Hey Mister Deejay - bigdavegastap.com · Hey Mister Deejay... put a record on Hey Mister DJ.indd 2...

72 • January 2014

Instructors who DJ at their own club socials can chill and have informal fun with their dancing friends but if hired for an event a DJ should always give a professional performance.. That is what I believe. The truth is simple...a DJ can make or break an event.

DJ’s are all different but just like hosts, choreographers, instructors and artistes their success or failure often depends on their personalities and the amount of preparation put in as well as the level of professionalism they show. An event however is rarely about the DJ. That is another fact and a key factor to consider has to be how well a DJ can blend

into the background whilst doing his/her job. This can sometimes be forgotten. Events are about and for dancers.

Today, I want to share those dilemmas as headlines and I would love you to contribute to this regular column. Contact me if you want to air a point of view. My email is [email protected] and I would love to open a debate or two in 2014. And your point of view IS important at any level.... dancer, organiser or another DJ like me.

1. Key PrinciplesI have fi ve key principles that always help me focus and allow

me a head start in giving dancers a good time. For example my fi rst aim is always to try and ensure that I have every track that will be requested. What do you think are the most important principles for a DJ?

2. Getting The Basics RightGood quality equipment, sound mix/level tested just like a band

almost goes without saying - Likewise ample backup cover too, so that not only does it sound good but any unexpected equipment failure is covered – The show must go on. What do you consider to be the basic requirements for a DJ?

Should your DJ be seen or just heard? How important is your DJ to your event? Dave Baycroft, one of the most respected DJ’s in the community, has his very own ten dilemmas that he intends to share with you all the way through 2014 in this new regular column.

Hey Mister Deejay...put a record on

Hey Mister DJ.indd 2 23/12/2013 15:55

January 2014 • 73

3. Keeping Everyone HappyRequest Slips are a valuable way of gaining insight into

knowing what dances will be asked for but what else could be done to ensure that a DJ keeps dancers happy? Requests can be a double-edged sword of course because once a dancer puts a favourite request in, there are huge expectations (almost certainties) for the DJ to play that request. It is never possible to play every request. And should a DJ be a slave to requests or use his/her own discretion in introducing other tracks? Ultimately the question is...Can a DJ please all of the dancers all of the time? And should he/she play the same dance more than once in an evening?

4. Helping The DancersCounting a dance in can be a big help at times, as can calling

the fi rst wall of steps if folk are struggling to get started. It is also helpful to give dancers ample notice of upcoming dances and also to allow a little extra time for dancers to be in place on the fl oor in order to start the dance correctly. I like to keep an eye on dance fl oor etiquette too and I will even occasionally restart a dance if too many dancers are confused with the beginning. What kind of help would you appreciate most from your DJ?

5. Filling The FloorEverybody loves to see a full fl oor and yet some requested

dances can actually “clear” the fl oor depending on the mix of dance levels and tastes in the room at that particular event. How full does a fl oor need to be and how important are fl oor-splits?

6. Playing Alternative TracksSometimes a change is as good as a rest and sometimes it just

fi ts the occasion – For example during a theme night or particularly

at a Christmas event. How do you feel about alternative tracks, especially to the classic dances?

7. Entertaining The DancersAn interesting debate is what more could a DJ offer in addition

to simply introducing a track and playing it? Do you value banter or information or dancing gossip along the way? And how about a dancing DJ?

8. PlaylistIsn’t there more to DJing than randomly playing the tracks?

Working with live bands and choreographers requires thought and planning for sure. What do you think the DJ should bear in mind when deciding the order of play?

9. Bonus EquipmentA DJ must focus foremost on the dancing but how about lighting,

projectors, decorations and bonus extras? What extras do you appreciate over and above the basic set up and sound system?

10. Bonus WorkThe role of a DJ can be much much more than simply playing

the music. The possibilities are endless - What is the role of a DJ to you?

So what makes a great DJ? Don’t forget to email me at [email protected] – I’m really waiting to hear from you, this is as much about DJ’s as it is about you. This column could be your chance to change certain things if we say it loud enough.... and who knows? With your help we may make it even more fun out there on the dance fl oor.


72 • February 2014

1. Always have every track requested I never want to say that I don’t have a particular track.

So although it is an impossible goal, I do really still try to have every track that is requested. Internet access and single track downloading makes this much easier now. The number of dances released and the speed with which they are taken up makes this an ever increasing challenge, likewise the national and regional variations as to which dances become popular. I do try my hardest though and I am always disappointed with myself if I have to admit defeat by not having a requested piece of music. I spend many hours scanning various online dance resources to look out

for new releases and ensure I have the track, I also subscribe to various DJ pop and country pre-release services and other compilation albums so I have as much as possible in advance anyway. Another very important reason for being prepared in advance is that I check the rhythm so I can call a fl oor-split if needed and the beginning so I can count it in.

There is of course no shame however in asking the dancers if they can help me with a track, many carry their favourite music with them on memory sticks or iPhones these days and I’m not too proud to ask!

2. Assume that everyone is NOT happy out thereI try my hardest to please all of the people all of the time even

though I know that I can’t but if I try I know I’m doing my best. It adds some unnecessary stress maybe but it works for me. Some events are more diverse than others but whatever the crowd there will almost always be many more requests than there is time for! I’m constantly shuffl ing the requests and looking around the room to check on dancers on and off the fl oor to ensure that all have as fair an amount of dancing time as possible. There are lots of ways of getting requests which I’ll explore another time, but for now enough to say that what I do is look out for who might not be happy and look after them as best I can. And as one track goes on, the challenge is on for what to play next! So I never relax and just assume that everyone is okay and happy, even though I hope that they are of course!

I am also always aware and careful that I must not be biased towards any one group of dancers because I want everyone present at an event to feel that they are getting a fair and good

First up in any job you need some basic operating principles? Some golden rules to follow. Here are fi ve of DJ Dave Baycroft’s important principles to him, “These make me tick, DJ’s all have their own and it is these principles that make us all different - for better or for worse!

Hey Mister Deejay...Keep Em Dancin’


February 2014 • 73

deal, so I keep reminding myself too that it’s not all about those that request the most or shout the loudest. I must also always be fl exible, for example, changing the next track if needed to bring back any lost equilibrium, rather than carry on regardless and most importantly I always welcome and encourage continuous feedback or advice from dancers, choreographers and hosts to keep me on the right track.

3. Never stop working from... beginning to endAs long as there is still a dancer in sight I use my time to make

sure that everyone is happy. I will work on during offi cial breaks too if anyone wants to carry on and I also like to play as long and as late as I can. The requests never run out, only the time...

DJing is not a union job for me it’s a vocation and I am lucky that I do it for fun in retirement from my life-long job as an Accountant for National Grid for 30 years. So it’s easy for me to commit, from the moment the equipment is all set up until the time it is packed away again my constant aim is to keep the dancers as happy as possible. Sometimes you can use off-schedule slots to play things for the minority, so I personally love to start a session early if I can, even playing through breaks and fi nishing as late as possible in order to maximise the number of people that I can keep happy on the dance fl oor.

Of course I must be on top fl oor-fi lling form during the prime time slot of an event but now and then it must be okay to have only a few dancers on the fl oor for their request. The trick is anticipating this, timing it well, maybe having a fl oor-split ready and then following it up with a fl oor-fi ller.

4. Never have a silence... The show must go on!I always try to be ready at the DJ station for whatever is coming

up next. There is nothing worse than stopping and starting the fl ow of a session or unplanned and uncomfortable pauses or gaps in dance play.

I think of a gig as a live stage show that should roll on non-stop with no awkward silences or puzzled looks from people about what’s next. There should be either music playing or the DJ talking. One of the biggest sins for me is to have one track fi nish before I have the next track ready to go. So I always try to be at my DJ station ready to play the next track or introduce the

next item. For this reason it is equally important that I agree the schedule of a session beforehand with the organisers or hosts in order that I can ensure that the event fl ows as smoothly as possible - just like a live show. Sometimes I like to chat a little and have a bit of fun between tracks but then at other times it is appropriate to simply introduce the name of the dance and add the count-in, sometimes even say nothing at all for a classic - But NO SILENCE!

5. Always be well-presented, approachable,,respectful and friendly.

The DJ is normally the focal point in the room and is responsible for setting the whole spirit and atmosphere of the event. I enjoy my work and hopefully this is obvious to all but still, I always aim to smile no matter what happens. The customer is not always right but they do pay my wages and deserve my efforts and they deserve value for money.

It is always important that I am smartly dressed and have a tidy, attractive DJ station. I do struggle with this one personally because I’m most comfortable in casual wear and I do not do ‘tidy’ very well... I try my best but many do better than me on this one. Some DJ’s use DJ booths to hide what’s behind them, that is truly professional, as is standing rather than sitting but it is not always practical. I do prefer sitting at an open DJ table whenever I can and whenever practical on the same level and as close to the dancers as possible rather than unaccessible up on a stage.

I generally don’t dance myself when I am DJing in order that my mind is focused on the job and the important minutes between tracks. I also always try to be positive and respectful to all choreographers, all dances, all levels and types of dances. What I like or dislike is completely irrelevant. I also take great care not to openly rate dances as being at a certain level so as not to embarrass any dancers, for example, “easy this”, “simple that”, “for the beginners” or “for the Country fans”. I don’t want to marginalise anyone, a dance is just a dance and a dancer is just a dancer, right?

Let me know what you think, especially if you have something you think is equally or more important. What would be most important to you from the dance fl oor that the DJ should focus on?


72 • March 2014

Before The EventLEGAL REQUIREMENTSEnsure you have the appropriate PPL and Insurance. Be careful with this as when you do events you normally need more cover than any arrangements for your usual class would cover. Check that your equipment is PAT certifi ed annually, some venues will check and will not let you play without this. Some may not ask but don’t get stopped in your tracks by the one that does. They should all check.

MUSICContinuously scan all the various Line dance resources to ensure that you have the tracks for the latest dances that you may be asked for. You can’t possibly anticipate everything but you need to be hitting 95% success with this to keep the dancers’ confi dence in you and keep them happy on the dance fl oor.BE PREPAREDAs well as being generally up to date with the music it is also important to have a feel for the sort of dancers you have and plan for that in advance. You may already know them or maybe you might reach out to a few key contacts, whether dancers, teachers or the event organisers themselves. Where fl oor splits are important it is always good to plan these in advance as best you can. As MikeE wrote to me recently, “We should spend more time preparing and announcing classic dance fl oor splits to the latest dances, not just beginners.” It is also important to agree the schedule with the organisers and be sure what they expect of you so that you can keep the show fl owing well.SOUND EQUIPMENTQuality sound equipment appropriate to the room is vital for a top quality sound to dance too. In particular it is important to have good quality microphones, not just good speakers. LindaG commented to me, “There is nothing more frustrating than not being able to hear what the DJ is saying.” It is also vital to carry suffi cient back-up equipment to avoid any showstopper breakdowns and just like any live band does, a sound check is another vital stage of set-up. Sound is the basic, other equipment like lights and screens are a bonus yes?REQUEST SLIPSHowever you approach keeping the dancers happy, the single

I would propose to you ‘10 Basic Steps To Success’ for a DJ to follow to make sure that dancers have a great dance experience. These are the essentials, ‘Getting The Basics Right’. Everything else is a bonus!

Hey Mister Deejay...Getting The Basics Right


March 2014 • 73

most important thing is to have request slips and pens on the tables. Of course they can also just come and ask you which is cool too but you also need request slips. Often the event organisers like to cover this but I always have some of my own to put out if not. The organisers should also ensure the dance fl oor is clean and safe but I always double check that too. I always have some powder in case it is needed or requested. CathyH told me, “More generally it is wise that you get to the venue as early as possible to ensure that you have ample time to have everything ready for when the doors open. “This is important for sure, the earlier the better.

During The EventBE PROFESSIONALAlways be well presented and keep a tidy DJ booth. Most importantly be friendly, approachable and polite at all times, especially if you are ever provoked. I always remind myself that if a dancer is not happy it is most likely because I’m not doing a good job for them and I need to work out how to turn that around. I’m so guilty of playing too loud and Pauline is always keen to get me to turn it down before someone asks or complains. It is so important to get that beat out there yet not interfere with those wanting to talk. READ THE ROOMNo matter how you do it you need to constantly read the atmosphere around the room and work to ensure everyone has a great time, especially be prepared to be fl exible and change plans as needed to counter any stumbles. As well as the DJ doing this I also fi nd it invaluable that the hosts, the choreographers and in my case my wife Pauline, keep in touch with all the dancers to pick up on any frustrations or about anything out there but especially the playlist.DANCE FLOOR ETIQUETTEKeep an eye on this and don’t be afraid to respectfully remind the dancers of it, if and when needed.KEEP A PLAYLISTKeep a note of your playlist and mark off those played from the request slips. The list will be handy to review afterwards but during the event it will help ensure nothing is replayed by mistake

and the updated request slips can be continuously scanned to help determine what to play next. Also liaise with any live bands so you don’t play anything off their sets. My good DJ friend ‘Grrowler’ stressed to me the importance of backup equipment, not just for sound but especially a PC with the music on it ready for a quick swap if there is a crash. He also considers doing a count-in and announcing the next few dances coming up as important basics. We’ll look at that and other ways the DJ can help the dancers in a future edition.

After The EventASSESS YOUR PERFORMANCEIn any job you should continuously refl ect on your performance, consider how you did and what you can do to improve in the future. I do that generally but in particular I go over all the request slips and review what was popular and if there is anything I missed. I like to write a review for the various dance forums I contribute too to help me with this process. Of course the most important thing is to fi ll any gaps in the music collection! ‘Grrowler’ also explained to me that he takes special care to compile cumulative playlists to help him spot the trends in the most popular dances and especially the ones emerging.

There are other basics that the event organiser needs to cover too of course. Things like the schedule, table and seating arrangements, room decorations, heating/air conditioning, venue staff/facilities, drinking water, cleaning/tidying, being around all the time to help resolve any issues and other hosting or MC duties not given over to the DJ. Again let me know what you think, especially if you have something you think is equally or more important. What would be most important to you from the dance fl oor that the DJ should focus on?

Next time we’ll search for the Holy Grail - How to keep everyone happy!!??

Big Dave


72 • April 2014

Here are some thoughts on how maybe...1. A few times during each session I ask the staff, choreographers and/or the organisers/hosts/MC to mingle round each table and hunt out anything anyone is keenly waiting for, Pauline will do this for me too. We are a team whether we are working an event or she is just there looking after me

2. For weekend events I collect in Top 10 sheets from the dancers that I can encourage to fi ll them in, listed with Current and All-Time. As well as work out overall Top 10’s for the weekend, which I often play in a fun count-down session, they are an invaluable source of checking I am covering everyone’s favourites, in the same way as regular request lists. I also always have the latest Top 10/20 listings from the Linedancer Magazine, Up Country Magazine and the World Dance Newsletter with me.

3. I use different coloured request sheets for each session so I can tell them apart. I mark them off as I play them and look back over them to check for repeated requests that I have not played. A great tip that I got from my DJ buddy Andrew Palmer many years ago was to number the tables and write the table number on the back of each request slip, so I know where the requests are from and can target plays when I see groups of people sitting dances out. The request slips also have space for names so you can target individuals if needed.

4. Sometimes, to ensure a fair spread around the room and so that everyone can also see that I’m trying to do that, I will have a rotation of playing a dance for each table by table. I announce this beforehand and get my helpers to encourage tables who are not requesting dances to get some slips in. Sometimes I pick the track so that I can keep a degree of control for the benefi t of the whole room but sometimes I make it an interactive session by letting each table make their own choice. I make this a nice ice-breaker session by getting a choreographer to go around with a mic, chat to the table, announce where they are from and get their requests. Craig is a star doing this for me in particular.

Okay, we’ve got the basics right, which we have covered over the past few months. Hopefully the

dancers will already be happy but how do we really make sure that during the event we are keeping everyone happy and get a perfect 10/10? Well realistically we can’t please all of the people all of the time, as everyone has said to me... But let’s try anyway!

Hey Mister Deejay...Keeping Everyone Happy


April 2014 • 73

5. It is important that you watch and listen for any frustration in the room. Multiple requests is an obvious clue, likewise when people write big or highlight things or come up and give a sweetie bribe. When someone gets visibly or vocally annoyed it is vital to keep your cool. Remember that it may be likely that whatever is upsetting them, you can possible put it right. I don’t mean spoil the ‘bully’ at the expense of the quiet ones but more often than not you can do something to correct and defuse any frustrations caused.

6. When I know time is particularly limited I use request slips with a ‘Must Play’ box for one dance request. Sometimes folk will ask for lots of dances and it is good to know which in particular is most important to them. As the session progresses I regularly plead that if anyone is getting frustrated waiting for something, please just come and tell me. I also play as long and as late as I can to try to accommodate as many people as I can, which sometimes is outside of ‘prime-time’. You don’t have to fi ll the fl oor all of the time but you need to most of the time in that ‘prime-time’. My good DJ friend ‘Grrowler’ likes the Must Play/Favourite box too but advises not to make the slips too big or you tempt way too many requests! I sometimes wonder whether to insist on a limit of maybe fi ve per dancer. Here’s a tip for dancers from a DJ - you signifi cantly improve your own chance of dancing happiness by only asking for a few requests at a time, don’t be greedy and don’t waste your allocation by asking for obvious current big hits which will be played anyway!

7. Monitor the room. Request slips are essential but not necessarily a fair refl ection. Some people ask for lots, some a few, some none. So you must keep an eye out for who might be sitting down too much and react as you go. Reading The Floor’ was one of the points that Linedancer Awards DJ CathyH highlighted to me as one of the most important roles of a DJ. When I don’t have requests to help me I get my helpers to go check what they would like to do.

8. As it gets later in the evening I tend to start highlighting new slips coming in so that I can give them a little priority. As the session is winding up I also ask one of the team to go around and collect a list of dances people are waiting for and constantly

remind everyone just to come and see me if they are waiting to do something in particular before they leave.

9. An important role of a DJ is not just to play what is requested but also be wise in playing things that are not requested, whether that be a fl oor-fi lling classic or something to challenge the memory or something that is just right for the moment. Be ready to be fl exible and reactive. Often the highlight of an evening can come from such an impromptu experience!

10. If there is a diverse crowd and there is room, you can keep more people dancing with fl oor splits. Beginner dances and classic dances as an alternative when you are playing the newer dances that not many people know. Some dancers like a rest, a break or a chat now and then but you’ll at least keep the ones that like to keep on dancing happy!

11. Whilst the playlist is ultimately the most important route to dancer happiness, there are so many logistical basics that give you a head start that we mentioned last time like good equipment at the right sound level, temperature control, comfortable seating, drinking water and a clean dance fl oor. Most recently the thing that most dancers give appreciative feedback on is a screen display of the dances coming up and of course a DJ count-in, which I personally regard as essential.

12. Dancers also appreciate personal contact with the choreographers, the best of whom will ‘work the room’ socialising, entertaining and of course dancing their dances with the dancers. Boy does that make them happy for sure!

So keeping the dancers happy is a team effort between the DJ, organisers, hosts and choreographers but it is mainly the DJ that can make or break an event for all sorts of reasons. That’s the main objective of our job out there! Again let me know what you think, especially if you have something you think is equally or more important. What makes you a happy dancer? Next time we’ll explore the ways the DJ can help the dancer, which in itself, is of course part of the road to a happy dancer!

Big Dave


72 • May 2014

1. Counting-In Way back I used to think that learning a dance should include learning when to start the dance but it’s a simple fact that there are those who need a count-in and appreciate it, so it’s a no brainer for me. For every track that I enter into my DJ programme I work out the count-in details so that I can count-in whether I know the dance or not. I have a simple three number code for example (4s16c12s) and this prompts me to know that from starting the track I wait 4 seconds and then count 16 beats so that the dance starts after 12 seconds. Now I do this for EVERY track that I put into my system, whether I am ever likely to play this track or not and this is quite an investment in time because there are lots and lots of tracks but it is well worth the effort.( DJ Cathy made a great point when she advised me that it was better to count-in subtly rather than ‘blast it out’ as you would in class.) I should add that sometimes I do not count-in, often when it is a classic dance and therefore obvious or sometimes when I’m in ‘party’ mode and just want the session to fl ow disco style.

2. Upcoming DancesThere is no doubt that dancers like to know what’s coming up and what’s next so that they can be ready, so I believe that calling a few dances ahead is a big bonus for the dancer and I have found that one of the biggest changes over the last few years is the use of a projector to display the upcoming dances. This is a big investment in equipment for the DJ because a projector, a second PC and a screen are required and also a big investment in effort because as well as cueing up your music PC you also have to update your display PC. If there is room for the projector I now consider this as a vitally important part of being a good dancer-friendly DJ. It is money well spent. As with count-in’s I should say that I do not always announce the next dance because sometimes I just want this to be a nice ‘surprise-surprise’ or a ‘wildcard’ and I reason that impromptu and unexpected is good. Another way of announcing upcoming dances is to publish a full playlist before the event and this can either be a completed list or one with several gaps in to

OK so the DJ calls the next dance and puts the track on but what else helps the experience? The DJ

can indeed be the dancer’s friend in many ways but I fi gure that there are four Big Ticket items over and above the overriding fundamental yet almost impossible ‘Holy Grail’ challenge, this being the announcing of the next dance so that everyone in the room is clear on what is coming up next. This can be tricky because dancers don’t always listen...

Hey Mister Deejay...Helping The Dancers


May 2014 • 73

let the DJ insert popular requests along the way. Although this is not a method that I use myself it is popular to do this, particularly in Europe. Now the reason that I am not keen on doing this is because I feel that it takes away some of the fl exibility the DJ enjoys in being able to react to the fl oor. I constantly re-assess the tracks as I like to be working on what is coming up next in order to keep everyone happy on the dance fl oor.

3) RestartsMy approach to playing the dances is that it’s like a concert or show in that the session needs to fl ow with no gaps, mistakes, or unexpected interruptions. So the last thing that I want to do is to have to stop a dance in progress and restart it but sometimes I just need to do this if there is chaos on the fl oor. This is an important judgement call! Now I must admit that I do not restart dances every time as some would take advantage of this and I could end up doing this way too often so if just a few have missed the start or are going wrong then I let them catch up and correct themselves and get on with it. In my book restarting must be the exception and not the rule. Another tool in my kit that helps me avoid the need for restarts is to give dancers enough time to take their place on the fl oor before starting a dance and I will allow longer for that in a larger room. For a track that has a short introduction I will just play the beginning of a track to encourage people up onto the fl oor but for a track that has a longer introduction I will click for a restart of the track if I can see that lots of people are not going to make it for the count-in. What a helpful chap I am eh!

4) CallingOne of the most frequently asked questions in Line dancing is, “How does it start?” The DJ can help with this as DJ Grrowler encouraged me recently in his feedback. I believe that this should only be done occasionally and very selectively ie. perhaps for newer dances, classics or for nightclubs where it is useful to know if the dance starts to the left or right. It’s too tall an order however for DJ’s to remember how every dance starts but helping out every now and then is surely much appreciated. For this reason

and for many others I feel strongly that I will always be a better DJ if I am a dancer and/or an instructor. Stronger than that actually, you can’t be a good DJ unless you know it from the dance fl oor. I love my classes in their own right but I consider being an instructor a vital part of my role as a DJ. My good friend and peer Gary Laffert y is like this with a very successful club in Scotland and he’s a successful choreographer too. I mention Gary here especially because he can often be seen out on the fl oor dancing in between pressing play, Grrowler too. And this too is surely a big help to the dancers - and I should do it too!

Footnote...The DJ also needs to remember that dancing is exercise and that one cannot dance at 100 miles per hour for too long! So a DJ needs to pace the playlist to a few tracks in a row that are fast - medium - slow. Another related aspect of the play order is to mix different types and rhythms of music including Country and Pop, to mix different levels of dance and to mix the age of new and old dances. My own aim is for the event to fl ow like a professional show and the order of play can be quite a multi-dimensional challenge.

Last but not least and as awkward as this can be I feel that it undoubtedly helps for the DJ to courteously reinforce and enforce dance fl oor etiquette in order to help keep the dance fl oor safe and happy. So I like to encourage dancers to move forward to use the dance fl oor space well and sometimes even remind dancers to dance in lines, dare I say.

Again let me know what you think, especially if you have something to say that you think is equally or more important. What kind of ‘help’ would you appreciate most from your DJ? Next time we’ll explore the importance of fi lling the fl oor (or not)!In itself, is of course part of the road to a happy dancer!

Big Dave


70 • June 2014

Floor-SplitsAs Mike Evans and Linda Garrett wrote to me, “A very important way to fi ll the fl oor when you have a mixed crowd and a big enough dance fl oor is to announce fl oor-splits.” Now I think that there are two main aspects to this. Firstly and most importantly to offer Beginner/Improver alternatives to Intermediate dances. Secondly to offer well-known alternatives of all levels to the newer dances. The key thing here is that the DJ needs to be prepared for fl oor-splits and this is not easy and it is too late once you have pressed ‘Play’ so you must already have anticipated the need for a fl oor-split.

Of course all rooms are not big enough and this can limit or even prevent fl oor-splits. DJ Mark Caley mentioned a great alternative for a new dance, where rather than try to fi ll the fl oor you use the opportunity to bill it as a demo for the audience, especially when the choreographer is present. Dancers do like to see new dances and sometimes they deserve such a spotlight.

Now some DJ’s, especially those with a dance background, have a natural talent for working out the fl oor splits. So do those who spend lots of time on the live music scene gaining the experience of quickly fi tting dances to the tracks that the bands are playing. In my case, I’m far from a natural, so for every track that I upload into my DJ program I add information on the count-in and also the rhythm type of the dance. I do this as best I can by using a few classic dances of each rhythm for comparison and then trying to work out which rhythm fi ts a particular dance.

So all I need to do when looking for a fl oor-split is list the rhythm in bpm order to fi nd something around the same speed that people might know. I often get help from my good friend Dee Musk who has a dance/music experience beyond Line dancing and also my wife Pauline and daughter Christine who gained quite an ear from many years on the competition scene. Thanks guys!

I also code classic Beginner/Improver fl oor-splits into my DJ program for use with classic Intermediate dances so that I have these combinations ready to hand. Floor-splits are for mixed crowds and there is no point or need to give a fl oor split just for the sake of it but only if I judge that there are enough people out there to take me up on the fl oor-split.

Even more importantly I aim to consider every dancer in the

Oh boy, one of the biggest stresses for any self-respecting DJ is to play a track and only have a small proportion of dancers on the fl oor.

The ones that are dancing are happy but what about the dancers that are sitting down?

The dilemma! The pressure!

Now it goes without saying that it is easy to keep the fl oor full by simply playing all of the obvious new and old hit dances and some will say that it is always better for the DJ to strive to fi ll the fl oor. I would agree that this is a priority during that prime time when an event is in full swing and the joint is jumping, when there can surely be nothing worse than putting on a track that just empties the fl oor and kills the atmosphere.

As well as all the obvious popular dances, almost everyone in the room will have at least one that they want to dance that will not fi ll the fl oor and a good DJ simply must deal with playing some of these whenever the time seems right and whatever the occasion. DJ Cathy told me, “keeping the fl oor as full as possible is important but so is catering to the obscure requests where only a handful of people are on the fl oor.” So in this case I always try and be ready with a fl oor-fi ller afterwards. Sometimes the fl oor can unexpectedly be cleared with the obscure request but on the other hand quite often dancers surprise me too and a dance that you have been reluctant to play or expecting to clear the fl oor actually does the very opposite. Now that’s a bonus and you live and learn all the time... Apart from knowing what is obviously popular and current, fi lling the fl oor is all about effective fl oor-splits and knowing your audience of course.

Hey Mister Deejay...FILLING THE FLOOR


June 2014 • 71

room and try and give them a fair mix of dances. So with that in mind sometimes I just must play the original track for Beginner/Improvers because they should not always be on the receiving end of a fl oor-split!

It almost goes without saying that the DJ must be knowledgeable of alternative dances to a particular track and organise the fl oor split accordingly and when it comes to that time then you need to stop and ask the dancers to make sure that you get this right.

Knowing The AudienceIt is vital that the DJ does their homework about the type and level of dancers that are coming to an event in order to have as good an understanding of the crowd as possible. Talking with my good friend DJ Mark Caley, this for him is the golden key and he was telling me how he takes great care to familiarise himself with the requests coming in and where everyone is sitting and check that everyone is dancing enough.

Okay so the request slips help on the day big time but some dancers don’t fi ll in request slips for all sorts of reasons or perhaps I might not have the particular track that they want on the day. It is much better if I have a good idea of dance groups and levels beforehand and I always hope that the organiser or host can give me information about the groups that are coming.

If it is my own event then I can ask any guest groups that I know are coming. My motto is ‘Be Prepared’. This especially applies to Beginners/Improvers because I want to accommodate them with well thought out fl oor-splits.

For weekend events I encourage dancers to submit top 10 sheets for their ‘All Time’ and ‘Current’ dances and I fi nd that this is a good way to gain advance information about the dancers’ favourites. Unlike general requests via request slips the Top 10 sheets give me some prioritisation too, for example I would always aim to play the fi rst couple of dances from everyone’s list if I can because I see these as their favourite dances.

Don’t forget that sometimes a DJ can fi ll the fl oor with a dance that no one has asked for! This is something that my DJ buddy Grrrowler mentioned and he is really good at doing this. ‘Don’t be afraid’ is his motto.

Not Every Time I am grasping a controversial nettle immediately by stating here that, yes a full fl oor is Utopia but I also feel that it is not a crime if there are only a few dancers on the fl oor on occasions. Every dancer pays to dance and deserves as much respect as it is possible to give. I allow myself a small margin in my head for dances that I think will almost always clear the fl oor and then I try and fi t these dances in when I think it best.

Now with less popular dances, whether they are Beginner, Intermediate, Advanced or just new, I try my best to fi nd an ‘off-peak’ time to play more of them. Sometimes I start the session earlier or I carry on later than planned or even continue through the break. An especially good time to squeeze in less popular dances can be between the workshop teaches. Someone once asked me if I had a ‘policy’ on the minimum number on the fl oor to let a dance be played. Absolutely not is my reply.

Another controversial topic perhaps is the fading out of tracks. I will do this when time is running out and I still have lots to play but generally speaking, unless it’s a particularly long track, I would NOT fade a track out just because there is only a few on the fl oor. These guys have probably waited patiently for a good while for that particular dance and they deserve to have all of it played. I do give dancers a chance but I don’t think that it is unreasonable to fade a track out when dancers have asked for something but are not remembering it.

Of course a DJ must seriously ration the amount of times that he can risk losing a full fl oor but I would also ask the dancers seated to have some degree of tolerance and patience. After all a track is usually only about three minutes long and surely we should all be able to give the minority the fl oor every now and then for that length of time. Just as importantly however the DJ should consider that in most cases it is better to try and swell the numbers on the fl oor with a fl oor-split instead. I had to chuckle when DJ Mark reminded me that back in the old days a good escape clause was, “sorry I don’t have that” (Oh my, I remember lugging all those CD’s around in big heavy boxes!) How true, but now that it’s all laptops with internet and memory sticks there is very little chance you can get away with that one anymore!

As much as the DJ tries to fi ll the fl oor, there are perhaps things that the wider Line dancing world can do to improve things and we’ll explore these next month... Dave


70 • July 2014

A) Beginners/ImproversJust think how much better it would be if everyone learned the same dances. I seriously think that this could be the way forward. If that was the case then Beginner/Improvers everywhere would be able to go to any social or event and dance a lot more than they ever otherwise would. Dancers would be happier and surely event organisers would feel the same with the increased numbers of dancers at events. If everyone knew all of the dances then a DJ could play the original track for the Beginners and Intermediates could join in and more importantly a DJ could confi dently announce a beginner fl oor-split.

So I say this – Why not agree on a list of classic dances that all instructors would teach to their beginners/improvers - At this level does it matter which dances are taught or that the dancers are learning and having fun? Couldn’t there be a standard national teaching list of dances which a small panel of experienced instructors would come up with? Dances set to good music with steps that will train and also entertain? Could Linedancer Magazine be the organisation to manage and publicise this list?

I asked for feedback on popular dances from my DJ and Instructor friends around the dancing world and the diverse range of suggestions convinced me that this is something worthy of serious consideration,

This is just to illustrate the idea - A group of respected instructors could come up with the real thing and maybe update it annually. As a DJ this could then be my base-line list for beginner fl oor splits, especially where request slips don’t suggest otherwise. Now forget about the DJ - How can this not keep beginners dancing happily and give them confi dence to venture into the

bigger line dancing world much sooner than they otherwise would - A result for event and social organisers too.

The challenge for instructors could be to continuously refresh the music used for these dances. There is of course freedom to teach anything new or old, but why not do everyone a favour and as a mimimum teach your beginners and improvers the agreed core dances.

B) IntermediatesI wish I could suggest the same for Intermediates but at this level there are so many dances out there. When you are competent to dance at this level and have moved from the rank of Beginner/Improver then surely you have earned the right to dance whatever you want by any choreographer and to any type of music. So there will always be a large spread of dances for this level and an equally large challenge for the DJ to keep everyone happy. Thank goodness then for the various vote-based charts around that at least highlight and promote the popular dances so that these are danced as widespread as possible. I closely follow Linedancer and other organisations’ charts but it would be such a big help if more people voted and that is my DJ plea. If more dancers vote then we will have a better idea of what is going on out there and more instructors will be able to follow. After all don’t most instructors want to teach their class the dances that will be fl oor-fi llers everywhere?

C) ClassicsThere should be a recognised list of classic dances for all levels of dancing that all instructors should acknowledge and this would

Last month I looked at the DJ’s important role and objective of keeping the dance fl oor full as much as possible - Before moving on though I’d like to get on my DJ soapbox and suggest that maybe it’s also about how the Line dancing world is organised and what we teach and not just about the DJ. See whether you agree with me on some points...

Hey Mister Deejay...FILLING THE FLOOR - A FOOTNOTE


July 2014 • 71

be a big help for the DJ in deciding how to fi ll the fl oor wherever a fl oor-split is needed. Often a classic dance is the best way to split a fl oor or even fi ll it all in its own right, not least because dancers don’t mind having a different track for a change for a classic. The number of new dances is extreme these days and many believe excessive but whatever you think instructors should always put aside time to teach their new dancers these classics too. Yes I know that it’s easier said than done and I admit that I’m guilty of not teaching the classics so often myself but I would defi nitely refer to an agreed list if there was one.

D) AttitudesNow dare I complain as a DJ but generally speaking Intermediate and Advanced dancers are usually unwilling to dance their requested dances to alternative tracks. That is OK but as you progress up the levels I don’t think that it would be the end of the world to dance Have Fun Go Mad to Cowboy Charleston for example. Now I’ve never had the nerve to announce that particular fl oor-split but seriously now, how much fuller could the fl oor be if this level of dancers would do this.

E) AdvertisingDJ Mark made an interesting point that events are often better advertised these days to attract a particular audience, whether that be Country/Live Music, Beginner/Improver or Mainstream – It’s 10 years now since I coined the term Newline, to indicate to dancers an event with more advanced/funky/pop. Now this opens up a whole other debate about whether it is best for line dancing to have these different streams, which for sure

makes it easier for the DJ to keep the fl oor full with a room full of like-minded dancers. For me personally though I must say that I enjoy the challenge that a diverse crowd brings.

And finally...In general a DJ should only play a dance once in any session and playing something twice or more when other requests might not get played at all is a major gamble. This is because some dancers might become frustrated or annoyed at this so I really have to try to get the balance right. That said I believe that many would agree that it is ok to replay a few of the biggest hits at the end of the evening. I always want to fi nish the session on a high so I generally fi nish with a dance that I have already played but that I know will fi ll the fl oor again and this will most likely be the current Number One dance or the biggest up and coming contender. The last hour of the evening is always a major DJ stress and the time fl ies by so even as numbers are thinning or we are packing away I might also play out with something less popular. It is different however if I have unlimited time and am allowed to play until the early hours or even until the last dancer drops. DJ Mark thinks that dancers are much more tolerant and easy going of the DJ these days, more understanding of what a diffi cult job it is to keep the fl oor full & everyone happy – Mmmm is he right ?? Are you one of those dancers who get annoyed about the fl oor not being full in particular? If so please let me know the other side.

Next time we’ll move on to discuss the importance of playing alternative tracks.

Big Dave


70 • August 2014

So do you think that a change is as good as a rest on the dance fl oor? The same old tracks are played week in, week out so surely playing an alternative is a good idea? Surely a good DJ should always be on the look-out for alternative tracks to fi t a dance to? Bottom line is, that generally speaking I fi nd this not to be the case…

Current HitsNow I fi nd that dancers don’t seem to want an alternative track to a current dance because they are often enjoying the track as much as the dance. So an alternative in this instance is pretty much a no go area for me and the only exception to this is when I need to call a fl oor split. It is also a sad but simple fact that dances come and go so quickly these days that there is little or no need to refresh a new dance with a different track. A great new dance can be a fl oor fi ller for three or four months yet be complete history in less than a year. Do you think that a DJ could help these dances hang around any longer by changing the track? I think not.Nowadays dances are phrased to the music much more often so if a dance has been well written to a particular track it will be rare to fi nd another that feels as good as that original. Dancers are used to the classic dances not being phrased because very few tags and restarts were added back then. In any case isn’t it a point that a dance is a hit as much for the track as for the actual steps, perhaps it’s mostly about the track?It would perhaps be a good service if a DJ could suggest popular dance splits to great tracks not fi lling the fl oor. It is sometimes sad that a great track gets ‘wasted’ when choreographer etiquette kicks in and the only dance available is not a good one, the reason why the dancers should decide not the choreographers, but that’s a whole other debate. If

we stuck with the fi rst dance published to a track as the only dance then we’d waste so much great music! I guess it would always be good to have a country alternative available for the pop ones, but that’s a whole other debate too!

ClassicsLong-term solid classics such as Black Coffee, Islands In The Stream, Tush Push, Walkin’ The Line and Have Fun Go Mad are better suited for a track change either to refresh them or just to link these into a theme night. I like to start a theme night with a classic dance to a new track and very often this starter dance happens to be Islands In The Stream. I’ve noticed over the years that my DJ friend Gary is really good at coming up with great alternative tracks for these solid classics and that always creates a bit of a refreshing buzz. Of course there are also many classic dances that have well established ‘classic’ alternative tracks where the original tracks are rarely played if ever any more. Examples of these dances are Just For Grins (Billy Be Bad), Walkin’ The Line (It’s Raining Men), Lamtarra Rhumba (Coco Jambo). Most DJ’s have their personal favourites for the ultimate classics Black Coffee and Tush Push and my choices are She Bangs and Walk Of Life respectively and of course don’t forget my all time favourite classic dance Ribbon Of Highway which I set to Tim McGraw’s Just To See You Smile. What’s yours?For a theme evening I can always target solid classic dances with a track change. This can be the starter dance or certain dances played throughout the evening. For popular and recognised seasonal events, such as Christmas and Halloween, dancers will generally embrace a few changes of track but you cannot overdo it! There will ALWAYS be some disappointed dancers if I do not play the original or proper track and more importantly some classic dances are as much about the music as the dance. You run the risk of upsetting LOTS of dancers if you mess with the likes of Pot Of Gold, Feet Don’t Fail Me Now, Patient Heart and Somebody Like

Hey Mister Deejay...PLAYING ALTERNATIVE TRACKS


August 2014 • 71

Over the last few months we’ve discussed some important aims and challenges for a DJ, such as how to help the dancers, how to keep everyone happy and also how to keep the dance fl oor full. This month I have an easy and uncontroversial topic. Or is it?

You. So many dancers just love the original tracks for these dances so it’s close to sacrilege to change these tracks! It is also worth bearing in mind that it is often the fi rst familiar bars of the music that encourage dancers to rush onto the fl oor and I’ve noticed that in fact it can often be a chore to tempt folk up if I announce that I have an alternative track. It is also my guess that another reason not to overdo alternatives could be because dancers fi nd it easier on the brain to dance to a track that they are already very familiar and comfortable with. Perhaps it is safer to try a popular dance to a different version or remix of the same track. Just lately I’m doing Chill Factor to the Madison Cowboy version as a cool one-off change. It’s proving a popular swap but even so there are always still a few dancers who want the original version instead

A DJ Challenge..... More than a dancer desireFinding an alternative track is a fun challenge for a DJ of course so I think that it’s good to continue to enjoy that challenge and share any good fi nds with the dancers when the time is right. Personally speaking I thoroughly enjoyed the challenge set to the DJs at the Linedancer Awards a few years back and I believe that the dancers also enjoyed trying out the DJ’s suggestions. I’ve heard of this working well at a number of bigger events with a large DJ staff. Great fun for all but again this is just a brief departure from the proper tracks. I also enjoyed suggesting some current hit tracks to classic dances for the Linedancer magazine back in 2012 but I do wonder if many tried them out? When I’m looking for alternative tracks I have a personal DJ guideline. I look for something around the same speed or up to around 10% faster but rarely slower and I use this same rule when I am fi tting fl oor-splits. Of course there’s always an exception to the rule and one of my favourites is a fun Tush

Push (Turbo) to Queen’s Breakthru at 180bpm, suggested to me by my good friend Alan Birchall. I also enjoy setting the classic Islands In The Stream (Fast) to I Like It by Blackout All Stars. Since there are also so many alternative tracks for many classic Beginner/Improver dances I do think that this is at least one good area of dance to hunt out good alternatives, over and above fl oor-splits which are always a challenge for DJ’s and instructors.

SO my thought is...YES, change a track now and then but consider that dancers do really enjoy the original music most of the time, so don’t overdo it. A change is most defi nitely not always as good as a rest, except when it’s linked to a theme, then I don’t spend too much time hunting out alternative tracks. The DJ needs to remember (and yes I am reminding myself here) that although it might be fun to look for alternative tracks and personally satisfying to play these it’s not always what the dancers want. Most prefer the original tracks no matter what and won’t thank the DJ for changing the music, not even at Christmas. Bah Humbug!

So what do you think about alternative tracks being played? Do you want more or less alternatives? Let me know what you think and please share your own favourite alternative tracks with me. I always welcome suggestions and I believe that more open sharing of good alternative music and good fl oor-split choices across the dancing world would benefi t us all. Next time should be interesting looking at what more could a DJ offer in addition to simply introducing a track and playing it? The mind boggles. Tune in next month to see what I can offer or better still contact me right now with your own ideas on that !!??

Big Dave


70 • September 2014

As ever the possibilities are endless but in one way or another the DJ needs to add some entertainment value. Some DJ’s do a great job by adding a larger than life fun entertainment factor like the one and only Honky Tonk Cliff, the master entertainers, the Lizzie Clarke’s of DJ’s! the ‘showman’ DJ’s, who, like other natural entertainers can create a great atmosphere just by walking in the room, but for most like myself, it’s maybe working hard at some of the

following possible X-Factor ingredients:

� Have some chat with the dancers/choreographers, some lighthearted banter in between tracks, don’t be a shy DJ although that’s easier said than done.

� Tell them a brief funny story from your DJ travels. A brief joke even - brief is the key though, I know because I can go on a bit too much!

� Share some hot dance, choreographer or event news, or some juicy gossip dare I say...

� Arrange a demo of a new dance from those that know it in the room, yourself even or play a clip of the track during a break.

� Have a break from dancing with bingo, a quiz, a fun game or some spot-prizes and play quiet and appropriate background music, especially during breaks in dancing.

� Join the dancers in their party theme with fancy dress, theme related music and jazz up your DJ booth. Some

So what more can a DJ offer to entertain the dancers in addition to simply introducing a track and then playing it? As we’ve discussed over previous months, the DJ can do so much to be well prepared and well equipped, can make great efforts to keep the dance fl oor full, help the dancers and keep everyone happy but maybe there’s something else needed. The X-Factor! The difference between a good and a great experience, that extra special ingredient that the DJ might bring to the party that always gets the atmosphere buzzing and the party swinging.

Hey Mister Deejay...

ENTERTAINING THE DANCERS - THE X-FACTOR


September 2014 • 71

fun loving extroverts go for it big time and well done to them.

� A bit of dancing Karaoke maybe. For a party night it can be great fun for some to sing while everyone else dances for just a few well chosen tracks or dance to on-screen video versions of the tracks, now that the big screens are likely out for the dance playlist.

� Pick the right moment for some party/fun dances. Teach a fun easy one, maybe involve the non-dancers in the room too or even a ‘handbag’ dance just to let them have a bop and why not throw in the odd sound effect too.

� Call out the steps or lead the way by being a ‘Dancing DJ’, especially with a beginner crowd or give them a one wall recap if they need it because it’s a hot new or a forgotten classic.

� Sometimes tell them a little more than just the name of the next dance. Tell something about the choreographer, the track or other dances they might see around to the same track.

A good DJ will be trying some of them. There must be more though. What’s the DJ X-Factor that makes your night a special one? Or forget all that, do you just want to dance?

Heather Church wrote to me about how Ed Lawton used to do a medley of classic dances non-stop, changing the dance every 4 walls, that must have been fun. There must be so many such memories out there and every good DJ has their own trade-mark X-Factors.

I’ve already received lots of other feedback on this topic which reinforces important things I’ve covered in previous months and are worthy of another mention, most notably counting in dances and having quality equipment especially the microphones. The single most popular and appreciated service recently is the introduction of the scr een displaying the upcoming dances. I work with my good friend DJ Marcus on the DJ Feed and he has set this facility up to be live or web based so now a dancer can follow this either on the screen or on a phone or tablet. We are very pleased at how well the DJ Feed worked at Eurodance 2014.

Last but not least there is a split decision on the ‘Singing DJ’ so wait until you’ve heard me sing Lonestar’s Smile or Tim McGraw’s Just To See You Smile before you decide! And talking about smiling I’ve had great feedback from my good dancing friend Jenny Hackett... “DJ’s just need to be approachable, polite, smile and watch the fl oor to make sure that all groups are able to dance.” Yep, simple, that’s one of the most important DJ basics for sure. Have a happy face, even if sometimes you need to paint it on!

Next month I want to explore something maybe you’ve not considered or noticed before, the art of the playlist - is there an art to it or do you just stick on the next most likely fl oor fi ller!

Big Dave


70 • October 2014

The WaveThe fi rst challenge for the DJ is to get The Wave going and fl owing …

My own underlying approach is to think of each dance session as a stage show or performance that moves along from start to fi nish. My overriding aim is to gradually oscillate the music in a gradual and ongoing wave, swinging between a slow and smooth low to a fast and funky high. I want to avoid randomly and recklessly jumping from one type of track to the next without thought to the feel and fl ow of the show but instead carefully and deliberately selecting tracks much like the live set of a good band. Often I will linger at the top or bottom of the wave for a while, in particular enjoying a slow and smooth spell where I can play a batch of waltzes and nightclubs before building up to the fast funk dances when I want the party to swing up-tempo again. Every social needs a 20-30 minute spell of non-stop upbeat party time right?

This approach is how I try to deal with playing the wealth of nightclubs that we have these days. Nightclubs in particular are popular and numerous but boy do they get in the way of keeping the joint jumping and the party rockin’ in that ‘prime-time’ dance slot. Put a nightclub or a waltz on in the middle of that prime slot and you risk pouring water on your fi re big style. I save the nightclubs and waltzes for when I am down there in the smooth zone and I even play two or three back to back. Some might raise an eyebrow at this but I think that it’s the best way to include as many of these types of dances as possible and still avoid that start and stop feeling to a night.

Maybe the dancers do not notice or care too much about this and that’s fi ne but I fi gure that it adds to the quality of the night. Sometimes it’s about recovering a full fl oor after an unexpected fl op request and not least after a DJ bribe because I’m partial to a beer or some chocolate, or perhaps a VIP/choreographer/host special request that hasn’t worked out, or just simply those times when I need to pacify a Mr or Mrs angry customer!

Sometimes my playlist will be completely random and I go

around the room letting each table in turn request anything that they like or I invite a ‘play your joker’ option, especially when the audience is regularly changing and there is really no need for a session long ‘show’ approach.

The Mix FixThe second challenge for the DJ is to overlay or fi t the appropriate dances onto the wave…

As well as getting the wave going more importantly I try to select the right dances at the right time along the wave, always mixing between many other criteria as well as taking into account the mood of the music. These criteria all need to be considered …

AGE OF DANCES - all time classics and oldies through to current releases and chart hits

GENRES OF MUSIC - predominantly Country and Pop music but there are also many styles within these genres, notably Irish and Latin and R&B

LEVEL OF DANCES - beginner through to advanced

CHOREOGRAPHERS - dances from a good mix of choreographers especially featuring or celebrating those present in the room

GROUPS OF DANCERS - rotating fairly between the requests from groups and clubs of dancers

POPULARITY OF DANCES - occasionally I play requests that I suspect will not fi ll the fl oor and I must limit these dances because these could clear the fl oor. So often one of the hardest decisions for me is not to play something at all and how to decide on that, always if possible apologising to the dancer that made the request.

To pull this off I need to know whereabouts on the wave every dance can fi t and this takes a lot of preparation. As I explained a few months back I code every single track that I put into

Hey Mister Deejay...PLAYLIST


October 2014 • 71

Now a DJ can gain good insight into the popular dances of an audience using the variety of means that we have already explored. So the question for this month is what do you think that the DJ should bear in mind when deciding the order of play? Do you think that there should be an art to the running order or playlist or do you think that the DJ can just push on the next most likely fl oor-fi ller?

my DJ database. In this way I am familiar with the style of all dances and this helps to minimise the chance of playing a requested but unfamiliar dance in the wrong place, ie: putting a slow nightclub on right in the middle of party time - whoops!

There are other important considerations that infl uence my own playlist construction. I’m not saying that I am right but here are some general principles that I follow along the wave.

‘CURRENT TO CLASSIC’ - at weekend events I feature the current hits on the Friday evening and the classic hits on the Saturday evening and at day events this means that I play the current hits earlier and the classics later. I reason here that as the dancers arrive they are more enthused and excited to dance the current hits. So although I aim to have a good mix I do let the bias move from current to classic over the weekend or day session. A reasonable mix of dances throughout a session is essential. There are always those that simply prefer the classics however.

‘EASY TO HARD’ - It is vital to assess the relative mix of beginner, improver, intermediate and advanced dancers in the room to ensure that your playlist is a fair refl ection of dance levels and styles throughout the session. One of the biggest complaints from the advanced and Newline dancers is that they have to wait too long and too late into the mixed session for their dances. It is true that generally speaking, the later into the session it gets the higher the ability level of the dancers left in the room. Now whether this is the case or not the DJ should play to the audience present so I watch who is coming or going all the time to ensure that the balance of the playlist is right. So for the advanced dancers this may well mean that by 2am most of the dances will then suit them but they also deserve their fair share earlier too. This same rule applies to beginners who tend not to complain but indeed will most likely have to fl oor split their tracks. Calling fl oor splits is good DJ work but the beginners do still deserve to dance a fair share of their favourites to the proper track too!

‘FAST TO SLOW’ - This is perhaps the general rule but there will be exceptions to. With everything that I’ve already mentioned I believe that the key role of the DJ is to continuously read the room and the dance fl oor and to react in any way needed to keep the show fi rmly on the road. Now this is an art and a skill

that is years in the making. Needless to say I think that the fi rst and last dances should be fl oor-fi llers but hey if it is a long and late night I do allow the night to fade away as the dancers do.

As a footnote, during workshop sessions when everyone is generally pleased with the teaches I tend to use the social dancing inbetween these teaches to work at those less requested dances. Then these dances don’t have to be played in prime time social dancing when I want the fl oor to be as full as possible and as often as possible. Before and after teaches is also a good time to feature the dances of the instructors, perhaps the less popular or more obscure ones. Also when the teach is an easier one I use the inbetween social dances to keep the more advanced dancers happy and vice-versa.

It is vital that a DJ works well with live bands by obtaining their playlists in advance. The DJ’s playlist must complement the band and not compete with it. I aim to avoid playing tracks that the band are specifi cally going to play and I try to keep the overall balance right for the audience. For example, if there is a mix of country and pop fans present then I would play a higher proportion of pop in the 10 or 15 minutes before and after the band and/or a higher proportion of intermediate/advanced ones where the band are playing lots of beginner/improver ones.

So next time you are at a social have a listen and see what you think. Maybe it is important and you just did not realise it or maybe it does not matter at all to you. I plan to carry on in the hope that it does at least add to the quality of the night. So when you spy me shuffl ing my big pile of request slips then you will know that this is what I am working on. That’s why I’m not a dancing DJ, well that and my dodgy knees.

Next month I’m looking at the value of ‘bonus equipment’. ‘Boys (and girls) and their toys’ and all that. I’m forever getting into trouble with Pauline for buying things that she says I don’t need. Is she right? I’ll dare to argue with her next month. Maybe!

Big Dave


72 • November 2014

Most recently I now personally extend my essential equipment to include a display PC, projector and screen, all necessary to display the dance playlist and event information. Feedback from dancers shows that they really appreciate seeing the upcoming fi ve or six dances and whilst I once reserved this only for major events, I now fi nd that dancers are wanting and appreciating this service no matter how modest the occasion. So although this is signifi cantly more work for me to run I tend to take this equipment almost everywhere with me now, not just as a ‘bonus’ service. I say almost everywhere because sometimes I do give myself a break if I am going to DJ at a smaller and more informal event… A projector and screen can also be used to play any sort of video clip, DVD presentation, picture or photo slide show. It is also cool to dance to music videos of the dance tracks and although this is not something that I have done yet myself, this is on my own ‘To-Do’ list. As far as I am concerned then, bonus equipment is all about lighting. A good atmosphere can be created with the use of various types of lighting but you have to be really careful to select the correct lighting for each venue/audience/occasion, even though there will always be those dancers that simply don’t rate the importance of lighting and special lighting effects. For me there are maybe four basic levels of lighting that I consider when planning for each event.

1. No lightingNow this is suitable for an informal evening in a small venue and/or with a more mature crowd. Sometimes there is simply no time for an involved set-up or perhaps the venue does not lend itself to extra lighting such as a room with low ceilings or limited fl oor space. Some venues are lovely and well decorated and there may be a house function to dim the lights and even some coloured background lighting already present. In this case nothing extra may be needed to give a good atmosphere, a bonus to the DJ indeed, saving set-up/pack-away time. I might still use my fl ame machine or rope light for the DJ booth though but sometimes no extra lighting really does mean none!

As we’ve already discussed the most important equipment is a high quality

sound system of speakers, amps, microphones, mixer and PC and all appropriate to the venue, also suffi cient backup equipment to ensure that the show will go on no matter what. At the end of the day there is never any doubt that fi rst and foremost, an event is all about the dancing.

Hey Mister Deejay...BONUS EQUIPMENT


November 2014 • 73

2. Minimal lightingNow this is quite a new area for me and I have my good friend Yvonne Anderson to thank for introducing me to the small laser lights she uses. These laser light units are so small and easy to transport that I am able to scatter these around the room to such great effect, providing a gentle movement of light to wash over the walls and ceilings. The units are quick and simple to set up and very small and lightweight, a bonus when time or help is limited. Sometimes all I need is a small boost to the atmosphere in the room and that is when these lights are particularly useful. I tend to take these inexpensive laser lights with me at all times if I am booked to DJ at someone else’s event and a bigger and more expensive lighting set up is not required. In fact I now consider these laser light units to be part of my essential/basic DJ kit, and take them with me all of the time whether or not I eventually use them.

3. Background lightingMy favourite lighting units are my ‘up-lights’. These are LED cans that I like to place to give light from behind the stage or in the walls or corners of a room. If I can fi rst dim the house lights right down then these units work well to throw out some up-light colour. It might be static colours that match an event colour theme or later in the evening it might be fl ashing lights with the help of the DMX light controllers.

4. Party lightingThis is a lighting system that moves up another gear. I have LED racks, Gobo lighting and all sorts of lighting effect units to give a modern disco feel without going over the top. It goes without

saying that we are not Line dancing at a disco so personally I avoid using the extreme type of lighting effects to be found in the local nightclub. No wild lasers but only static colours and calm movement patterns and always directed away from the dance fl oor and the dancers’ direct eye line onto the walls or ceilings. Occasionally a dancer may complain because they are distressed in some way by fl ashing lights and in that case I will switch the LED lights to non-fl ash and turn the laser lights off. I always respect any complaints.

The DJ can also add to the atmosphere by way of decorations and props, for the DJ booth primarily but also further afi eld depending on the event and the theme. Some dancers will notice and appreciate such decorations, but as with the lighting, for others these are incidental to the dance experience. Still I always enjoy using decorations and props as a means of adding more atmosphere and style to an event whenever I can.

Last but not least, it is important to ensure that the available lighting at a venue is fi rstly adjusted to the best possible settings for that particular occasion. So that might mean on, off, dimmed or some combination of the various house lighting available, then I decide whether to add any special effects lighting in order create the best atmosphere possible. A well prepared room, from a clean fl oor, well laid out tables, DJ booth, room decorations and good lighting gives any event a good head start.

Next time I’d like to explore what other services the DJ can contribute to an evening social or event other than sitting playing the music? The possibilities are not endless but a DJ can enhance an event in a few other ways...

Big Dave right? I’ll dare to argue with her next month. Maybe!

Big Dave


72 • December 2014

Some dancers are happily focused only on dancing. There is a sliding scale through to those who enjoy the whole package of dancing, entertainment and atmosphere. There are those dancers whose priorities may just be the volume of the music, adequate climate control in the room and where they sit and who they sit with. So I always set out to do the, perhaps impossible job, of trying to please all of the people all of the time. That will involve some bonus work over and above the regular DJ duties that we have already explored during this series of articles. I see three broad categories…

MCThe DJ can play a much broader role in an event but this will always depend on the role or involvement of the event organisers or hosts too. This role can take the form of Master of Ceremonies or MC and this could include calling the bingo, introducing the band, sorting the raffl e, quizzes and organising any festivities or shows. The possibilities are endless but a DJ who has a confi dent relationship with a microphone in front of a large crowd can contribute a lot to the atmosphere of an event and there is a lot to be said for having this type of professionalism that is born of experience.

Host

It’s one thing to be the host at one’s own event or perhaps to DJ at an event for family or friends but it is another level of responsibility altogether when one is the hired DJ. In that case sometimes it is my responsibility to be in charge of the scheduling and the running of everything related to the

Hey Mister Deejay...BONUS WORK

Firstly I focus on the music and then I aim to create a good atmosphere. Now whether it is my own event or one where I am the hired DJ, I still always look, to do whatever I can to give the dancers a perfect night of dancing.


December 2014 • 73

dance room. Personally I am always happy to accept this responsibility because then, hopefully, this means that I have a better chance to provide an awesome event for the dancers - to be in control of my own destiny. Of course I always respect the wishes of the organiser and I enjoy working within any guidelines that have been set for me as you always must.

AdviceNow a well-travelled DJ with many years of experience should be able to advise and guide the event organisers or host. Sometimes this advice is requested but at other times just subtly given in order to infl uence an event for the benefi t of the dancers.

Back to the DJ role, it is also just worth going over some of the key, broader DJ contributions other than just pressing the play button that I’ve already mentioned...

Run a video screen DJ feed so that the dancers can see what dances are coming up. Try to speak clearly on the microphone so everyone can understand you.

Announce and organise fl oor-splits where there is more than one dance. Give alternative dance options when possible for beginners or for everyone else when only a few dancers are expected on the fl oor.

Help dancers remember how dances start when needed. Maybe even be a dancing DJ or give them a recap if the circumstances are appropriate.

Pass on information about new dance prospects. Even teach them if the opportunity arises.

Count in dances on a regular basis. Give people time to get onto the fl oor, perhaps give them a preview snippet of the track and when needed let them have a restart.

Seek out alternative tracks to occasionally spice up a classic dance and don’t be afraid to throw in the challenge of a classic dance that has not been requested.

Share the latest dance news along the way and frequently acknowledge the choreographer before or after the dance.

Throw in a break from dancing with a quiz, bingo or a fun game. Maybe with a show or demo of a new dance.

I will fi nish by saying that for me, the bottom line is to mix it up enough to give every single dancer a good time and send them home dance happy, however you do it. That might even include singing Smile by Lonestar at the end of a session whether requested or not...!

Next time to conclude, I will try to summarise the Top 10 priorities for a DJ, so please help me out and send me your thoughts on this to [email protected] right now!

What do you think makes a good DJ? What makes your favourite DJ your favourite and will you tell me who that is? I would love to include a roll call of DJ’s who you all appreciate or admire. After all I feel that DJs don’t always bag the credit that they deserve or as often as they should!

Big Dave

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80 • January 2015

Have the appropriate equipment to provide top quality sound and especially a clear-sounding microphone but also enough back-up gear to keep the show on the road at all times.

Prepare by getting to know your audience well in advance and constantly read the room by seeking feedback during an event - always have the request slips out and constantly consult and review them, above all always try to have the latest music.

However you do it just mix up the session enough in the hope of giving every single dancer a good time to send them home dance happy - always try to fi ll the fl oor but still try to pick moments to play a favourite dance for each dancer.

Count dances in and allow dancers enough time to be in place on the dance fl oor for the beginning of the dance but yet don’t fear to restart a dance if required or even consider scratching a track if nobody can remember the dance.

Announce and organise fl oor splits when needed - give alternative dance options if possible for beginners or for others if only a few dancers are expected on the fl oor for a particular requested dance.

Spotlight the choreographers that are present at an event because after all they deserve the credit for keeping us all dancing right? One of the highlights of an event is for dancers to dance with them.

Liaise with any live bands to avoid any duplicate dance tracks being played - if there is more than one DJ then it’s only fair to maintain and share playlists to avoid duplication.

Hey Mister Deejay...

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The DJ must be the servant to

dancers and event organisers

and slave to their own code of

professionalism. As a summary

and based on the feedback

received I would like to conclude

with the key points to likely success

with this goal and since DJ’s like

to make lists and compile charts

here’s my Top 10 List. Thanks to

all of you who have sent me your

views on this but remember that

there is always more than one way

to do it and this is just my way...


January 2015 • 81

SO WHAT MAKES A GOOD DJ THEN?

Try to have all of the current music tracks and aim to know the track well enough to be able to count a dance in and announce appropriate fl oor-splits whether you personally know the dance or not - always bare in mind ‘The Mix Fix’ selecting the right dances at the right time to keep everyone happy in equal measure.

Be professional and well-presented at all times - treat an event as you would a well-planned show or concert - obey the golden DJ rule of always being ready for the next track at all times to avoid an unplanned and awkward silence.

Be friendly and approachable and fun at all times - it pays to be prepared to respond to the moment as needed in order to keep everyone happy on the dance fl oor - please remember that if you have an unhappy dancer in front of you then it’s probably your fault and therefore your responsibility to try and put that right - don’t forget to add the ‘X-Factor’ project that personality from behind the DJ desk to create a happy and positive atmosphere.

Okay you got me, there’s more than 10 in there but somehow I summarised them into 10 points! I’m an accountant by profession so I can’t help but make this all into a science of formulae because that’s the way my brain works but the truth is that DJing is an art and I have to trust that the best times can come from those impromptu decisions and not my best laid plans. I just can’t write that down because it’s all about reacting to the crowd there and then and it just happens - sometimes I catch the moment - sometimes I miss it - sometimes it works - sometimes not.

A fi nal word - please remember that most DJ’s work their

very hardest to try to keep you happy all of the time. It can’t

be done but please try to give them credit for trying and of

course mention it if you think they aren’t trying hard enough

or not achieving it. Be as nice as you can fi rst off and save the

complaints and bad attitude until you’ve given them ample

chance. If they are doing okay give them a pat on the back

and a smile because that really does make it all worthwhile. In

return a dedicated DJ will seek the holy grail of trying to please

all the people all of the time! A big shout out to all my DJ

friends and colleagues and especially those who have taken

the time to help me out by sharing their thoughts with me too

for this series of articles.

It’s been an honour to write this series

for the mag - Cya on the dance fl oor.

Big Dave

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