SOUL’ed OUT

Pro DJ with over 35 years experience originally a soul boy but developed into all types of genres what people describe now as an open format DJ Worked in lots of different areas and locations here in the U.K. & across Europe as well as Thailand asia.

From Pubs to clubs , events to festivals and private bookings , weddings , engagements and my own Events under my SOUL’ed OUT Brand which I’ve ran for over 20 years now whereas I’ve hosted and Ran events for world class dj’s both here and internationally, and Big name Soul artists as Kenny Thomas , mica Paris , Pauline Henry and Alexander O’Neal to name a few. I currently have regular Bi monthly residencies in a few Bars in my local areas as well as one-off events and gigs. I also host 3 Radio shows a week one for Soul in the US with urban influencer radio , one in the uk for soul station radio and a House music show for Love soul radio London. As you can see from my experience and my profile I offer a very professional DJ service across multiple music genres and styles from Modern / Northern Soul , R&B , Disco and house as well as party music for selected private parties. You should book me as I’m not someone new to the industry I have a vast amount of experience and knowledge as well as marketing and promotional skills. .

Steve Teasdale

When you love something it's with you for life—that's what music is to me: something that will always be with me. DJing is an experience in itself and a big part of me. Being a DJ, you're in a position to entertain people and sometimes even educate them with the music. It's sometimes awe-inspiring to see the response to what you're doing. I've been a DJ for nearly 40 years now, and it's the love and passion that's kept me in the game for so long. I count myself very lucky to have had DJ work all the way through my career—that's something I'm very proud of. I must have been doing something right all these years. I still have that real passion today, so I'll keep going probably until I can't. That's how much I love what I'm doing.

Background and History

Like a lot of other DJs, I got into it through listening to the radio and recording shows by Adrian Allen, Jeff Young, Robbie Vincent and early Pete Tong. I'd sit there with my tape recorder ready to pause it, trying to time it so I'd miss out the commentary and one record would flow into the next—early DJing at its most basic. But I was fascinated by it and wanted to be a DJ just like the guys I'd been listening to all this time.

My first real steps and education came through mobile disco work—school discos and youth clubs. My training was with a local company, ABC Discos in Middlesbrough, which proved to be a fantastic education for me. I learnt different music and styles for all kinds of events and parties. This was also my first introduction to dual turntables—FAL disco decks (who remembers those?). It was also the first time I had to use a microphone, which was vitally important for different kinds of occasions like birthdays and weddings. I had to learn how to adapt and entertain at these different types of parties—a brilliant learning curve. As I recall, that's also where I learnt very quickly about music programming and how to follow one big record with another in a similar style or sound, something that's really stayed with me all this time. Also, regarding music, I've never been a DJ who spent silly amounts of money on records. I was always very choosy about what I was buying. I could have spent thousands on the best records, but to be a DJ there's a lot more to it. For me it's always been about programming and choosing the right records—being a selector rather than a DJ.

After my baptism through mobile DJ work, I met a lot of other DJs and owners and got asked to work at some pubs and clubs in the area. This eventually led me to get residencies as the main DJ at various venues in my hometown and further afield.

Over the years I've worked at so many pubs and clubs I couldn't list them all, but I've held residencies at some of the most influential venues in and around Middlesbrough, Newcastle, Sunderland, Leeds, Sheffield and a few gigs abroad. I've also missed out on big opportunities, working in America for one, which still resonates with me today—a what-if moment that's still a big regret. This was at the peak of my career. I was managed by a company at the time, and I know it could have been my calling. I could definitely have been up there amongst the headliners we all know, but it wasn't to be. Still, I'm thankful. With my achievements, I can't complain—it's been a fantastic ride and I'm not getting off just yet.

In my early days I did a little professional radio work, which I really should have pursued more, to be honest. I had my own shows on Kix FM and The Point FM and guest-spotted on other shows as well. I still have some really good friends in radio now, like John Foster, Les Gunn, Adrian Allan and Paul Gough, and others who are well known, especially on our local radio stations.

In 2020, I was back on the radio on several different stations—albeit internet radio. But I have good followers all over the world who tune into my shows, something I'm very proud of, especially my show in the USA, which does really well listener-wise. I'm now hosting three shows a week and still love every minute of what I'm doing. I still get that buzz from playing great new music on the airwaves, especially if it's an exclusive and no one else has it.

Regarding playing out, I still have regular gigs as well as one-off and private events. I love to play to a packed audience who appreciate what I bring. Sometimes it's what you do with the music and how you programme it that makes the difference. Being creative with instrumentals and acapellas, you can add to the experience for everyone. I'm not one of those DJs who plays their own records or doesn't care what they play. I really do care—it's about entertainment. For me, it's about the people wanting to hear a set that reflects not only your passion but also everybody in the room. That's why it's important to gain experience working in different environments. I've been lucky to have had that experience. I've never understood the philosophy of a young DJ who plays records in his bedroom and then expects to be able to entertain a crowd in a packed nightclub because he or she has spent £100 on a selection of records. It doesn't work, and mixing isn't everything. Yes, it's good to know how to do it—it's a skill, especially with records—but it's not all you need to know.

I learnt to mix in the early eighties without samplers or variable-speed turntables, and back then it was bloody hard work. Sometimes you had to push the turntable platter to keep it in sync as best you could. Later, we DJs had the introduction of Technics turntables, especially the 1210s, which became the standard in pubs and clubs across the world. This was a godsend, and these are still regarded as the best tools in the business. Long live vinyl! Even now, there's no better feeling than playing vinyl, or in fact the whole build-up to it.

People who know, know. It used to be a little like this:

Firstly, hearing a track on the radio you really like and want, then heading down to your local record store to see if they have it. In our case, it was Alan Fearnley's or Austin's Records, and they usually did. Then buying the track. If this was an import, it was even better because you had that excitement and anticipation of having to remove the wrapping—the cellophane, which you would sometimes do by rubbing it on your knee or leg (mad, I know)—before finally taking the vinyl from its inner sleeve and then placing it onto your turntable. Even more exciting was if you had the only copy in the area and you were going to break it first. That was a great feeling, and over the years I've been fortunate enough to break so many big records first, either on import or promo white labels.

Sadly, we all have to move with the times, and we're now in the digital age. Everything's changed. I've tried to embrace this as much as possible, but it's not something I'm a fan of, to be honest. There's too much music flooding the market and not enough quality coming through digitally.

I'm still a huge record collector. Until recently, I had a vinyl collection of over 34,000 records. I've now streamlined this to a more manageable 12,000 and counting.

Alongside my DJ career, I've also been a professional promoter, putting on my own events over 20 plus years under my SOUL'ed OUT brand. Over the years, I've featured everything from superstar DJs to live music artists and bands, Soul and House music celebrities, and even comedians.

Going back a little, in the mid-eighties I had a nightclub residency in my hometown of Middlesbrough at a venue called Madison and Macy's, which was well renowned and famous in the north-east. After several years of moving on from that, I decided to do a reunion night, which was so popular and successful that I did a few of them. I single-handedly ran these, doing all the organising, booking, marketing and promotion.

So that's a little bit about me, my background and a little bit of history.

The Now

I currently do bi-monthly events at Dovecot Bar, Middlesbrough, but also one-off events in Middlesbrough, Hartlepool, Stockton, Newcastle, Leeds and further afield if asked.

I also do selected events and festivals throughout the year, like Thornafest and Whitby Soul Weekender every year.

I'm still hosting radio shows—three of them a week now—and I do lots of social media to tie in with them all.

I'm looking mainly for pub and club, festival and event bookings, but I'm also interested to hear from companies looking to do corporate sponsorship-type events.

I do have my own DJing equipment aside from amplifiers or speakers. If enquiring regarding private events such as weddings or engagements, please note my services would not include a PA system or lighting.