This is how one crafty 'DJ' managed to fool the entire EDM world

Posted at November 17th, 2015 | by Sarangh | in

The question of “Whether any random person could become a DJ?” has been one which is producing some disparaging and surprising answers in everyone’s minds and is also the first question when it comes to the evolution of young and talented DJs. Nadja Brenneisen, a person who has reached the point of getting vexed of the routine nightlife and the various repercussions of frequent parties, set up an experiment to once and for all find the answer to this pestering question. The experiment was documented and published on THUMP.

The plan was to find a second female to create a fake DJ duo and generate their Facebook pages, create a name for their duo, design a logo and  practice all other marketing tactics. As a matter of fact, the sole idea of a DJ duo of women itself is catchy and not something you would usually find in the EDM scene. To work towards this, Nadja Brenneisen teamed up with her friend and talent buyer Tobias and set out to find the second one to complete the duo.

YouTube saw people posting videos where some claimed they learned to DJ in a week which was actually mixing one track into the next that involved no looping, no cueing, no effects, no scratching and the list goes on.

“After a friend gave me a crash course, it took just a few weeks before I could neatly mix one track into the next and manage transitions that didn’t jar.”

The duo with the help of Tobias soon landed upon their first gig where they played an orchestrated set of the most successful and popular hits from Tomorrowland. This one thing ensured that the news about this duo spread like wildfire and they soon started playing at various festivals around the country. Following this early success, bookings started pouring in and the duos found themselves well in business. Although, Nadja’s DJ partner couldn’t manage working on this project as well as concentrating on her law studies as the time commitment that was needed was extremely high, so Nadja continued the experiment as a solo DJ.

 

 

One thing that is very essential and is one of the most important factors in the entertainment industry is how one markets their talent, how one portrays themselves and how good one’s connections are. The outreach of Tobias was quite spectacular with his connections rooting to several top names in different fields and with his innovative and competent marketing techniques, Nadja was soon opening the acts for top artistes like Sidney Samson and Ummet Ozcan which was huge this early into her tenure. Along with these exciting opportunities, she was even headlining her own gigs. She had essentially made her ground in this field as a DJ and she was surely looking at some good money in the near future.

“I could barely believe I was seeing myself on flyers less than six months after I first stood at a DJ deck.”

Nutters, aka Nadja was being booked by different event management companies and several festivals for around $1200 for a set which lasted for an hour or two tops. She soon found her schedule filled with eight to ten shows a week and every single show had a packed audience. The one inevitable result of fame and money is you start to realize that your peers have developed a sense of envy and hate towards you. But this is something she couldn’t avoid and she chose to keep it at bay. Consequently, she was dragged towards the decks, the sound of music made her feel ecstatic, powerful, feeding off the crowd’s energy made her stop playing pre-recorded sets as she began mixing even better and with much more confidence.

She experimented with various genres and started playing more of techno in her sets without any prior preparation. But only for the private gigs, she had to restrict herself to play a good and impeccable set, a believable set.

Even though she was well publicized in the newspapers, blogs, and even with all the fame there was one key factor that was still missing and that was original material, Nadja had to look at music production. To accomplish this, they enlisted ghost producers Ben Mühlethaler and Avesta to work on Nadja’s first track. To her surprise, the track actually attracted both positive and negative reviews but a notch higher on the positive side of it with even clicking close to 1500 followers on SoundCloud.

 Check out Nadja’s first track here:

 

 

Nadja’s success just kept growing day by day as her DJing skills improved simultaneously and the next thing she knew, she was being called for lucrative overseas shows and festivals and her calendar was getting filled quickly. For her to be called as a commercial DJ who would interact with the crowd with some Vodka bottles, Cakes and any such act, was completely plausible.

“Everything I did was real. I managed every transition without a sync button and I lived each performance. But still I constantly felt I was cheating my audience and the scene by presenting a pure fiction.”

There comes a time when every single human being feels that it is time to call it off and Nadja reached that phase and felt that if she continued, the money, the fame would take over her ego and she did not want to cheat her audience any further. She finally decided to stop her project when she landed a full-time job offer as a journalist and here’s her final thought on DJs:

“I have enormous respect for DJs who see themselves as musicians, not as entertainers. A DJ like that is a music teacher, one who brings his audience closer to new and perhaps even revolutionary tracks… So I have to do what’s only right and offer my DJ career as a sacrifice to electronic music culture and its musicians. I’m clearing the stage for those who deserve a place on the stage and who want to move and change people with their audience.”

Here’s the link to her complete report and her experience  during this project on THUMP:

 

Sarangh

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