Is it time for DJ Mag to reassess their ‘Top 100 DJs’?

Earlier today, DJ Mag announced the anticipated results of their annual Top 100 DJs poll – met with mixed emotion throughout the social spectrum, we thought we’d dig our two-cents into the counting system, and ask, “is it time for DJ Mag to reassess their Top 100 DJs”?

First and foremost, EDM as an entity to itself means very little to us – we’ve always been vocal at our lack of understanding of it, and as such, rarely post anything affiliated to the genre, unless we believe there’s relevance there to our audience. However what’s really kicked us is the amount of reliance DJ Mag’s Top 100 DJs continues to place EDM within its results (or that, should we say, the voters who actually take part).

Essentially, there seems to be a wider disconnect nowadays between the role of a DJ and role of a producer, and the blurred lines between the two seem even more prevalent in the results. Both are incredible skills in their own right, however when we look closely at the final tally, we’re starting to see that voters really don’t grasp the difference between the skillsets.

Let’s look at the Top 10 first – all ten having their foothold into EDM, so there’s little by way of surprise (though we’d massively question how Dimitri Vegas & Like Mike could topple Martin Garrix off the No.1 spot). However what’s disconcerting to us is the lack of ‘true DJs’ within the mix.

Our experience of a large number of those included in the Top 100 lie to the fact that many seem to be the DJs who will go onstage, ‘press a few buttons’, play radio edits of their own songs, maybe throw one or two tracks by other artists into the mix, and then precede to throw their hands in the air for an hour. Rarely, if ever, would real-world beat-matching take place.

DJs and producers are a different ballgame. The Top 100 includes some hugely-talented producers, however their role as a DJ is still somewhat questionable. Take for example Porter Robinson – his Worlds LP was one of the finest pieces of electronic music to land last year – as a producer, he’s a different league – as a DJ? Average at best. Same goes with Tchami.

Meanwhile, Diplo and Skrillex’s collaborative Jack Ü project gains a listing (No.45), however both the aforementioned also have their own respective places too. Same thing with Major Lazer (No.54). Diplo has had one heck of a year, but to command three places is beyond absurd!

Before we go any further, we have huge respect for DJ Mag and all it stands for – they completely support the electronic scene and its offshoots, however the poll is largely bullshit at best. Whilst we hold the Top 100 in little regard, it’s quite normal for concert-bookers (particularly on the festival circuit) to look at these results in order to understand whom ticket-holders may want to see at forthcoming events. But hang on, if that’s the case, then where the fuck are The Chemical Brothers? They’ve not only released a cracker of an album with Born In The Echoes, but also headlined Glastonbury’s Other Stage AND Bestival, yet not one nod in the poll? Similarly, if we’re really talking ‘Best DJs’, why are we not listing the likes of Annie Mac or the Scratch Perverts?

Likewise, there’s not one word of anyone falling under the camps of Black Butter, MTA Records, Eton Messy, PMR (bar Disclosure) and Hospital Records, to name just a few. Why the fuck not? They’re some of the most important labels out there repping the UK scene – their artists are selling out venues left, right and centre, and they often command their own stages at festivals – the whole thing is fucking bizarre to say the least. And no word for grime either? Where’s Logan Sama in this mix? Shamefully not one mention.

As we’ve previously alluded, DJing is a quality craft, however live shows should be about delivering an experience that fans can take away in their memories. Pressing play on a CDJ (or even a Macbook) no-longer cuts to the chase. DJ EZ, Jazzy Jeff – these are just two who not only champion their own genres, but are skilled in terms of DJing and production.

DJ Mag needs a wake-up call with their poll; perhaps Top 100 Producers will make more sense in years to come. Either that, or perhaps the voters need an education in the difference between production and DJing.

And on that note, who the hell is voting on this thing anyway? We’d love to see some demographic data to understand the voters’ roles within the wider music sphere.