Open-format DJing is a true test of taste — it’s where versatility, storytelling, and instinct meet on the dancefloor. Few understand that balance better than DJ88. With over two decades behind the decks in Los Angeles and Las Vegas, she’s mastered the art of weaving genres seamlessly. Everything from Hip-Hop and Soul to Disco, Rock and House. As a result, she creates open-format DJ sets that feel both spontaneous and deeply intentional. Not only that, but her talents have seen her open up for the biggest names in music. This includes Bruno Mars, John Legend, Snoop Dogg, Earth, Wind & Fire, De La Soul, Hiatus Kaiyote and countless others.
For DJ88, mixing is more than technical precision; it’s emotional translation. “Music taught me how to communicate, how to heal,” she tells Mixcloud. “The DJ booth is like a pastor’s podium to me.” Her approach to open-format mixing is rooted in connection — reading energy, crafting journeys and finding freedom in sonic contrast.
Read on for some of DJ 88’s top tips on how to create an incredible open-format DJ set.
What does the perfect open-format mix sound like?
DJ88: The perfect open-format set seamlessly flows in and out of different genres, energies, tempos AND eras. There is an opportunity within an open-format DJ set that is so paramount. Music is so powerful. A single song has the power to alter someone’s mood instantaneously. As the one conducting the frequency of the room or the mix(tape) you have the opportunity to connect with the listener in a multi-dimensional way within your set. Inspiring feelings of nostalgia, escape, joy, celebration, confidence, relevancy and spirituality. If you do it right it transcends your listener. It sounds deep, because it is. Even though you’re the heartbeat of the party, club, radio show or mixtape, you are of service as part of a collective. You are creating an experience for those listening and if you’re doing it you should take it very seriously. Music is therapy.
What does a great open-format DJ set consist of?
The most important part in the structure of an open-format DJ set is making sure you “build a bridge.” To get to each genre within your set. It has to tell a story and it has to make sense. Otherwise you’re just a jukebox and anyone can be a jukebox. There has to be a common denominator that navigates your choices. Whether that’s vibe, the production of the song or word play. It’s not about matching BPM. You can put just about any genre in an open-format set if you tell the story correctly.
As a DJ you have the privilege of navigating your listeners. It’s about how you approach your set: what is your style? How well versed are you in different genres of music? Your style and approach is the key to the experience you’re creating for the listener. Anyone can play popular songs and match BPM. But having an arsenal of music filled with edits and remixes is what makes your DJ sets memorable.
How do you prepare for an open-format mix? What has to happen at that stage?
A healthy (organized) multi-genre library of music. AND being on top of new artists and releases is the most important fundamentals. If you’re not on top of those two things you’re in it for the wrong reasons. DJs literally have no excuse anymore given the wealth of digital resources that are accessible to them 24/7. Organization is key, but we’re creatives right!? So our brains are wired differently.
It can be overwhelming to approach organizing your library if you’ve been putting it off forever. Everyone approaches organizing their music library differently. I have my ITunes library organized by genre/vibe and I have ridiculous names for all my folders for a reason. So whether you use your iTunes library or create crates in Serato, RecordBox, whatever your poison, the key is to make it fun. Tedious work is not sexy for most creatives. We tend to get bored very easily so with that in mind, you have to make it as enjoyable as possible because it’s crucial to be organized. Title your folders/crates according to your slang, the way you speak. It makes it more approachable and memorable and definitely less formal. In life, especially professional life, it’s the little things that resonate.
How do you know when the time is right to switch the vibe up during a set?
You’ve gotta Bruce Lee that shit, literally. “Don’t think, feel.” That is my mantra. It is intuitive.
It can be word play, samples, navigating off of remixes or letting the production of the song lead you to the next genre. If a DJ does a lot of live blends/mixing like I do, it’s imperative that they know the songs they’re playing so they know how to craft their blends. Meaning when to bring the next song in. How you’re going to do that too. So you can confidently play around and experiment with different ideas. It’s all about being present when you’re telling your story in your set. If you’re doing a live set you have to read the room. Aside from your intuition, you can almost let the crowd and the energy navigate your next move. That connection is kinetic energy!
A very important aspect to stay focused on is practicing patience. Not bringing a song in or worse, pulling out of a song too early in the middle of a line in the song. Or a key production element. Unless you’re in a high intensity ‘quick mix’ DJ set in a major nightclub which is a whole other beast, there’s no reason to be quick mixing. It’s become a very bad habit that creates a lack of patience and becomes performative. Where you’re disconnecting yourself from the collective and making the booth your stage.
What are your golden rules for when the time is right to switch things up?
LET THE SONG BREATHE. And for how long depends on where you’re playing. If you’re a local DJ and you’re doing a club where there’s a dedicated dancefloor, or you’re DJing an event then let it breathe for two verses, chorus, and then make your move. Unless of course there’s a key sing-a-long or rap-a-long moment in the third verse. Again, CUE POINTS are your best friend. Get to know them intimately so that you can get to the key moments in the song seamlessly if you’re doing more of a quick mix set that needs to move with pace.
If you’re DJing in a cool bar or pub where the dancefloor isn’t the priority and it’s more about the vibe, then LET THE SONG BREATHE. That doesn’t mean play it until the last note. But let the majority of the song do its thing and then bring your next song in.
What I always tell DJs is, TAKE RISKS. If it doesn’t work, it doesn’t work, you can always get out of a vibe that isn’t working. Take a beat, collect your thoughts and shift gears. But, take that beat. Not taking a beat for yourself in the moment and just grabbing something that is around the same BPM because it’s right there is a panic choice. It’s a stressful place to be and it usually comes from a lack of prep. You never want to get caught out where two songs are fighting against each other because you didn’t know a guitar solo was coming up in the song, for example.
If it’s a mix you’re putting together then depending on how many genres you’re trying to incorporate, the key is balance and consistency when mapping out how to shift gears genre wise in an open-format set. A great example is my ‘Cool Shit For Grown Ass People’ open-format mixtape series. That is the quintessential open-format DJ set. There is something for everyone and it taps in with all the emotions by way of various genres, multiple decades, some album cuts and special remixes/edits.
How do you keep the energy flowing throughout an open-format set?
It depends on what kind of set you’re doing. If you’re an opening slot DJ at a club then your choices need to be focused around the lay up, right? That is a very specific role but it’s not as limited as you think. You’re setting the mood and you get the first kiss which is major, if you’re a bad kisser that’s it [laughs].
Your set should have a pace to it that authentically builds a dancefloor. Favorites from over the decades of various genres. Obviously you don’t play the hottest song out right now in your set, that’s the headliner’s space. But you can definitely play upcoming artists/songs that you like and want to spotlight. The opening set is a great lane. If you’ve done your job right, by the time the headliner comes on you’ve got the crowd exactly where they need to be in order for the headliner to slam dunk with his first record.
What if you’re DJing an all-night set? Does your approach change?
If you’re DJing the whole night somewhere the most important thing to remember is to pace yourself. Don’t play all your cards too early. Keep the energy up, remember you’re the one navigating the energy and mood of the room. If the spot you’re playing at is having a slow night it’s very easy to get impatient and play records too early to pass the time. Then when the spot gets a late hit around midnight you’ve already shown your hand and then you start making panic choices. Always remember there is more than enough music to last you the whole night. It’s really about time management and choices.
If you’re doing a bar/pub then there’s always a beginning, middle and end to your story. You have the beautiful opportunity to not have the pressure of the dancefloor and really just lean into song choices. As opposed to being obligated to focus solely on dance records. In my opinion every DJ should have one residency at a cool bar/pub for your soul as a music lover. To keep you grounded and to always remember why you started DJing in the first place: for the love of music. I had six residencies in Las Vegas, a lot of them on the strip, and throughout my entire career I’ve always had one bar/club that I played at for the love of the game. I still do to this day.
Are there genres or sounds that go together better than others?
It’s all about the production for me, that’s the conduit. The tone, the vibe, the feel, the arrangement of the production. That’s how I navigate.
What are some of the misconceptions about being an open-format DJ that you’ve seen?
The most common misconception is that open-format DJ sets means Top 40 or commercialized sets. Definitely not accurate. If you’re a local DJ it’s contingent upon your community and culture. If you’re playing in your city’s hot spot and it’s more of a larger room/general population spot then yeah, you may be called to play more Top 40. But you can do it in a way that doesn’t make you feel you’re just another DJ having to play the hits. That’s the beauty of digging in the virtual crates; there are endless remixes and edits out there at your finger tips from talented producers around the world. Do the work and dig.
In Las Vegas I was the Entertainment & Creative Director of a venue downtown. When I came in it was important to me to cultivate talent. Not only did I focus on giving upcoming DJs opportunities to learn and grow but I worked with some very talented music snobs who were very reluctant to wrap their heads around an open-format DJ discipline. They immediately associated that with selling out. In this venue the neighborhood was growing and the clientele was expanding. I had to find a way to tactfully and artistically make every music lover feel welcome. Not so much Top 40 but various genres.
I have worked with and consulted many elitist DJs who finally gave in to wanting to make money from DJing and elevating their career and taught them how to maintain their integrity as a music snob. It is possible. Your favorite artists and producers do not only like one genre of music. They were inspired by artists and producers before them. It is truly an ecosystem and you have to be open and respect all of the elements.
Absolutely, respect for the music and the craft should be rule one!
Another misconception is that you have to fill your sets with tricks. If you’re skilled in aspects of turntablism, that’s amazing. But if you’re using that as a crutch or distraction from your lack of mixing and blending a record with precision and patience then you’re cheating on your future as a DJ. Tricks, drops and sound effects are dope when they’re an addition, but when they’re a distraction not only is it noticeable to the listener, it stunts your growth. Every DJ has strengths and weaknesses and there is always room for improvement.
As a consigliere and former manager of DJs I will always tell DJs or anyone interested in getting into DJing to prioritize clean mixes and calm fader, channel, and volume work over tricks at all costs. Tricks are icing on the cake, but if your cake tastes nasty because you took shortcuts in the ingredients, the icing doesn’t matter.
What are some of the more underrated aspects of being an open-format DJ?
How labor intensive it is. Aside from turntablism, it’s the most work and requires the most study and consistency. Trying new mixes and blends, and now with the capabilities of stems it’s a creative game changer. With a true open-format set you’re going from different genres, BPMs, different eras, vibes and tones, creating waves of moments where your DJ sets actually become experiential. Incorporating that much into one set is not easy. Focus and balance are mandatory. I don’t know how to juggle but that’s what I visually equate it with. There are hundreds of thousands of open-format DJs out there and a small core percentage who actually understand and execute the assignment well.
Another underrated aspect is truly understanding how influential and infectious your platform is. As a DJ, especially in a space where you have freedom to do your thing, there is nothing more gratifying than breaking new artists and songs. You’re supporting artists and introducing them to new people, you’re feeding the music lover via introducing them to something they’ve never heard before. Another example of it truly being a cultural and spiritual eco-system. My favorite moments are when someone walks up to the booth and asks what I’m playing or tries to Shazam it.
Not many DJs would admit that!
Another controversial observation I’ve experienced throughout my career is the blessing and curse of ‘the request.’ The dreaded request is a complicated subject. Stereotypically it’s maddening and is usually delivered from someone who’s had too much to drink. Or someone who thinks you’re DJing in their living room and the entire experience is about them. But, contrary to popular belief, if you’re playing a set that has you accessible to a general audience, requests can be useful.
If you happen to get stuck or you’re internally trying to figure out where to go next and it’s not clicking, requests (asked in the right way of course), can actually be helpful in navigating your next move. Even if the song isn’t your vibe, it can inspire something and shake your stagnance in the moment. I’ve had hundreds of moments where I had someone request something where I was pleasantly surprised that actually got me out of a momentary fog.
Open format sets cast the widest net, it’s true inclusivity. You’re of service for the higher good. It’s connectivity, which in my opinion is everything that’s missing from grand scale club culture. In any way I can I will do my part to circle back and remind people of this collective. This ecosystem I’m passionately talking about. No phones, no ego, no observing DJs on stages. True connectivity with music lovers on a dancefloor is collective therapy creating moments in the present tense. It’s a lot of work. But the return on investment is indescribable.
Any final words?
As professional DJs, how blessed are we that we get to play music for a living. I’m forever grateful. Please remember to support your fellow DJs, share the mixes they put out if you dig ‘em, go to their DJ sets if even you can’t make it out to all of them. Support the producers out there that are working day and night to finish the amazing edits, flips and remixes that we get so excited to discover and incorporate into our sets. Your support, especially the support of fellow DJs, is more important that we can explain with words.
Follow DJ88 on Mixcloud and Instagram and check out her shows on PharcydeTV, including ‘For Vibes Sake.’