Afrojack has signed with Wasserman for representation in the U.S. and Canada, expanding his already-global operation with a firm known for playing both the mainstream and the underground without flinching. He’ll continue to be repped by ACE Agency for the rest of the world, with The Shalizi Group steering management and Miller PR handling press worldwide—which is to say, the team is large, the inbox is full, and the coordination spreadsheets are probably color-coded by continent.
If you somehow missed the EDM boom of the early 2010s, Afrojack was one of its architects: a Dutch producer who made “Take Over Control” the unofficial anthem of every beach party with a DJ budget, and then parlayed that momentum into global hits with Pitbull, David Guetta, Ne-Yo, Beyoncé, and basically anyone else who could legally clear a drop. He’s the guy behind “Give Me Everything,” “Hey Mama,” and a contributor to “Run the World (Girls)”—which means he’s got festival bangers, wedding reception bangers, and feminist anthems on the résumé. Try pulling that off in one discography.
Festival-wise, Afrojack is less a “frequent act” and more a structural pillar. Ultra Miami, Tomorrowland, Creamfields, Coachella, Electric Daisy Carnival, Parookaville—you name it, he’s either headlined it or had a prime slot with a pyrotechnics budget that could fuel a mid-sized economy. He’s set to return to Belgium in 2025 for Pukkelpop, proving he’s still just as fluent in peak-hour chaos as he was when every DJ name had to end in “-jack” or “-step.”
He also runs Wall Recordings, his own label, which recently released “Never Forget You” in March—presumably not a plea to fans, but a reminder to newer listeners that he’s still comfortably pulling over 25.5 million monthly listeners on Spotify. His top cities? Mexico City, São Paulo, Sydney, Amsterdam, and Santiago—a map that makes it pretty clear: Afrojack is more than relevant. He’s algorithmically unavoidable.
