But one country he hasn’t is Spain, where he’s never been any higher than number four.With a few notable exceptions (Daft Punk, Fatboy Slim), European dance music has always been one of those things that America just never got – like Roberto Benigni, or socialism. Traditionalists may sneer – but does it matter what they may like or not? Morrissey may have wondered to himself whether life would ever be sane again, but his message means nothing to people who just want to be told when it’s time to paaaarty…ĭid you know: Guetta has had number one singles in pretty much every major country in the world.
The music is far more important to them than whether it’s actually performed live or not. They’re struggling to sell tickets for the nights with proper rock bands – most people are far more interested in the chance to dance to David Guetta’s stuff.
No doubt the dance music is great, and the fans love every second of it. But wouldn’t you rather see some people up there playing instruments, singing and dancing? Apparently not. You want some bloke pressing buttons. Alas, this seems to be where ‘live music’ is heading – Rock in Rio in Madrid being a prime example. So distorted are their minds with chemical enhancements that they don’t seem to care that Mr Guetta isn’t actually doing anything – unless I’m wrong and he’s actually demonstrating his ability to twiddle buttons with his penis. But is it live music? As far as I can see, the ‘live’ show simply involves Guetta standing on stage playing records and saying things like “tonight we’re going to party”, which invariably has the effect of driving the crowd beserk. Most of the time he’s holding his arms up in the air as if he thinks he’s Jesus, as in the picture on this page. Basically, he’s regarded as the best DJ in the world – and his live shows are about as big as it gets in music these days. Just wish he’d leave bands like Coldplay alone with his silly dance remixes.Īnd he’s a massive pull. But whatever he does, he obviously does it very well indeed. He’s the guy who sort of puts it all together, mixes in the cool bits, and makes it into a dance record. Or whether he plays any of the instruments. I’m not too sure if he does the writing either.
But of course, it’s not him doing the singing. The important thing is that David Guetta was the producer. Like it or not, this is the stuff you hear in almost every nightclub from Aarhus to Zaragoza – and the singers are only ‘featuring’. I must admit, I didn’t think I knew any of those songs, but they were all instantly recognisable. And so we have massive hits of the ilk of When Love Takes Over (featuring Kelly Rowland), Sexy Bitch (featuring Akon), Gettin’ Over You (with Chris Willis featuring Fergie & LMFAO), Where Them Girls At (featuring Flo Rida & Nicki Minaj), Without You (featuring Usher), Little Bad Girl (featuring Taio Cruz & Ludacris)… the list goes on and on. Would it get to the stage that the producers were more important than the artists themselves? It would. Music was changing in the eighties, when it became evident that the Stock, Aitken and Watermans of this world were the real talents behind the manufactured products holding the microphone. OK, they made massive bucks, but other than Phil Spector and a few others, few fans really cared or noticed that there was more to most recordings than the musicians and singers that appeared in the pictures. Once upon a time, record producers were the unsung heroes of the industry. But he and people like him are featuring more and more at festivals, so we’re kind of by obligation forced to say a few words. This is a guide to live music, and whatever folk might say, David Guetta doesn’t really qualify. This website doesn’t really deal with this kind of thing. We’ll get one thing straight from the start.
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