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Oh dear, in 2025, social networking has become almost compulsory for artists! But have you ever wondered how other artists see it? How they manage their artistic career, their production, their promotion and the management of their image for the networks…
I’m talking about a time that people under 20 can’t possibly know… You know the song, don’t you?

There was a time when you could be passionate about music and become an independent producer, then drop a killer new track and offer a unique experience directly to your audience, juggling production and performance.
Those were the days when talent took precedence over the number of subscribers you could have on the networks to get booked.

Is the emergence of social networking in music a good thing, or a burden for artists? We put the question to a number of artists, who respond here.

Being an artist and managing your promotion on social networks, are we talking about it?

It’s sad, but these days, you have to be half an influencer for someone to listen to you and book you…

A Cornelian dilemma is posed for each party by a mode of consumption that has become viral in all so-called marketing fields. Today, music is no exception.

Festivals and orgas need a headliner at all costs if they want to attract people to their event.

There are artists who make a fortune on the price of their services by playing this game, while there are still others who perform for free in the hope of visibility…

Or maybe you’re an accomplished artist and you find yourself without a date, because you’re no longer financially accessible enough to the orgas and you don’t bring in enough entries on your own, because you don’t have enough of a following on the networks.

In fact, the solution is super simple: all you have to do is buy subscribers on dubious platforms that will send you bots! That way, you’ll have more subscribers and get paid more…! No, I’m joking, don’t do that and risk losing everything… I’m using this metaphor to show how ridiculous this “number of subscribers” thing really is. Because, in reality, anyone can cheat at this level, just as some people send fictitious subscribers to their competitors so that the artist or page in question gets a filter and sees its online reputation take a hit.

Social networks require you to be everywhere at once, to share your daily life like a perfect lifestyle, to chase buzz, to deal with haters and to turn your life into a permanent show… In short, you might say I’m old-fashioned, but in my humble opinion, this takes on a dimension that’s sometimes hard to take on, when your basic wish is just to make music and make people love you.


There’s a recurring problem on social networks: more and more DJs are posting video excerpts with audio from small producers, without ever mentioning the track ID. It’s a bit like not knowing whether you’re looking at an AI image or not.
It should be mentioned to prevent uninformed people from mistakenly believing that the DJ is behind the track, and to give credit where credit is due.
In short, this has been debated for a long time, but even so, it’s a shame that some well-known DJs don’t always mention the artist behind the track used.

Today, we’re going to talk more about what artists think about managing their social networks, because after all, for some, it’s a burden, but for others, it’s a real strength… It’s up to you, and I invite everyone to take the time to do a little research on an artist when you have a musical crush. Don’t stop at likes, but follow the artist’s work in its entirety, give it strength, share it again: this is essential today.

Artists’ testimonials

Basic question:

1. What influence do you think social networks have on DJ/producer careers?

2. Is it difficult to juggle the dual role of DJ and community manager?

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Leks

Today, the influence of social networks is quite pernicious. For an artist-producer or DJ starting out, it’s become much more complicated, because it’s almost compulsory to wear two hats. It’s not for nothing that the world’s biggest artists have community managers who take care of this for them. They know that it’s a job in its own right and that it’s very complex.

There’s a lot on offer on the scene, but not as much in demand. The competition is therefore based on the ability to be seen, and today, music isn’t really at the center of attention. It’s how you sell yourself that counts. Some people are becoming influencers, and music is becoming marketing, which is paradoxical for a milieu that claims to be underground, especially in techno.

I think this dependence on social networks really exploded after COVID, between 2020 and the end of the 2010s, when TikTok and Instagram took over. Personally, I was lucky enough to start before that period (2014-2015), at a time when we weren’t so dependent on networks to make ourselves known.

I’m part of the SoundCloud generation. It was a platform that really allowed people to discover their music, without the social networking aspect: no images, just songs. Thanks to SoundCloud and Bandcamp, I was able to make a name for myself in a purely musical environment. Today, it’s very difficult to stay away from the networks and still be an emerging artist.

There are good things about networking, but there are also many bad things. In all artistic fields, being your own community manager has become an obligation for freelancers.

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Uphoria

1. In my opinion, social networks have a huge impact on the DJ / producer’s career, with both positive and negative aspects.

Not only do they enable you to make a name for yourself, they also create a real connection with your audience and attract new opportunities. They’re tools for showcasing your artistic identity, sharing tracks and live performances, and interacting with your followers.

However, it can also generate constant pressure to be regular and relevant in your posts. You lose the charm of naturalness, and everything becomes calculated – the timing of the post, the text, the cover photo… It’s a far cry from the feeling you get on stage.

On the one hand, Instagram has become our portfolio: it allows us to be booked on certain events and to make professional contacts. But on the other, communication takes as much time as music production.

2. Juggling the dual roles of DJ and community manager isn’t always easy! Managing networks requires time, strategy and creativity, which can quickly become a job in its own right.

For my part, I try to strike a balance by planning my publications in advance and staying true to my style so as not to be pressured by algorithms. But even with organization, I sometimes have posts that are several months late…

Each social network has its own specificities: TikTok demands entertaining, eye-catching content, while Instagram requires a more professional, aesthetic approach. Finding the right balance between these formats is not always easy.

But in the end, I’m not going to complain! When you’re passionate, you don’t count. Today, after years of hard work, I’m making a living from my profession. It’s my childhood dream come true.

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Vandal

1. Social networks have a huge influence on people’s perception of an artist. Nowadays, they are indispensable, but they often give a distorted image of reality.

You can be an incredibly talented producer, but remain in the shadows if you don’t manage your online presence well. Conversely, some artists have no music production skills at all, use ghost producers, but succeed only thanks to an effective social media strategy, often steered by a manager.

In my opinion, this gives a bad image of music, which should be judged on its quality and not on an artist’s ability to manage social networks.

2. Yes, it can be a challenge. As with anything, it takes time to learn how to do it well, and it requires a real investment. When you spend your free time in the studio, on tour, or with your family, it can be hard to find the time to be constantly active on social networks.

What I don’t like either is that social networking works like an addiction. Many people feel their spirits drop if they don’t get any interaction or feedback, which they shouldn’t. Unfortunately, this is a reflection of today’s society. Unfortunately, this is a reflection of today’s society.

That said, I’m not against social networks. They allow fans to get a glimpse into our lives, create a direct link with them and share important moments. But you have to find a balance so as not to be overwhelmed.

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Gazovitch

1. Social networks play a major role today. Some DJs/producers rely solely on trends and their image, leaving the music behind.

2. For me, it’s not complicated, because I work in image and brands. Managing my networks is part of my daily routine. I make it easy for myself by not having any personal social networks: I only go on Instagram for my pro account.

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Nusha

1. Social networks are essential for DJs. They allow you to share your music, talk to fans and show off your personality. A single publication can reach a global audience, open up opportunities and broaden your reach.

2. But it’s still a challenge. DJing is all about making music and performing. But networks require constant updating and interaction, which means juggling two jobs.

That said, if you keep it fun and authentic, it’s a great way to stay connected with your audience.

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Ixidamix

1. These days, everyone will tell you that as a DJ, it’s absolutely essential to have an active presence on numerous social networking platforms. Some bookings are now made exclusively on the basis of follower numbers, with virtually no relation to actual talent. This favors more extroverted online personalities, to the detriment of more shy or introverted musical geniuses.

The DJ profession has become much more accessible over the years. While this is positive, it has also led to the emergence of an army of online performers, dancing behind their turntables, more concerned with their appearance in front of the camera than the tracks they play.

That said, I’ve always believed that the most important thing for a DJ is the musical selection, and that remains true. However, this accessibility has inevitably saturated the market, making it much harder to get heard in the first place – and that’s where social networking comes in.

2. I consider myself lucky, because I’ve been in this business for many years and I was already well known before the rise of social networks. This frees me from the pressure of constantly creating content: if people are really interested, they’ll look for the information themselves.

On the positive side, it’s obviously nice to be able to talk directly to fans, informing them of concert dates or upcoming musical releases. It also provides instant feedback on which tracks or live sets are working best.

However, the world of social networking is in a state of flux. Many are trying to avoid supporting oligarchs like Musk and Zuckerberg, while not wanting to lose their established contacts and connections. So I hope we’re moving towards a more constructive and positive way of interacting online, whether you’re a DJ or not.

But to answer the question: yes, it’s a real challenge and takes up a lot of time, especially as an independent artist. In fact, it leaves less time for what really matters: creating music.

Conclusion

Ultimately, for an artist, DJ or producer, social networks are both a strength and a burden. They offer a global showcase, a direct connection with the public and sometimes even opportunities that no other era could have offered. But at the same time, they impose a constant pressure: to be visible, to know how to sell oneself, to constantly produce content… sometimes to the detriment of the music itself.

Some see it as a superpower that boosts their careers, while others see it as a real constraint that distances them from their art. One thing’s for sure: ignoring social networks in 2025 is almost like choosing to remain in the shadows. The key, perhaps, lies in striking a balance: learning to use the platforms without getting lost in them, keeping your authenticity while playing with the codes.

Because at the end of the day, what really counts is not the number of followers, but the sincerity of the music and the connection it creates with those who listen to it.