My Two Cents on Music Selection

Of all the factors that contribute to a successful milonga, music stands among the top three—alongside a friendly environment and a well-trained crowd. For me, great music is what creates that magical connection between dancers. It stirs emotion, synchronizes movement, and sparks creativity. Without it, dancers cannot truly experience a fulfilled milonga no matter how good other conditions may be.

Unfortunately, the music played at our milongas is not always good. Too often, DJs settle for less compelling tracks while leaving true gems buried in their collections. I’ve heard arguments that dancers prefer new songs, that they tire of dancing to the same old pieces again and again, and that they would rather take risks than be bored. Such reasoning fuels the tendency to prioritize novelty at the expense of musical excellence.

Yes, new or lesser-known tracks can offer a sense of adventure—but that’s not the primary desire of most dancers. In practice, people gravitate toward familiar, danceable classics. These songs stir the urge to dance precisely because dancers know them well. Like singing or playing an instrument, dancing improves with familiarity. DJs should resist the temptation to chase uniqueness and novelty, instead, aim for a thoughtful balance—bringing in occasional surprises but grounded in a strong foundation of well-known, high-quality classics.

All too often, DJs fall into the trap of personal preference. Some stick to fast songs, others slow. Some chase rhythm, others melody. Some favor vocals, others avoid them. Some play only traditional pieces, others push contemporary sounds. I believe most of the songs played at milongas should come from the Golden Age, curated with a mix of tempos, moods, flavors, orchestras, eras, and styles to prevent monotony. Occasionally new tracks can be played just to add some freshness. A balanced blend keeps dancers engaged and enthusiastic. Most tracks should have a comfortable walking pace—not too fast or too slow, which is best suited for tango dancing.

When it comes to selecting music, I believe danceability should be the top priority. DJs must recognize that not all tango music is suitable for dancing. During Argentina's history, between 1955 and 1983, tango as a social dance was discouraged by military regimes, leading to the creation of tango music intended primarily for listening rather than dancing. Such tracks often feature erratic rhythms or jazz elements that are difficult to follow. These songs, no matter how novel or creative, should not be played at milongas (see Tango Music and Its Danceability).

The best tango songs, in my opinion, are those that balance contrasting moods. Good tango music is heterosexual rather than homosexual in nature. Its rhythm is masculine—strong, steady, firm and forceful, and its melody is feminine—sweet, beautiful, sentimental and evocative. This contrast mirrors the dynamic of the two sexes in the dance, who in essence are playing music with their bodies. Men and women are different instruments, each with a distinct sound, expressing a different mood. Neither is replaceable, and both are essential to a fulfilling experience. When one mood is missing—either rhythm or melody—the music loses its richness, its expressive gender dynamic, and its emotional depth (see The Characteristics of Classic Tango).

I believe tango, as an intimate dance, is best danced to music that is moving and inspiring. DJs should select songs that are beautiful, soulful, sentimental, and rich in syncopation, avoiding tracks that are emotionally flat, melodically dull, or rhythmically monotonous. In reality, truly danceable, high-quality tango tracks are vastly outnumbered by mediocre or undanceable ones. A skilled DJ must be able to tell the difference and ensure only the most beautiful, soulful, and danceable tracks are played at milongas.

I am a firm believer that only the top-tier, danceable pieces should be played, so fervent that I delete all unsuitable tracks from my personal collection. The truth is, you don’t need thousands of songs to curate a successful milonga. For a three-hour event, you need just 15 tandas—or 60 songs. By carefully selecting 600 exceptional tracks, a DJ can play ten full milongas without a single repeat. Quality, not quantity, is what truly matters.

I feel deeply grateful to the DJs who consistently deliver exceptional music—Tine Herrmann, Paul Akmajian, Burak Ozkosem, and Julia Ingram, to name a few. Every time I hear their music, the journey—no matter how far—feels worth it. Sadly, such experiences remain rare. I believe event organizers should set clearer expectations regarding music quality and that DJs should consider making their playlists public. This transparency would allow dancers to make more informed choices and elevate the standards of our dance. I hope, as our tango continues to grow, the music played at our milongas will improve as well, ensuring that wherever we go, we can always enjoy the very best dance experience.