The folder exploded open: 18 tracks, all perfectly tagged, all sitting at a crisp 320kbps. Track 01: a brand-new remix of a Dua Lipa banger that wasn’t dropping on streaming for another two weeks. Track 04: a bassline-heavy flip of a Tate McRae cut, complete with an extended intro for smooth beatmatching. Track 09: some unknown producer from Manchester who’d somehow made a drill beat feel like a euphoric anthem.
I run a small club night called Eclipse , every Saturday from 11 PM to 4 AM. The owner, Marco, is a good guy but has zero patience for technical glitches or “dead spots” on the floor. Last week, I played too many deep cuts. People swayed. Marco gave me The Look. VA-DJ-Promotion-CD-Pool-Pop- Dance-349-2024-B2R...
The next day, I got an email from Marco: “Booked you for next month. Bring more of those B2R things.” The folder exploded open: 18 tracks, all perfectly
I stared at it for a full ten seconds. VA for Various Artists . DJ Promotion—meaning this wasn’t for the public. CD Pool was a legendary service, the kind that sent fresh, DJ-friendly edits straight to clubs before Spotify even knew a track existed. Pop Dance. Issue 349. Year 2024. And B2R? That was the release group, the digital scene tag for those who knew where to dig. Track 09: some unknown producer from Manchester who’d
This was my Saturday night lifeline.
At 2:45 AM, I played the secret weapon: Track 17. No title, just a codename: “Lights_Out_Final” . It had a fake drop, then a second drop with a synth lead that sounded like a dying angel yelling into a vocoder. The crowd lost its collective mind. Marco gave me a thumbs-up from the bar. A thumbs-up. From Marco. I nearly cried.