The vision behind Chrome came about quite naturally and the idea of running an agency began more as an organic thought than a defined plan.
Although for the last four years I’ve been heavily involved with the local music industry, I myself am not a DJ.
I’ve always, in a sense, lived vicariously through my DJ friends and tried to support and connect them wherever I could.
Putting this into a more formal capacity, and actively supporting artists I truly believe in, made a lot of sense. At the time, I jokingly said to some close friends, Craig and Dan who make up Novelty, that I should start managing them.
It was very light hearted at first, but eventually they approached me more formally and asked if it was something I’d actually be interested in.
From there, I began handling Novelty’s bookings on a friendly basis, taking care of admin, logistics, and connecting them with certain parties and promoters. This felt like a natural progression for someone who is deeply invested in local artists, the music scene, and the inner workings behind it.
As things progressed, I decided to turn this into an agency with a clear direction and a boutique roster of artists. Although everyone on the roster is different, there’s a clear common thread between them.
We are still only in our second year as an agency. While the roster has expanded quite quickly in that time, the objective has always been to keep Chrome small and boutique, allowing us to give genuine care and attention to each artist rather than becoming overextended.
While the South African electronic music scene is definitely growing, the core vision behind Chrome hasn’t changed.
The focus remains on representing a small roster of artists we truly believe in, artists whose music speaks for itself and shows a clear commitment to their craft. Those are the artists we want to champion.
For now, the pace of the scene’s growth doesn’t influence how we operate; our values and beliefs as an agency remain the same.
When you decide to represent an artist, what are the key qualities you look for beyond just musical talent?
If you strip the music away completely, especially in today’s scene, being a good person is incredibly important. With every artist on the roster, there’s a strong emphasis on clear communication and transparency, both in who we are as people and who we are as artists. It’s important to me that the people I represent are good people first and great artists second. South Africa’s music scene is small and closely knit, and I don’t believe ego or arrogance gets you very far.
At its core, it comes down to working with people you genuinely believe in, and can have honest conversations with. That creates the strongest working relationship between an agent and an artist. While it’s possible to work with people you don’t necessarily share common ground with, I’ve found that being honest, respectful, and considerate of those around you ultimately puts you in the best position for success. Through my experience in both the music scene and life in general, those values have consistently paved the way forward.
From your perspective, what should a good agency be doing for its artists that they cannot realistically do on their own?
I think a good agent can do a variety of things, from connecting artists with parties and promoters they may not have been familiar with, to sharing mixes, newsletters, or information that helps build a clearer picture of who the artist is. This can also include support with social media and marketing, while it’s not a major focus for us at the moment, it’s something that can be beneficial and that we’ll make use of more intentionally in the future.
Of course, a big part of the role is handling the admin and logistics behind bookings. Making sure artists don’t have to worry about whether their tech rider will be fulfilled or if they’ll be paid on time allows them to focus fully on the music and the upcoming set.
One of the most valuable and often overlooked aspects is that many artists are naturally quite introverted or shy. Acting as a buffer between the promoter and the artist has been hugely beneficial across the roster. Some of the most uncomfortable situations come from having to negotiate or advocate for yourself, and having an agency step into that space creates a more professional and structured environment and takes pressure off the artist.
Realistically, this is something many artists can, and often should, do on their own in South Africa without an agent. I think it’s important to cut your teeth in the industry and figure things out for yourself until the time feels right to take that next step.
Another factor is that DJing, particularly within underground music in South Africa, isn’t a full time job, and we don’t see it becoming one any time soon for most artists. Because of that, another role of the agency is providing support while artists are balancing full time jobs alongside their music. While many have handled these responsibilities independently in the past, it can help having an agency looking out for things on the back end. At the end of the day, for many artists this is still a passion rather than a primary income, and having that support allows them to focus more energy on the music itself, even while working nine to five jobs, as we continue trying to raise the overall level of professionalism in the scene.
This might sound a bit like anti marketing for an interview; but honesty is really important to us as an agency. We do believe that DJing could become a full time career in the future, especially with the rapid growth of Cape Town’s scene and the increasing global interest in the city. We’re gearing ourselves up for that future. That said, right now we don’t see ourselves as an agency trying to “dominate” or operate at a massive scale. Like I said, DJing is still a part time passion for most artists, and we respect that reality. The agency exists to support artists while their primary jobs are happening during the day, and to be ready for when, and if, that balance eventually shifts. Ultimately, the goal is for artists to have as little to worry about as possible on the night. When everything on the back end is handled properly, it allows them to focus on what they’re actually being booked to do, delivering music at the highest possible level.
How do you balance short term bookings with building long term, sustainable careers for the artists on your roster?
As mentioned in the previous question, there will always need to be a balance between short term bookings and long term sustainability.
Short term opportunities will always exist, and artists’ interests naturally shift throughout the year or across different seasons. Taking on these bookings can be valuable, as they often open doors to new spaces, whether that’s smaller parties, larger platforms, or unexpected opportunities within the scene.
When it comes to long term sustainability, a big focus is on alignment. Finding promoters, venues, and festivals that share a similar sound and ethos with the artists on the roster is key. When an artist’s sound naturally fits a particular club, promoter, or festival, those relationships can be built on over time and become something consistent and meaningful.
Because the scene is still relatively small, long term careers tend to form quite organically. If artists consistently deliver at a high level and conduct themselves with respect and professionalism, strong relationships develop naturally. Longevity, more than anything, comes from showing up, treating every set with care, and always putting your best foot forward.
We’ve also been very fortunate to form genuine friendships and working relationships with a number of incredible, long standing promoters and individuals within the scene. We’re incredibly grateful for those connections and see them as something to continue nurturing and building on well into the future.
Cape Town has world class talent but a relatively small local market. How does Chrome approach creating opportunities both locally and internationally for its artists?
The local scene is small, but it always surprises me how many incredible artists don’t get opportunities at larger festivals or bigger projects throughout the years. There will always be space to push local artists into new environments and introduce them to promoters or platforms that may not have been aware of them before, especially where there’s strong potential alignment.
Locally, the focus is on consistently nurturing relationships with promoters and industry peers we naturally gravitate towards, people where there’s a clear alignment in sound, vision, and values between the artist and the promoter. Those relationships are what allow artists to grow steadily within the local ecosystem.
Internationally, while it’s not a main focus for the agency right now, it’s something we’re conscious of. It has become increasingly difficult for South African artists to break into overseas markets, particularly in Europe. Many European promoters are currently prioritising headline driven bookings that guarantee ticket sales, largely due to rising costs, rent, and inflation placing pressure on clubs and festivals.
That said, international opportunities remain important to us, and we’ll always keep an eye out for them. More often than not, these opportunities come down to long term relationships and personal connections that are built over time. Through the work on our other projects we have been able to connect and form great relationships with artists and promoters overseas and this is something we can hopefully leverage with our roster in the future.
Consistency is also extremely important. Hard work and a defined sound and vision will always outlast short-term trends.
A great example of this is Novelty, who completed their first European tour towards the end of 2025. That came off the back of over a decade of consistency, regular releases, and a clear sonic identity especially over the past six years. Being a producer undeniably increases the chances of breaking into international markets, as original music tends to resonate strongly overseas and allows local artists to connect with peers around the world. That said, we still believe there’s room for pure selectors to find opportunities abroad, especially when they bring something unique to the table.
What role do you see agencies playing in maintaining professionalism and quality control within the South African electronic music scene?
Agencies definitely have a big role to play in this regard. Historically, and to some extent still today, the scene has operated in a very informal and loose way, which often allows miscommunication and poor treatment to happen behind the scenes. I’ve seen artists paid well after agreed dates, sometimes not paid at all, or arriving to find equipment that isn’t working or isn’t suitable to play on.
An agency helps establish a level of trust between artists and promoters. With an agency involved, promoters can expect a clear standard of professionalism across all back end logistics, communication, and planning. In return, artists are placed in an environment where they can focus on delivering at a high level, knowing that the groundwork has been handled properly.
That balance creates accountability on both sides. Promoters know what’s expected of them, and artists are supported in performing at their best. Over time, this helps raise the overall standard of professionalism and quality control within the scene as a whole.
For emerging artists who are considering signing with an agency, what do you think they should have in place before taking that step?
I think artists need to have a very clear understanding of their sound, their values, and what they believe an agency can realistically contribute to the growth of their career, both locally and internationally. I would actually advise against joining an agency too early or without enough experience. As mentioned earlier, it’s important to cut your teeth in the industry and work things out for yourself before taking that step.
Artists should have a clear idea of what kind of support they’re looking for and where an agency could genuinely add value, whether that’s opening up new opportunities, providing structure, or helping elevate something they can’t easily manage on their own. An agency shouldn’t be seen as a badge or status symbol; it’s not something you join just to say you’re represented. At its core, an agency is there to support artists who have already put in the groundwork, who are ready for the next phase, or who need a stronger professional framework around their DJ career and day to day life. Ideally, the agency becomes a backbone, a support structure that helps artists move forward in a more formalized and intentional way.
How does Chrome work with promoters, venues, and brands to ensure fair fees, clear expectations, and healthy working relationships for everyone involved?
Transparency is central to how we approach these relationships. Making sure the artist, the agency, and promoters or brands are aligned from the outset helps set realistic expectations on all sides. It’s usually quite easy to gauge the scale and context of an opportunity, and adjusting expectations accordingly is an important part of building trust.
Because this isn’t a full time job for most artists, we’re not in the business of blocking opportunities simply because a fee is lower or it’s not a top tier venue or well established promoter, particularly when it comes to smaller or emerging parties. We have a strong understanding of the realities of promoting events in South Africa, and that’s exactly why transparency matters so much. Being open and honest from the beginning removes unnecessary friction and allows for healthier, more productive working relationships. At the same time, it’s important that artists understand their value and are paid fairly, especially when it comes to larger festivals or established platforms. That balance is crucial.
In return, it’s our responsibility as an agency to ensure that the artists on our roster consistently deliver at the highest level.
Clear communication sits at the centre of that process. We hold our artists to a strong standard, just as we expect promoters to do the same, creating mutual respect and accountability on both sides.
Many promoters are still cutting their teeth and, in some cases, taking financial risks just to create spaces for artists to play their music. Recognising that context is key.
As an agency, our role is to ensure fairness on both sides, making sure artists aren’t taken advantage of, while also ensuring promoters are treated with respect. These conversations can be nuanced and sometimes challenging, but they come with experience and familiarity with the local landscape. Ultimately, having them openly helps reduce unnecessary tension and contributes to a more cohesive, respectful ecosystem across our music scene.
Beyond individual artists, how do you hope Chrome contributes to the growth and longevity of the South African electronic music ecosystem as a whole?
The broader intention behind Chrome is to help create a more professional and sustainable structure across the entire community, not just for the artists we represent. While ensuring fairness and clarity for artists is important, it’s equally about encouraging promoters to operate in a more professional and less informal way.
Working relationships between promoters and agencies naturally create a healthier ecosystem. Promoters know exactly what they can expect from artists, and artists feel more comfortable and supported when that professional trust is established. This is something we see as important not only for Chrome, but also across other music projects we’re involved with on the promotion side in South Africa.
DJing shouldn’t be treated differently from any other growing industry. As the scene continues to evolve, promoters, artists, and agencies need to evolve alongside it. Over time, that shared growth creates a fairer playing field, stronger relationships, and ultimately greater longevity for everyone involved.
Looking ahead, what challenges and opportunities do you see for boutique agencies like Chrome existing within South Africa’s evolving music industry?
For agencies representing underground focused artists, one of the biggest challenges is bridging the gap between those sounds and larger festivals or mainstream platforms. While there’s definitely more crossover happening, incredible underground talent is still often overlooked. That’s something we’d love to see change, especially because the level of local talent in South Africa genuinely stands up against artists anywhere in the world.
Another challenge is that artist agencies are still a relatively new concept in South Africa. Because of that, there’s a learning curve across the board, for promoters, artists, and agencies alike. Expectations around professionalism, booking structures, fees, and communication are still evolving. Our approach is to make these processes as clear, accessible, and collaborative as possible, without overcomplicating things.
At the same time, opportunities are constantly presenting themselves. Meeting new promoters, forming long term relationships, and connecting artists with both established and emerging parties is one of the most exciting parts of the job. Whether it’s artists testing themselves in more challenging environments or placing them in spaces where their sound naturally thrives, those moments are rewarding for both the agency and the artist.
Ultimately, the goal is long term growth and sustainability. We view this as a period to learn and improve as we gear up for the rising interest and popularity in South Africa. Being one of the few boutique agencies, we sit at the forefront of this and see it as a massive opportunity and responsibility to set the standard. As awareness around the role and value of agencies continues to grow, we believe the ecosystem will naturally adapt. That shift will benefit artists and promoters alike, strengthening trust, professionalism, and longevity within the South African music scene.
