达拉斯牛仔队官方DJ 13LACKBEARD：企业活动可从NFL赛前体验学什么

11 Min Read

Photo: Courtesy of Brandon “13LACKBEARD” Williams

What can a corporate general session learn from an NFL game day? More than you might think—especially when it comes to music.

For the past 17 seasons, Brandon Williams, better known as 13LACKBEARD, has served as the official DJ of the Dallas Cowboys, helping create the atmosphere at the team’s four-hour pregame experience outside AT&T Stadium. His job goes well beyond choosing crowd-pleasing songs: Williams works alongside the production team to build energy, anticipate big moments, react to the crowd, and set the tone before fans ever step inside the stadium.

It’s an approach he believes event professionals can borrow for conferences, general sessions, galas, and other corporate gatherings. “I think of it like scoring a movie,” Williams told BizBash, explaining that everything from arrival music and speaker walk-ups to break music and awards cues should serve a specific purpose.

The biggest mistake? Treating music as something that simply fills the gaps. Instead, Williams says producers should consider it early in the planning process, alongside lighting, staging, and other elements that shape how attendees experience a room.

"Think about what draws people to an NFL experience: big moments, showmanship, personality, and the feeling that you’re part of something. Corporate events deserve those things, too."

We caught up with Williams—who also holds residencies at TAO and Marquee Las Vegas—to talk about what 17 seasons of Cowboys game days have taught him about reading a crowd, building energy, and creating moments people actually want to be part of.

You’ve been the official DJ of the Dallas Cowboys for almost two decades. What does your role actually look like on game day?

For the past 17 seasons, I’ve helped create the Cowboys’ pregame atmosphere on the West Plaza, now known as Miller Lite House. My host, Ayme Carretero, and I put on a four-hour pregame show that gives fans a true Dallas Cowboys tailgate experience.

Music is the heartbeat, but it’s much more than a DJ set. We’ve welcomed guests ranging from Rascal Flatts and Pat Green to cast members from The League, along with current and former Cowboys and Hall of Famers like DeMarcus Ware. The Dallas Cowboys Cheerleaders join us every game, and the Rhythm & Blue dancers are part of that experience, too.

My job is to bring all of those elements together musically and keep the energy moving alongside Ayme. We want fans to feel like game day has started the moment they arrive, not just when the ball is kicked off. By the time they head inside the stadium, they’ve already been celebrating, connecting with other fans, and getting fired up. We’re helping set the tone for their entire day.

"We’re helping set the tone for their entire day."

How do you build the musical arc of an NFL event?

My role is the pregame and postgame party. I also DJ private events for the Cowboys, including events at Cowboys Club. So the musical arc I’m building is about getting fans ready for kickoff and creating that party atmosphere around game day.

I prepare with the same intention I bring to a nightclub set in Las Vegas or Miami. Playing rooms like TAO, Marquee, and LIV, along with clubs around the world, has shaped how I approach that experience. I want Cowboys fans to feel that same big energy, like they’re getting a full concert experience before the game even starts.

That doesn’t mean playing at maximum intensity for four straight hours. It means building toward those big moments, keeping people engaged, and bringing the whole crowd along with you. The goal is a massive party that carries right up to kickoff, so fans head into the stadium energized and feeling like they’ve already been part of something special.

You’ve described NFL music as being “scripted to the second” while still requiring you to react live. How does that work in practice?

That’s one of the coolest parts of the job. We’re connected through a comms system to the production team, so there’s a scripted rundown, but you still have to be ready to react in the moment.

I might need to pull a song and cue something different while production is counting me down to a live camera shot. Sometimes that feed is going to the screens inside the stadium; sometimes it’s going out on television. Everything moves quickly, and you have to stay sharp.

The script gives us the structure, but it doesn’t replace the live judgment. I’m listening to production, watching what’s happening in front of me, and making sure the music delivers the right energy at exactly the right time.

After 17 seasons, how has the way you create energy at a Cowboys event changed? Have audiences or their expectations changed?

One of the coolest parts of this job has been watching the Cowboys experience grow since the stadium opened in 2009, which was my first year. There are fans I’ve known since that first season who still come out. I’ve watched kids grow up and become regulars themselves. You’re not just seeing a crowd; you’re seeing generations of families and their connection to this team.

The heart of the audience hasn’t changed, but the music and culture around them keep evolving. It’s also been exciting to see the Dallas Cowboys Cheerleaders get the recognition they deserve and watch that bring even more people into the Cowboys experience.

For me, that means staying curious and current without forgetting who’s been there all along. You have parents and grandparents who bought the tickets, younger fans discovering the experience, and people whose musical tastes span decades. I need to understand what connects with each of them.

That’s where reading the room matters. It’s not just about playing what’s new or falling back on familiar favorites. It’s knowing when to reach for each and making those generations feel like they’re all part of the same party.

What tells you that a crowd needs an energy boost? Are there certain cues you’re watching for before deciding what to play or how to change direction?

I’m paying attention to how the crowd is responding, but also to what’s coming next in the show. Sometimes the way to lift the energy is to build anticipation without making it obvious.

If we’re getting ready to bring out the Dallas Cowboys Cheerleaders, I might lean into that female-empowerment energy with Beyoncé, move into “American Woman,” or slip in some Dolly Parton. It’s playful and intentional, but it shouldn’t feel forced. You’re giving the crowd little musical hints that something is coming before we actually announce it. The timing is what makes it work.

As we get closer to kickoff, I’ll bring in something that connects directly to the fans, like my remix of the Dallas theme or “Here We Go,” which I created with Preston Wayne. That song became the Cowboys’ official anthem in 2022. The Cowboys licensed it the day after we created it, and it reached a million plays in 24 hours.

Watching fans embrace something we made was an incredible experience. Those moments remind you that creating energy isn’t always about finding a bigger song. Sometimes it’s about playing something that belongs to that crowd and makes them feel part of it.

"The wrong song can work against the energy you’re trying to create; the right one can bring the whole room with you."

Corporate events obviously have very different audiences and objectives than an NFL game. But what lessons from game-day entertainment translate surprisingly well to a general session, conference, or gala?

Honestly, I don’t think they’re as different as people assume. They’re often the same people, just in a different setting. Someone who wants to feel energized at a Cowboys game doesn’t stop wanting that connection because they’re wearing a conference badge.

At a corporate event, people might be sitting through presentations and meetings all day. My job is to support that content while bringing energy into the experience. That starts with the music as they walk in. You want people thinking, “OK, this is going to be a good day.”

I think of it like scoring a movie. A speaker’s walk-up song, an emotional recognition moment, or the music that brings everyone back from a break should each serve a purpose. It’s not just about finding a good song. It’s about finding the right song for the feeling you want that moment to create.

"It’s not just about finding a good song. It’s about finding the right song for the feeling you want that moment to create."

That approach carries through the whole event: arrival music, Voice of God announcements, speaker introductions, walk-outs, and the after-party. You’re connecting those moments while knowing when to lift the energy and when to let the message take center stage.

Doing that for so many years at the Cowboys’ pregame party has taught me how to bring people into an experience. The setting changes, but that skill translates.

What mistakes do you see corporate event producers make with music?

The biggest mistake I see is treating music as a button to push instead of part of the experience you’re creating. You can have someone handle the announcements and someone press play on a song, but who’s thinking about how the room should actually feel?

That matters when people are sitting through a full day of sessions, let alone a four-day conference. Even valuable content can start to feel repetitive when you’ve been in a room for hours. People get tired and check out. If part of your goal is to build team morale, the atmosphere needs to support that.

I’d love to see music brought into the planning process from the beginning. Ask what energy you want people to arrive with, how you want them to feel throughout the day, and what you want them to leave remembering. Then build the music, lighting, and staging together around that experience.

A good DJ or artist brings more than a playlist. They bring the ability to read the room, respond, and help people reconnect. When you involve them early, music stops being something that fills the gaps and becomes something that helps the event work.

"At a corporate event, some people arrive excited, and others arrive because it’s on their calendar. ... Reading the room and intentionally creating the atmosphere can make a huge difference."

How should event producers think about pacing throughout an event?

I think about pacing in waves. You can’t ask people for the same level of energy at 8 a.m. that you want from them at the after-party.

For a morning general session, I’ll start building the atmosphere as the doors open, giving people time to wake up and settle in. As we get closer to the first presenter, I bring the energy up so the room feels excited for the day. Then a strong walk-up song gives that speaker a real entrance.

Breaks have their own rhythm. I might play an upbeat walk-out and keep a mix going for 10 minutes, then ease it down so people can talk. As it’s time to return, I build it back up. Throughout the day, I can also handle Voice of God announcements and presenter introductions, bringing a consistent personality to the experience.

When we move into a cocktail reception, the music shifts to support conversation and networking. A gala calls for another atmosphere: something stylish and welcoming as guests arrive dressed up, then a dinner soundtrack that lets them enjoy each other’s company. When the awards begin, we lift the energy again and make those recognition moments feel special. I’ve worked events recognizing as many as 2,000 people, and keeping that celebration alive takes intention.

Then, when the formal program ends, we can turn it into a full-blown after-party. The connection between those moments is what matters. People should have room to listen, connect, celebrate, and let loose without feeling like they’ve walked into four unrelated events.

If you were advising a corporate event producer who wanted to borrow one thing from NFL game presentation, what would you tell them to rethink about the way they use music?

I’d ask one question first: “What would make people want to be in this room, even if they weren’t required to be here?”

At a corporate event, some people arrive excited, and others arrive because it’s on their calendar. You won’t connect with everyone in exactly the same way, but reading the room and intentionally creating the atmosphere can make a huge difference.

Think about what draws people to an NFL experience: big moments, showmanship, personality, and the feeling that you’re part of something. Corporate events deserve those things, too. A presenter’s entrance, an award, or a closing celebration can have that same sense of occasion without pretending it’s a football game.

Music is a huge part of making those moments land. The wrong song can work against the energy you’re trying to create; the right one can bring the whole room with you. So don’t just ask, “What song should we play?” Ask, “How do we want people to feel, and what will make them lean in?” Build from there.

About the Author

Senior Contributing Editor

Claire Hoffman is an award-winning writer, editor, and content strategist. She’s been covering the event, meeting, experiential marketing, and hospitality industries since 2007.