From conflict with other DJs and venue staff, to equipment failure and being treated like a jukebox, we outline strategies for overcoming some of the job's biggest challenges.
Whether you’re just starting out on the DJ path, or you’re already a high-flying artist, you will no doubt run into stressful issues in the live environment. The more successful you are, the less likely you are to have to deal with them directly, but no one is unaffected by the perils of equipment failure or interpersonal disputes. When you DJ on a regular basis, by the law of averages something will go wrong along the way.
A baseline response for any DJ, whatever level you’re at, is to remain calm and composed. Keeping a cool head is the difference between making things better or worse. Creative thinking and problem solving are impaired when you’re stressed. You become unable to think expansively, your focus narrows, and your decision making capacity diminishes. Being flexible and having the ability to consider a variety of options can be essential to problem solving.
An overt stress response could also reflect badly on your reputation. Snapping at staff or punters, and acting like a diva because you’ve lost your temper is never a good look. So, for each of the issues we’re about to address here, remember that staying as composed as you can is foundational. With the myriad problems that a DJ might face before, during and after their set, a degree of preparedness is also necessary.
The aim of this piece is to leave you feeling calm and prepared to meet challenges in the live environment head on. With this in mind, we’ve called upon the help of DJs with varying levels of experience—from seasoned pros like Eddie Richards, the British electronic music pioneer who’s been DJing since the early ‘80s, through to newer artists like Bl3ss, who’s been making waves over the last couple of years. Each of them gave thoughtful and practical perspectives on a range of issues any DJ might face.
While most DJs are not expected to be technical experts or sound engineers, having a basic grasp of how equipment works—how to set it up and how to troubleshoot—is essential. For instance, if you only have sound coming from one mixer channel, simply being able to track the connection pathway and identify the problem area is a great start. Even if you can’t solve the issue yourself, being able to explain it to technical staff can get it fixed quickly and efficiently. If there are no sound engineers on hand, then it’s venue management or the promoter who you should be communicating with.
Things can go wrong mid-set. If a deck stops working, switch to the other one while troubleshooting. If the booth monitor dies, mix in your headphones only until the issue gets sorted. If the entire system cuts out, don’t panic—check the mixer output, power supply, and cables. Most of the time the problem is something obvious and fixable. Flipping this situation of its head, losing sound can sometimes even be an exciting moment for the crowd, as anticipation builds for the music to return.
Study your equipment at home. Unplug everything and plug it all in again. If you don’t have any DJ equipment at home, get online and watch a few videos that explain how to set up DJ equipment and digest some problem solving clips. The more you can get a handle on signal paths, which buttons and switches control different channels and so on, the more confident you can be in attempting to solve problems yourself.
Sometimes the issue might be something as simple as the volume not being turned up, or the crossfader being closed. This is why having some basic knowledge will support you, and perhaps even help others who also have issues while you’re in the booth.
Firmware, software and hardware updates can be the bane of a DJ’s life. Even if you only play off a USB, there’s still potential for hiccups. Not formatting a new USB properly (look up formatting a USB to FAT32 to ensure maximum compatibility), using standard methods to transfer music onto the memory stick, running outdated versions of rekordbox, or using a USB that has slow read speed—any one of these can lead to problems.
Preparing for every eventuality might seem like overkill but, as the old saying goes, “by failing to prepare you are preparing to fail.” It may take more upfront investment of time and energy, but you’ll thank yourself later when it saves you from disaster. Having more than one USB, or maybe even a separate laptop for backup (if you can afford to) can provide another safety net. “I always make sure I have multiple USB’s with me,” said Bl3ss. “I’ll always have my core USB’s and then an extra three prepped just in case.”
“If there’s ever any issues with the equipment, I’ll try to do some troubleshooting myself and put on one of the longest tunes on my USB until the issue is fixed,” he continued. “I actually have a folder of tunes between 10 and 12 minutes long just for this scenario, and they usually keep the situation at bay before anyone realises there’s problems.”
Playing with a laptop brings other potential pitfalls. Not only is there the additional risk that the laptop simply won’t function for a multitude of reasons (hardware failure, overheating, battery problems etc.) but there’s also a chance it won’t work with the club setup. Connectivity issues and problems with the software, or hardware, are also high on the list of possible problems you’ll face.
Getting a full breakdown of the equipment you’ll be playing on ahead of the gig should be standard practice. When you become more established, a technical rider and a pre-gig soundcheck can help to avoid software and hardware failures, but it still isn’t a guarantee.
“The main challenges I face are technical issues, particularly when setting up my laptop connection to the CDJs,” said Eddie Richards. “While I know many DJs prefer to use a flash drive for simplicity, I enjoy incorporating beats, samples, and manipulating song sections in real time, so I stick with my setup despite the occasional hiccups.”
“Most issues stem from outdated club equipment, like CDJs that haven’t had a firmware update in years, or poor connectivity,” he said. “When these problems arise, I methodically troubleshoot—sometimes rebooting equipment and checking settings. To stay prepared, I always ask the previous DJ to hang around and play a few extra tracks while I resolve any issues.”
While many DJs establish a pre-gig routine, sometimes your brain simply doesn’t function as expected and you forget a vital piece of equipment. No amount of preparedness can account for a memory slip, but panicking will not help. When you realise that you’ve forgotten to pack something important, surrender to the reality: it’s happened, it’s not ideal, but focus on how you are going to sort it out. Try to breathe, let go of the difficult emotions, then work on a solution.
Honesty and owning your mistake will help get you on track for solving the problem. Don’t try to hide it. If you get found out, you will likely never get booked again by that promoter. By taking responsibility you demonstrate professionalism.
In most circumstances, even when it feels like the end of the world, there might be some way to get things sorted. Do you know any DJs who live nearby? Is it viable to rush home or have someone bring a USB to you? Could you swap set times with another DJ? Could another DJ somehow lend you some music? It may be that you simply have to accept that you’ve messed up and you can’t play. A bitter pill to swallow but a lesson learned.
“If I’d have forgotten my headphones, I’d try to borrow some from the DJ I’m most friendly with on the line up or whoever was around!” said INTUIT. She’s been running her own party, Natives, for a few years now, establishing herself as a renowned Afrohouse selector in London. “A forgotten USB is wild. It’s like a decorator turning up with no paint! If it happened, I would usually have arrived early enough to drive home and get it. If that wasn’t an option, I’d just explain my cock up to the promoter and take it from there.”
This one can be soul destroying. After all, every DJ wants to see people dancing and enjoying themselves. The first thing to consider is that circumstances are often out of your control. Perhaps the DJ before you didn’t hit the mark. Maybe the sound system hasn’t been well calibrated. Or the promoter hasn’t cultivated a crowd or environment that’s going to be receptive to your music. Whatever the reason (and you may never know), take a deep breath and accept the situation.
One response strategy can be treating the process of getting people dancing like a game. OK, so the crowd aren’t responding to you now, but how might that change? Experiment with different styles and tempos within the bounds of what you’ve been booked to play. Try a well-known vocal track, acapella or edit, if it makes sense. The aim is to create the best possible musical conditions for that time and place, tempting those crucial first few people onto the dance floor.
Try not to give up. But if you still get no response by the end of your set, brush it off and move on to the next one. Sometimes there is no accounting for how other people are feeling or the event simply being a dud.
Or maybe you were the problem. Putting the onus on the crowd to “get it” when you or your music didn’t connect with them is the type of arrogance it’s best to recognise in yourself. Having a bad night happens, even to some of the world’s best-known DJs. Learning not to take it personally, and, more importantly, learning to tame your ego, are part of your personal and professional growth.
“It really depends what kind of situation it is,” said Cassy. “Sometimes low energy and no one dancing can be turned around easily and sometimes not at all.” She’s been DJing since the early 2000s, traveling the world on a regular basis. Through that time, she’s encountered some of the best and worst experiences you can imagine. “What kind of gig is it? A normal club gig etc…? If you are booked on a lineup that does not make sense and your music is misplaced then maybe they will not start dancing. In a long career, as a DJ you will have it all happen to you.”
Syreeta, another DJ who played all over the world, agreed. “It’s one of those things that every DJ will experience in their life,” she said. “The thing is, you can’t let your ego or insecurities take over. For me, I’m there to share and play the music I love, and build a connection with the crowd. Whether it be 200 or 2,000 people I always give the same energy, and seek out those really with me on this journey. I’ll point them out or do a gesture to show them I see them, and that usually lifts the energy across the dance floor. It’s also about reading the room, trying to get a feel for what people are in the mood for, that’s why you should always have a mixed folder of music as you never know what to expect.”
Sometimes you’ll encounter people who have no respect for you whatsoever, which of course is challenging. Depending on your mood, a rude interaction can create a negative thought spiral that impacts your whole night. Even if you’re feeling resilient, it can still cause a shift in emotions that can affect your performance. Being able to maintain emotional stability is no mean feat, but developing tools to cope with rude people peacefully and effectively is a key life skill that is necessary for everyone, even beyond the dance floor. Compassion and a thick skin are essential here, as well as having an ability to self-soothe.
“For rude or difficult people, you’re going to get that in any industry, and I just try not to let it affect me, or lower myself to their level,” said Ibiza-based British artist Ceri. She’s played at fabric, Panorama Bar, Amnesia and Printworks to name just a few, across well over a decade of DJing adventures. “I imagine that they just had a death in the family or are going through other personal issues, which could actually be the case, and I don’t take it personally.
“I also, where appropriate, like to ask the right questions to find out more about things and why things are a certain way, as often there is a good reason, even if that is not obvious or communicated effectively,” she continued. “Although, one person was very rude to me not long ago and I just said, ‘Please do not speak to me like that’ and walked away, which was appropriate in that circumstance and showed them that their behaviour was not acceptable.”
At every level of DJing you may encounter a problematic venue manager or promoter. They might spend your whole set looking over your shoulder, micromanaging you and trying to control what you play. Or they could be shady with your fee. It can be disempowering and demoralising to be faced with someone like this. You may even feel intimidated. But there are ways to mitigate any such encounters.
Number one is to get everything agreed upfront—your fee (and also get payment prior to the gig), your tech rider, what you’ll be playing and so on. Communication and agreements prior to the gig are going to save a hell of a lot of headaches and crossed wires, so integrate this into your booking routine.
“These things can be tricky and I remember them all too clearly when I started out, before I had a team to help me,” Syreeta said. “I would suggest, where you can, agreeing everything over email first, regarding payment, your tech setup and expectations on the night.
“Ask them to send over payment for the show before you play—that hopefully avoids any problems afterwards. Also, in regard to your fee, know your worth, but also be realistic about the type of venue and capacity of the show.”
“DJs are usually paid out in full before they go to a gig,” said Cassy. “Dealing with tricky management can obviously happen… it happened to all of us one or another time. The mismanagement usually takes place when you have been booked to play the wrong place or when the venue is under a lot of stress for various reasons. You can either get into fights or just suck it up and leave immediately after your set.
“I actually had the worst DJ experience ever playing for a friend‘s private function, but it was also my fault, I should have never gone there in the first place… so I guess, in light of that, consider working with an agency, which can or should protect you.”
Whichever tier of the DJ circuit you operate in, there will be a fair amount of ego to contend with. You may find that you’re sharing the booth with someone who, for whatever reason, wants to antagonise you—setting up haphazardly, or passive-aggressively getting into your personal space. If you’re not careful, their behaviour can disturb your peace and your performance.
Try as much as possible to maintain your focus on the job at hand. But if it gets a bit much, you could try having a calm word with them, asking if anything is wrong. As Ceri mentioned above, you never know what people are going through, and sometimes all they need is to be asked if they’re OK. If that doesn’t work, either politely ask them to be more considerate of your space or try to alert a senior member of staff who can mediate.
Another issue you might experience is that the person before you played a poor set and killed the vibe on the dance floor. As a fellow DJ, it may be worth offering some supportive words. As we said, these sets happen to everyone from time to time. But if the DJ is being hostile or unresponsive, remember that 1) It’s nothing to do with you and 2) The situation gives you a chance to make a positive impression with your set. It might take some work to get the crowd back on track, but it will be rewarding if you manage it.
“As far as other DJs playing terribly, I just say hi, plug in and try to get a vibe going,” said INTUIT. “If they’re unpleasant, I just ignore it, plug in and crack on with the job. Invading my personal space would be triggering, but I’d use body language to alert them to my frustration and encourage them to leave—rather passive but I wouldn’t want the situation to escalate in front of the audience or promoter.”
While it might be expected that staff at a venue will be friendly and professional, there are no guarantees. Grumpy sound engineers, stressed-out technical assistants, moody security—your experience could easily sour if someone at the venue is being difficult to work with. Cultivating an attitude of compassion and maintaining your professional demeanour can protect you from their negativity. It’s important to stay in your lane and not get caught up in confrontations.
“This reminds me of a recent gig where the sound guy had no clue what he was doing,” Ceri said. “I was using a rotary mixer he did not have experience of, the equipment wasn’t working properly, and he almost deafened me during soundcheck! That was a strange, and thankfully rare, experience. I did what I could to rectify the tech issues myself, and took some painkillers for the ear pain (and I am someone who never takes pharmaceuticals) so I could continue the gig.
“I could have got angry at him, but I could see he was very stressed and out of his comfort zone, and wanted to make sure the night went as smoothly as possible, despite the circumstances. So I did not address it with him directly, but fed back to the artist liaison.
“We later found out that he was actually on a trial shift, and completely in over his head, which gave me compassion for his situation,” Ceri continued. “A few people said I should sue him for the damage he did to my ear, which is still not back to 100%, but I don’t feel that would be helpful to either of us. It did, however, remind me to get new custom moulded earplugs and make sure I do not let other people touch my knobs during soundcheck!”
It’s common to be confronted with people who want to share their opinion with you. For whatever reason, someone on the dance floor might not be enjoying the music you’re playing. Again, the law of averages means this is more likely the more often you play. This could mean a polite request for something they want to hear; it may also provoke a complaint, or, in the worst case, they could be aggressive or rude. Whatever the situation, remember you are the professional who is being paid to perform and play music. Difficult as it may be, it’s important to put your ego to one side and maintain a friendly yet assertive position. Getting into an argument or being rude back to them will not reflect well on you.
It’s not pleasant to have someone acting rude or entitled but no matter if you’re playing a wedding or a high-profile club, it’s something that you have steel yourself for. (Check this Instagram post from Plastician about an experience he had.) As well as responding with grace and trying to pacify the situation, you could also use it as a way to learn. Ask yourself, “Is there something I could be doing better here?” If there’s time, engage with the person and ask them to explain why they’re not happy with the music you’re playing.
“I’m quite picky about the bookings I take, making sure the event fits my style and people know what kind of vibe to expect,” said Eddie Richards. “As a result, I rarely encounter requests, complaints, or the ‘jukebox’ treatment. On the few occasions when someone has asked, I’m usually honest. If I don’t have the track, I say so. If I do have it with me, I’ll say I might be able to fit it in, but I can’t promise. Or I’ll explain that I’m playing from an SD card, which has 100 or so tracks in a folder and I’m limited to that.”
“If there is a tune that will really fit the set, I’m actually very happy to accommodate. But if I’m asked for ABBA or ‘Wonderwall’ my usual go-to is to smile it off,” said Bl3ss. “If somebody complains, I treat it in a very similar way to the requests. Just smile it off and if it’s anything serious, I’m always open to having a conversation after the show. But I would always leave it until the end to make sure it doesn’t interfere with the people who have also paid money for an event.
“To be honest, I’m just very grateful to be in the position that I’m in and appreciate people treating you like a jukebox is part and parcel of the job,” he added. “I just don’t let it affect me too much—there’s people dealing with much worse things in jobs they don’t even want to do, so I try not to be too difficult about it all. You just gotta take it all in your stride and hope the people that are vibing are having the best time you can give them.”
Ultimately, professionalism, honesty, humility, a cool head, experience and a continual effort to learn and be prepared are all cornerstones of alleviating the stress of mishaps in the DJ environment. Make sure you’re working to maintain these things and the DJ life will be all the more enjoyable.
