Perhaps I have a romanticized recollection, but when looking back a few years with my rose-tinted glasses, I remember there being a divide between DJs and promoters. Ok, so it wasn’t a gulf, in fact it was a fine and tenuous line at best, but it definitely existed. Not so in Melbourne today, as now more than ever, DJs are expected to add value in a variety of ways to help ensure a venue or events profitability.

“I think that there is an expectation by clubs to be a promoter and a DJ, and to a certain extent this has always been the case,” asserts DJ Grant Smillie, and as one of a small number of promoters to make a highly successful transition to DJing he has a wealth of experience on this topic. Avoiding the obvious temptation of only DJing at the clubs he promoted, Smillie sought the support of his peers by cutting his teeth at venues like Saratoga. Now DJing has superceded promotion by a long shot, culminating in the recent release of Ministry of Sounds ‘House Sessions’, bearing his name on mixing duties. “Any promoter will tell you that he will favour the popular DJ with the ‘crew’ as it makes the event easier to sell,” continues Smillie. “This is nothing new. However, in the past three years there certainly has been a massive influx of young DJ’s and this is great to keep the scene fresh. Unfortunately for them it has become a pissing competition of sorts to see who can bring more people rather than their ability to play records. This is not always the case, but I have met a lot of frustrated kids who cannot break into the game. There are only a handful of great spots to play and the people playing at them, including myself, work hard to keep them.”

While Smillie would be forgiven for having a hard time remember the last time he struggled to get a gig on the weekend, Dean Millson undoubtedly has a much clearer recollection. His monthly event ‘Private Function’, now up to its 17th installment, has swept him out of the bedroom and increased his profile to a stage where in the last month he’s been DJing almost every weekend a will be running a Private Function room at Future Entertainment’s Dave Seaman gig. “Without Private Function I would not have a profile,” admits Millson. “I had never played anywhere outside my bedroom before PF#1, so the night has been very important.” In relation to the expectation on DJs to be promoters as well, Millson doesn’t see it so much as an expectation of the club, “but once things started to downturn a little it was probably obvious that clubs would start to look for something more ‘value added’ from their DJ’s. DJ’s have always had followings, however perhaps it’s become a more important factor. After all, in the end it pretty much comes down to how many people come through the door. If there’s no crowd then there’s no party.”

Ben Shepherd took the opposite route to Smillie, making a name for himself as a DJ before promotion even entered the frame. Currently juggling the dual roles of manager at Lounge and breaks DJ extraordinaire, he can be found playing at his Friday ‘Out of Order’ residency at Lounge or supporting the likes of The Plump DJs on their recent tour. He too does not see the issue as black and white. “As clichéd as it sounds, DJs need to have a point of difference above and beyond their talents, and having a crew and some kind of promotional skill behind them definitely helps as long as the DJ skills are also there. There are some DJs who are terrible people-skill wise, but have a knack of drawing people towards their music. So it's not essential but definitely an advantage. At the end of the day, a promoter wants a return for the investment they're putting into the DJ in terms of hourly spend which translates to heads rolling in the door and spending money. I know that sounds blunt, but dance music is both a sub-culture and a business for a lot of people. Many DJs feel promotion is the role of the venue solely, which it isn't as both parties have to play a role in generating interest.”

An alternative point of view is offered by Jason Platts aka DJ Slack who both runs and DJs at Teriyaki. This hallowed techno institution is now in its eight year and going stronger than ever so his words of wisdom carry much weight as he must be doing something right. “The idea that DJs are also expected to promote the event is very transparent and unrealistic,” counters Platts. “It's a symptom of the commerciality of the industry at the moment and the lack of fresh ideas emanating from a lot of promoters. I think it’s always been called...desperation! If you think you can cut ‘n paste a bit of energy from a variety of different crews and then re-package this up as a new event you're a deluded promoter. You need to 'bake your own cake' and have something to offer independently. There are a host of fresh younger promoters in the underground who have seemingly learnt from this mistaken promotional concept and are producing fun, quality events made by their friends for their friends.”

While the causes for it may vary, what is obvious from the opinions above is that DJing and promotion are linked and these days it is only becoming more so. But is this necessarily a positive development for the industry when in some cases there is an expectation for DJs to assemble their own guest lists on the nights they play? “Good or bad, I guess it's just the way it is,” says Shepherd philosophically. “There's so much competition in the industry on all levels. It's crowded, overcrowded even, and when supply is exceeding demand things will definitely shift. DJs are a commodity, just like club nights and venues. Sure there's a strong element of 'artistic expression' or whatever you want to label it as, but they're a product and need to take this into consideration. DJs aren't unique anymore and need an angle be it skills based or people based. That said, we don't book shabby DJs who are great promoters. The two need to co-exist.”

“DJ’s are going to always draw a crowd because of their music, regardless of whether they give in a list or not,” adds Millson. I don’t think it’s (using DJs in a promotional capacity) necessarily a bad thing. It’s not that hard to do. SMS and Email make it pretty easy to get in contact with a small network of friends and supporters. And it’s much more fun playing when you know that your friends and supporters are there too.”

Platt’s, however, warns of the dangers in placing too much reliance on DJs promoting events. “Promoters who go this way are doomed to fail because they ultimately fail to define what it is they are doing. It's rather parasitical and reminds me of the eventual lack of interest that people feel for the music once re-mixing gets too in-bred. The public wants to experience something fresh and independent. I think this is what they respect over time.”

What has been said so far may come as disappointing news to any young DJ with the idealized belief that their talent alone will lead to achieving their goals. Yet it isn’t all bad. “Cream always rises to the top and yes, DJ’s can make a name for themselves just based on their talent but it will not happen overnight,” asserts Smillie. “Unfortunately for the newcomers there is a heap of burgeoning young talent and with a big crew and they will get a gig every day over the kid who turns up by himself. He will find it hard to get a break full stop.”

In many cases, how successfully a venue is will be a determining factor in the talent/promotion ratio they seek in a DJ. “Some DJs don't promote but ride off the venue's vibe,” explains Shepherd. “If a venue is doing well and getting numbers four to five nights a week, the burden really isn't on the DJ to bring heads in. Their job is more to keep it strong through providing something unique music-wise.”

So you’re passionate about your music and want to find a way to get gigs that doesn’t involve selling your grandmother, setting up a publicity stand at World Expo or marrying the club owner’s daughter? “Get your music out to as many people as possible,” is the advice offered by Mark James, CEO of Future Entertainment and a man who has played more than a few gigs himself over the years. “Get them to come and hear you play and offer them your drink card; that always works,” he cheekily asserts. “Lots off DJs send me CDs, but not many take the time to follow it up with even an email. Some DJs take the time to find out where I might be playing and introduce themselves. I’m always open to a chat and most times it’s good to put a face to a CD.”

“If a promoter gets a demo from someone they can't put a face to, chances are it'll be binned or just sit in a pile of more demo's from DJs no one knows,” says Shepherd, continuing Mark James’s line of logic. “Get out there and get your mixes into people’s hands. Go to parties, involve your friends in what you do and most importantly support the scene you are a part of.”

This is a philosophy which sits well with Millson as his words mirror those of Shepherd. “Just get out there. Go to parties, meet people and network. Be passionate, sincere and personable. And if all else fails, do as I did and start your own party. You can start very small, with just your friends and some extended friends on a monthly basis. Get some practice and some confidence and just keep at it.”

“Bite the bullet, grab some mates and throw your own night,” agrees Smillie. “Yes it is riskier and maybe a bit harder, but if it works then you will have a gig every week. Alternatively, you can hang out at the places you want to work and get to know the other DJ’s and promoters. You never know when you may get the call to do your first spot because someone is sick. When you get that opportunity, nail it! It is also important to hang around after the gig and get to know the crowd. They come every week and by getting to know them, your network of people grows exponentially. If you want to be in the game for a long time, push really hard at what you do and keep a semblance of commercial sensibility about you. It may be cool to play the most left, twisted, fucked up shit at some venues when the crowd are up for it, but this won’t happen every week.”

“Be yourself and be realistic about energising the range of qualities you need to be successful,” concludes Platts, summing up much of what the others who I interviewed had said; and in so doing proving that while they may go about their crafts differently, their fundamental ideals are the same. “It's important to introduce yourself to the 'market' the right way. Record yourself practicing and only when you think your music is kick-arse offer it to promoters to listen to and accept constructive criticism. Most importantly, enjoy yourself. The line between professional players and hobbyists has blurred tremendously, so have faith that you can express yourself and trust the instincts of the dancers who, after all, just want to have a good time.�