out of history and replaced with “cooler” choices!
1.) Naughty By Nature
2.) Onyx
3.) Arrested Development
4.) Cypress Hill
5.) Kriss Kross
6.) House of Pain
7.) Bone Thugs n Harmony
8.) Coolio
9.) Master P
10.) Da Brat
Touring as a DJ, without an agent
One of the big aspirations of many DJs is to take their skills around their country and the world, and have the pleasure of making new crowds dance, while getting to experience new cultures and scenes. But this is something that can seem almost impossible for many DJs that don’t have the necessary contacts, or an agent to act on their behalf.
Highly respected techno act Posthuman tours extensively, but without an agent, and decided to do a great Twitter thread with pointers for those looking to spread their wings. For independent DJs, give Posthuman a follow on Twitter – they share some great insights on the recording and DJ industries https://twitter.com/posthuman
