Smokin Jo – Feature Interview – Issue 049

Smokin Jo is one of the most talented DJ’s to emerge from the British dance music scene, her undeniably cutting-edge sound has carved her a niche in clubland.

Jo has had a truly successful career and 35 years of experience, she has played at numerous renowned venues around the world, including Space/Hi (Ibiza and Miami), Fabric (London), Womb and Aghea (Tokyo), Panorama Bar (Berlin), Warung (Brazil), and Pacha, Crobar, and Vinyl (New York).

She is the only female DJ to have won DJ Magazine’s DJ of the Year Award. In recent years, she has played at events such as Glastonbury, Glitterbox at Hi Ibiza, Defected Croatia Festival, Pacha Ibiza, Cream Weekender, Clockwork Orange, and Fabric. She has also appeared in a documentary for Ministry of Sound and headlined the Ibiza Space final opening and closing parties.

Jo has written an autobiography called You Don’t Need A Dick To DJ, about her life growing up without music in the 70’s, through to her DJ career and the struggles with drink, drugs and life on the road being a black female DJ. The book is released on May 23rd 2024 on White Rabbit.

Jo has collaborated with iconic figures in the music, film, and fashion industries. She has opened for Grace Jones, played at The Pet Shop Boys’ end of tour party, Skunk Anansie’s album launch party, Smokin Jo’s expertise extends beyond music, as she has been invited to perform at various fashion shows and events. She has worked with renowned designers such as Alexander McQueen, Julien Macdonald, and Melissa Odabash. Notably, she had the honor of playing at Naomi Campbell’s villa party in tribute to the legendary Quincy Jones, further solidifying her reputation in the industry.One of her career highlights was being flown to Prague by Daniel Craig to perform at the wrap party for his first James Bond film, “Casino Royale”. This was a significant achievement and a testament to her international credibility.

Jo’s DJ career began in 1990 when she noticed a lack of female DJs in the rave and illegal party scene. She bought her own decks and started mixing, with a preference for soulful tracks that take listeners on a journey. Her first gigs followed at fashion after-show parties, and she later gained a residency at the legendary after-hours party Trade. This led to bookings at various events and clubs, paving the way for her DJ of the Year Award.

She played in Ibiza for the first time in 1992 and quickly became a global sensation, regularly traveling around the world for gigs while maintaining a busy schedule in the UK. She was also involved in reporting on the Ibiza scene for Pete Tong’s Essential Selection on Radio 1.

In 2004/2005, Smokin Jo was part of the duo NastyDirtySexMusic, which gained a significant following and performed at We Love… Sundays at Space in Ibiza. Following NDSM, she co-promoted her own club night called “Nude” hosting parties in London and at Space in Ibiza. These parties were known for their outlandish performers and cutting-edge DJs.

With her energy and wealth of experience, Smokin Jo continues to make waves in the music industry, with many exciting things to come in the future.

Who is Smokin Jo? Childhood, and before music!

My childhood was pretty hectic. I was brought up in a children’s home from the age of seven months during the 1970s, and it was a very abusive environment. We didn’t have any music at all, apart from Sunday hymns at church. When my mum took us back at age nine, it was the first time I truly heard music — and it was incredible. She loved disco, soul, and reggae, and from that point on, I became completely obsessed with music. We were living on Portobello Road, right in the centre of the Notting Hill Carnival and the heart of the West Indian community, so I was surrounded by energy, rhythm, and vibe — it was amazing.

How did you get involved in music, and what was your first big break?

Because my mum worked night shifts as a nurse — leaving at 8 p.m. and returning at 8 a.m. — I started sneaking out around the age of 13 to go to clubs in Soho and illegal parties nearby. That was my first real taste of nightlife and the music scene, and I became obsessed with hearing music and dancing, especially to rare groove and soul. When house music arrived in ’87, I was instantly hooked. After a couple of years of solid raving, I decided I wanted to become a DJ. I saved up to buy some decks and started making mix tapes, which I sold in the record shop where I worked. That led to my first few gigs. It was still early days for the scene, so being a female DJ really made me stand out. My first big gig was at Trade, the first legal after-hours club in London — and also a gay club — which turned out to be my big break.

Festivals, super clubs, small clubs, or house parties, and why?

For me, it’s definitely small clubs. There’s nothing better than being in an intimate setting where you can see the crowd eye to eye and create a raw, shared energy. House parties are brilliant too — pure vibe!

You were the only female DJ to have won DJ Magazine’s DJ of the Year Award, how was that?

Winning the DJ of the Year award was absolutely incredible, though I don’t think I realised the full gravity of it at the time. I’d only been DJing for two years, so it was pretty special. Interestingly, no other female DJ has won it since — which really makes you wonder why that is.

Digital, CDJ’s, Vinyl or a mixture, and why?

I prefer playing off USB sticks because it’s so much easier, but there’s nothing quite like playing vinyl — the sound, the feel, the physical connection. It’s an amazing skill to have, and I feel lucky to have learned that way.

You have been playing for over 35 years, what’s the best and worst event / club you have played, and why?

Some of the best nights I’ve ever had were on the Space Terrace in Ibiza and at Trade in the early days. There have been so many incredible nights, it’s hard to choose just one. The worst ones are usually when you’re booked at a random club with no vibe or energy — it’s hard to connect with the crowd in those moments.

You have many years in Ibiza; it was the pinnacle of the summer season sessions for a long time. What do you think of it today? Is it dying off?

It was amazing to be in Ibiza from 1992, when the island was still relatively untouched. Back then, it was mostly Spanish and French nights, lots of artists, gay people, and bohemians — the Space Terrace felt like a real melting pot. It’s definitely changed over the years, and for me, not necessarily for the better. It’s become much more about VIP culture and commercial music. That said, if you’re young, you can still have a great time there.

Old school, new school, or a bit of both, why?

When it comes to a DJ set, I think it’s always good to mix things up. The music from the past is definitely stronger in many ways, but I like blending classics with new sounds — it keeps things fresh and interesting.

You have collaborated with iconic figures in the music, film, and fashion industries. Please tell us all about this!

Yes, I’ve opened for Grace Jones, which was an absolute honour — she’s my idol. It was an amazing experience. I’ve also DJ’d for Daniel Craig at his Casino Royale wrap party, which was great fun — little moments like that are the icing on the cake.

Fake DJ’s and insta DJ’s what’s your take?

The rise of “fake Insta DJs” is a real shame, especially when I see women doing it, because it undermines the hard work so many of us put in to be respected. With modern CDJs being so user-friendly, people often assume anyone can DJ — but those of us who’ve lived and breathed it know there’s so much more to it than just playing one track after another.

You are the only person left on earth, you have 5 releases or albums, what do you have to keep you company for the rest of your days and why?

Some of my favourite records and albums: Masters at Work – Nuyorican Soul: A beautiful, timeless album. Lauryn Hill – The Miseducation of Lauryn Hill: Full of soul and emotion. Diana Ross – “Upside Down”: The first record I ever bought — and I still love it! Grace Jones – Nightclubbing: She’s my idol, and this album was the soundtrack to my youth. Best of House, Volume 1: Packed with iconic house tracks that shaped the genre.

COVID and lock-down affected us all in many ways, some more than others. What was your experience, and did you learn anything from it? In your career, and personal life.

Covid was a strange time for me. I was going through menopause and struggling with claustrophobia and anxiety, which made things really tough. While many people were drinking through lockdown, I didn’t touch alcohol. I was sharing a flat with a friend who was an alcoholic, which sadly ended our friendship. Still, I enjoyed the downtime — cycling through the quiet streets of London — and I focused more on teaching yoga. So it had its challenges, but also some silver linings.

Mental health among artists is an issue, whats your experience here?

I’ve always managed to stay on top of my mental health. I’ve done a lot of therapy over the years, and I’ve been practising yoga for over 20 years now — it’s been essential for keeping me grounded. Touring and the DJ lifestyle can be tough, but I think my chaotic childhood actually gave me resilience and perspective. It taught me how to cope with demanding schedules, travel, and the ups and downs of life on the road. The paperback edition of my book, You Don’t Need Dick to DJ, will be released next spring through White Rabbit Books. My new track “Elevate,” with Tedd Patterson, is out now on Faith.