Pete Tong Confronts Hearing Loss and Ageing in Dance Music World
Pete Tong, the iconic DJ who helped propel dance music into the mainstream, is confronting the physical toll of his decades-long career. At 65, Tong continues to host his BBC Radio 1 show and perform globally, but acknowledges that years of exposure to loud club environments have resulted in hearing damage.
The Inevitable Cost of Club Culture
"I'm of an era where nobody ever got old," Tong reflects with a smile, referencing the rave scene's youthful beginnings. Despite his enduring presence—35 years on Radio 1 and a packed gig schedule—he hasn't escaped unscathed. About a decade ago, Tong was diagnosed with hearing loss in his right ear, an occupational hazard he attributes to his life immersed in music since age 15.
"I just started to become conscious of it," he says, noting that while it doesn't severely impact his daily life, he now wears earplugs while DJing to protect his remaining hearing. This adjustment has changed his experience, filtering out crowd noise while preserving music quality. "I psyched myself into: that's my new environment, and it's healthier for my hearing," he explains, adding that he must compensate for lost high frequencies when mixing tracks.
Breaking the Stigma Around Hearing Aids
Tong has partnered with Boots to promote hearing protection and regular testing, aiming to destigmatize hearing aids. "I think there probably is a stigma—thinking that you must be old if you need a hearing aid," he admits, acknowledging the youth-obsessed nature of the music industry. However, he emphasizes that modern devices resemble wireless earbuds and can stream music, making them less conspicuous.
His mission targets "relapsed ravers"—those who grew up with him—encouraging them to view audiological tests as routine as eye exams. "So they can rave for as long as possible," he quips, blending practicality with his lifelong passion.
From Humble Beginnings to Mainstream Pioneer
Tong's career spans pivotal music movements: New York hip-hop, Manchester's Haçienda era, illegal raves, Cool Britannia, and Ibiza's clubbing boom. Starting as a mobile DJ with a Transit van, he later worked at London Records, signing acts like Run-DMC and New Order. His Radio 1 show launched in 1991, coinciding with dance music's commercial explosion.
Despite the hedonistic reputation of DJ life, Tong attributes his longevity to balance and caution. "I never really burned out—I think just by luck as much as judgment," he says, noting that radio work and family kept him grounded. He describes himself as inherently shy, preferring to let the music speak: "DJs used to be hidden in the corner in the dark—I come from that era. It wasn't 'look at me'. It was 'listen to me'."
Commercialisation and the Evolution of Clubbing
Tong openly acknowledges his role in dance music's commercialisation. "I'm part of the commercialisation of dance music," he states, reflecting on VIP culture and rising costs in destinations like Ibiza. While he recalls early 2000s Ibiza as having an "unbelievably good" mix of celebrities and regular clubbers, he warns that overemphasis on champagne sales and safe programming can kill the vibe.
"The wonderful thing about this scene is it has a habit of resetting itself," he observes, suggesting that if venues become too exclusive, younger crowds will migrate to more authentic scenes in Manchester or Berlin.
Navigating Modern Challenges
Tong also comments on smartphones' impact, noting that while social media aids music discovery, constant filming can detract from the live experience. "Everyone capturing the moment to tell someone else they were there, when they're not really there because they're on their phone," he remarks, accepting this as the new reality.
Despite these changes, Tong remains focused on new music, though his Ibiza Classics project—orchestral performances of dance tracks—allows for nostalgic expression. He no longer stays out all night unless necessary, crediting this moderation for his enduring career. "That's why I'm still here," he smiles, proving that in dance music, wisdom and experience can coexist with innovation.
