I know this is old news, but I finally got around to writing about Grimes’ Coachella performances. Yes, I’m late to the party, and I apologize for that. If you enjoy my take on these topics, consider donating so I can bring you more timely updates in the future.

So, let’s dive into what happened and what it means for the DJ scene. During Weekend 1 of Coachella, Grimes faced technical difficulties that resulted in a frustrating set marred by misanalyzed track tempos in Rekordbox. She had to stop the music multiple times to fix issues, tweeting later that she had outsourced tasks like organizing tracks and BPMs, leading to incorrect BPM readings on the CDJs.

This incident set my social feeds ablaze. Many friends and DJs, who have spent countless hours honing their craft, pointed out that a true DJ should be able to navigate such situations seamlessly. For those who may not know, I’ve been immersed in DJ culture since the days of turntables and vinyl. Back then, DJs matched beats by ear, using their headphones and an intimate knowledge of their records. Today’s technology—USBs and CDJs—might have changed the tools, but the essence remains the same: knowing your music inside out and being prepared to troubleshoot on the fly.

A real DJ, someone who has come up through years of practice and a genuine love for the art, should have the skills to handle technical hiccups. The old advice rings true: “If you mess up, keep moving.” Most of the crowd won’t notice, especially if you have an MC to cover any slip-ups. This brings us to a broader issue: why are less skilled DJs being given prime spots at major festivals?

Grimes’ performance, especially compared to veterans like Carl Cox, The Chemical Brothers, or Aphex Twin, underscores this problem. These are artists who have earned their stripes and can handle anything thrown their way. Some might see them as legacy acts, but their expertise is invaluable, and they still know how to rock a crowd. Even DJs who have spent over 5 to 10 years playing the club circuit or less commercial festivals should be getting these slots. They know how to navigate technical difficulties because they’re pros.

So why are artists like Grimes headlining such events? It boils down to pop culture trends and corporate interests. Festivals today often prioritize what’s trending over what’s truly skillful. It’s about satisfying the popular narrative rather than celebrating genuine talent.

I respect Grimes for her thoughts on spirituality and her unique worldview, but in the DJ world, skills should come first. Your mixing prowess, track selection, and ability to read a crowd should be what sets you apart, not your public persona or who you’re dating.

This situation makes me wonder: are we at a tipping point where the commercialization of festivals could dilute the quality of music and the crowds they attract? Maybe it’s time to go back underground. I remember the raw energy of warehouse raves and early festivals like Starscape. Perhaps we should reclaim that vibe, focusing on real talent and leaving the commercial scene to its own devices.

Let’s keep the spirit of true DJ culture alive. Maybe this setback is a sign that we need to return to our roots, where the music and the skills behind it truly matter.

Thanks for reading, and let’s keep the conversation going.

Stay Real

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