Cape Town’s electronic music scene has long existed in conversation with jazz, even when the connection isn’t immediately obvious. This weekend, that connection comes full circle as CPT-born producer DJ Dwson steps onto the stage at the Cape Town International Jazz Festival.
The booking carries a weight for Dwson, real name Ashwin Julies, that goes beyond another festival appearance.
“I’ve been wanting to attend for the longest time,” he says. “Everything stems from jazz music for me, so it’s a full-circle moment.”
It is a fitting milestone for an artist whose sound has consistently blurred genre boundaries. Emerging from Cape Town’s club circuit in the mid-2010s, Dwson built his reputation on a style of deep house that prioritises mood and emotional resonance over formula. His productions draw from R&B, hip-hop and jazz but resist settling into any one tradition, instead forming a distinct sonic language.
That instinct has been present from the beginning. Dwson traces his relationship with music back to his school years, first experimenting with production on a laptop before gradually moving into DJing. By the time he began playing clubs around 2015, his work had started to circulate, marking the beginning of what has now become more than a decade-long career.
“I just allow whatever I’m feeling in that moment to take over,” he says of his creative process. “Most of the time it’s me opening up a project and allowing God to take over. There’s no formula.”
It’s an approach that positions making music less as technical assembly and more as a form of expression. Dwson describes it in painterly terms, likening his process to allowing “the brush to just stroke”, guided by instinct and emotion rather than structure. The result is a body of work that feels fluid and deeply personal, even when it operates within the functional demands of dance music.
That same sensibility extends into his live performances. While many DJs arrive with tightly scripted sets, Dwson treats the stage as a responsive space.
“I usually prep sets but I never stay in the box,” he explains. “It’s about reading the crowd and feeding off that energy.”
At an event like the Cape Town International Jazz Festival, where audiences groove to some of the best musicians from around the world, that adaptability might prove crucial. The event is expected to draw tens of thousands of attendees, placing Dwson in front of one of the largest audiences of his career in his home city.
The performance also arrives at a moment of significant momentum. In February, Dwson released his latest album, Nothing to Lose, a 16-track project that marks a notable shift in his catalogue. Where earlier releases often balanced instrumentals with occasional vocal features, the album commits to a vocal-driven format, bringing in collaborators from South Africa and abroad.
The decision reflects both growth and risk. “It was the first time I’ve done a full body of work with vocals,” he says. “I wanted something that feels complete from start to finish.”
Released independently through his own label, the project debuted strongly, reaching the top of local dance charts within 24 hours. More importantly, it signals an artist expanding his range without abandoning the core sensibilities that define his sound.
The balance between evolution and consistency has been central to Dwson’s trajectory. It is also evident in the longevity of his earlier work. His single Forbidden, released several years ago, recently achieved platinum status, a rare feat for a track that has grown gradually rather than through immediate commercial impact.
“When you create something that’s unique and made with intention, it grows over time,” he says. “It was made out of love and that always resonates.”
Beyond the studio, Dwson has also invested in building infrastructure around his music. His event platform, Dope Room, now more than a decade old, began as an initiative in Kensington aimed at bringing DJs and audiences together around a shared sound. It has since expanded into a recognised brand, reflecting his broader commitment to cultivating community within the scene.
That long-term thinking extends to his international ambitions. In 2025, Dwson performed at Amsterdam Dance Event 2025, a milestone he had set for himself years earlier. The experience, he says, was both validating and generative, offering opportunities to connect with global audiences while reaffirming the strength of South African electronic music.
“I’ve always manifested going there,” he reflects. “It showed me that our sound is up there.”
As he prepares to take the stage in Cape Town, that global perspective meets a deeply local moment. The Jazz Festival appearance isn’t just another date on an increasingly international schedule but a return to the influences that shaped his musical identity in the first place.
Dwson’s upcoming appearance at the major music festival in his hometown places his journey from local clubs to global stages into sharp, full-circle focus
