For Dan McKie – a veteran DJ, producer, and PR agency founder – the road from collecting glasses in a Newcastle bar to playing Space Ibiza and Ministry of Sound was never straight, but it was always driven by an unshakeable love for the music. Nearly three decades on from his first nights behind the mic, he’s built a life that spans Barcelona, Ibiza, and beyond, releasing on labels from Southern Fried to Play Records, running his own 1980 Recordings imprint, and building a PR agency It’s A Promo Thing, that’s become a go-to for many artists and labels.
We caught up with him to talk how he does it all and why he still thinks the best moment in any DJ set is when your own record gets the biggest reaction.
Your new EP featuring “Who Wants To Dance” samples a fascinating moment from 90s UK TV, Kilroy talking to Judge Jules about the rave scene. What drew you to that particular piece of audio and how did the track come together?
I was just watching a clip on IG and then I stood out to me. The track was actually made in the south of France in my friend analogue studio with lots of cool analogue equipment. We loaded the vocal up in the Logic sampler and played it in and that is what you hear now.
What does your current production setup look like? Are you more hardware or software-based, and has your approach to making music changed significantly over your career?
In my studio I have a mix if hardware and software but if I’m honest I use mostly software, UAD Apollo, many different plugins, Loopcloud for inspiration and speed and Logic X.
You run your own PR agency, It’s A Promo Thing. What made you decide to step into the promotional side of the industry, and what unique insights has that given you about the music business?
I was living in London in 2009 and I was a bit skint (typical DJ/producer) and realized I was getting good support from my own PR for my label 1980 Recordings. I then thought, I could do this for other people, that’s when It’s A Promo Thing was born. Back then it was just a DJ mailout service to my curated lists but it has evolved in to all round Music PR Agency now with services for YouTube, TikTok, Spotify, Club DJs, A-List DJ & Radio Plugging plus Blogs & Website posting. We have multiple service available now.
How do you balance your time between being an active producer and DJ while also running a PR agency? Do those roles ever compete for your attention, or do they complement each other?
Of course, but I have clients I have to deliver results for. From Monday to Friday, I mostly do It’s A Promo Thing but I do like to try dedicate at least 2 hours a day to making music even if it’s just to come up with ideas for my ideas folder. It for sure helps with my DJing as I get some very good music I am lucky to promote and some of that makes it in to my DJ sets.
You’ve been DJing since 1997, take us back to the beginning. What was the scene like when you started, and what made you fall in love with electronic music?
I was a cheesy DJ playing chart music, 70s, 80s, etc, on the microphone in my local scenes of Hebburn, South Shields, Sunderland and Newcastle. I just started covering for the resident DJ Mick, while I was a barman / glass collector then I evolved from there. It wasn’t until around 1999/2000 that I began to start mixing vinyl together thanks to my mate Phil, who actually took one of my Saturday night jobs, but instead of feeling bitter about it I went to meet him, we had a laugh, hung-out and became very good friends and we still are to this day. He taught me how to mix vinyl together and that is when my addiction truly started. The scene was vibrant and accepting, promoter would take a chance on new talent, you did have to bring numbers as the promoters were promoters back then. I would go to Shindig & Godskitchen all the time to watch the likes of Judge Jules, Roger Sanchez, Deep Dish etc and Harry Choo Choo Romero was the first guy I watched to amazing things with vinyl, as well as Graeme Park at Arcane. All nights were always packed, fun and inclusive.
Your sound has evolved across labels ranging from Southern Fried to Pacha Recordings to your own 1980 Recordings. How would you describe your sonic journey over the years, what’s changed and what stayed the same?
I was the ideas guy & DJ in a production duo for many years, with great success. Then when we split I started reading magazines, watching YouTube, etc. and learnt how to produce from there. I used to make a lot of progressive and electro back in the beginning but I am for sure enjoying making more house and techno cuts now. Plus, I am way more knowledgeable now. I am always learning and still evolving for sure… never stop learning your craft kids! What stayed the same is my passion for DJing & producing, I still love making a track, getting it mastered and then being able to play your own productions out. I love it when many times your own music is the highlight in your own DJ set with the best reaction.
You’re based across multiple cities – London, Ibiza and Barcelona. How does each location influence your creative process and the music you make? Where do you feel the most home?
I’ve lived in all of them including Andorra. What I have picked up is knowledge and many different cultural influences. Which has for sure helped my DJ sets and production evolve. I am based in Barcelona now and it is the perfect mix of all places I have lived; I love it here. I can visit all the other places where I have many friends, it’s perfect.
You’ve played everywhere from Space Ibiza to Ministry of Sound to venues across Egypt, Australia, and beyond. Where do you feel most comfortable – behind the decks, in the studio or perhaps running your PR agency?
DJing, it’s my first love and always will be. I just love being able to read a crowd, make the crowd my puppets and play with their musical emotions and being able to take each audience on a different musical journey.
As someone who’s witnessed the scene evolve over nearly three decades, what’s your take on AI in music production? Do you see it as a tool, a threat, or something else entirely?
I use it a little for ideas and stem splitting. I am sure it will become more useful and used more widely. What I don’t agree with is AI artists as this would kill off true artists and allow the larger labels to take even more money from genuine artist than they already do. I would love AI to do my house work and clean my toilet please!
What advice would you give to producers and DJs who are just starting out today? The industry is vastly different from when you began, what skills or mindsets are essential now?
Make your ideas, send them to labels if you wait until tomorrow you may of missed your opportunity. I always suggest to younger people that are starting out to make sure the tracks are of the best quality you can, don’t do a self-master if you are not a mastering engineer as that is an art form in itself. Get you tracks masters, its cheap enough these days (we do it at It’s a Promo Thing for a very reasonable price ;)). I always have my tracks mastered with an engineer before sending demos out.