Hire Wendy at Spotify South Africa!

hire wendy at spotify smallThanks for visiting this page. I’ve been a fan of Spotify since 2008, so it’s fair to say I’ve been waiting for this moment for a long time. It’s 10 years later, Spotify launched in South Africa this year and since then, I’ve been an unofficial Spotify advocate. I constantly try to communicate to artists, their managers and media that Spotify should be their priority.

In case you don’t have my résumé, please download it here. I’m the perfect candidate because I live and breathe the belief that music changes lives. I believe it so much, I turned my love of music into a career, and since my first job selling CDs in an indie retail store I’ve gotten a kick out of recommending new music to people.


I’m the perfect candidate for the Artist & Label Marketing Manager South Africa role because:

  • I have 1.5 years experience consulting to Artists and Managers, as well as working in the South African live music industry heading up the country’s largest festival
  • I have 1.5 years experience working at a data & technology music startup
  • I have 10 years experience in Marketing at a Universal Music South Africa
  • I’m a persistent, hard worker and I adapt easily to change
  • I am fluent in English and Afrikaans
  • This ad has closed for the second time, and LinkedIn says I’m in the top 10% of 40 applicants for this job (I am proficient in Microsoft Office suite).

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My résumé tells my professional, work-experience story. What follows, from most recent to oldest, is my Spotify-specific work history.

I’m currently working with Jeremy Loops and his management team in an internal PR role, sharing news from around the world to gain maximum traction in markets. Most recently I have sent each territory PR rep their country-specific Spotify For Artists stats for Jeremy Loops so that they can use this information at radio when pitching the latest single, “Gold”. I’ve updated decks with information supplied by Spotify as well as pushed for a Spotify Session (manager Damon Forbes recently met with Michael Schneider in New York). I advised Jeremy to add “Gold” to his own “On The Road” playlist (12,613 followers) and I’m combing through his content looking for opportunities.

I’m also consulting on digital strategy for Franie Kotze of Clear Entertainment, management for Matthew Mole and Dan Patlansky. Before I started consulting, management had not requested access to Spotify For Artists, and as a result, they weren’t using this data to inform decisions. I’ve since tried to communicate the practical advantages to using Spotify for Artists, such as using the Top Cities data when negotiating tours in new European territories. I’ve explained to the team how to use streaming data at radio and in pitches, advised them to connect ticketing partners as well as to begin creating & sharing playlists. For Matthew Mole, I’ve also recommended creating a collaborative playlist for artists that he’s shared a stage with as a way to remain active on Spotify while he takes a break from touring to write new material.

Although Oppikoppi moved back to it’s original dates this year, the transformation of the festival’s image and audience continued. With many old fans resisting change, I decided to bring attention back to the music by building a popular South African music playlist with the artists performing at the festival. I also do work for Labs.fm (more on this later) and I combined my roles at both companies to work on The Sound of Oppikoppi.



During the contracting stage of the festival, I requested a link to all artists’ Spotify profiles. For those who didn’t send one, I reached out personally. Many hadn’t delivered to Spotify yet, and it was before the announcement of the new upload tool. For those acts who did, we made this playlist, which formed a part of the content strategy. I got on a call with Melanie Triegaard (Content, Creator & Markets in Dubai) and Matt Webster (Marketing, New Markets) and although we were too late to integrate the festival tool into the website, we did collaborate with Spotify on the playlist.

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I added the Spotify Code to the poster we printed (received approval from  spotifycodes@spotify.com). In our post-campaign, I was able to show that promoting this playlist added over 20 000 USD in editorial value (South African media) and over 4000 USD in social media coverage (exclude figures from Facebook and Instagram due to privacy limitations). See the report here.


My work as Product Development at Labs.fm keeps me at the forefront of new technological developments in the music industry. Labs.fm is an early-stage startup, specialising in building data and technology solutions for the music industry. My job description is to “ideate, develop, market, and sell existing and new Labs FM competencies, services and products.” I’ve already talked about The Sound of Oppikoppi, and apart from that I am proudest of two projects I’ve conceived:

  • South African charts: There is no official charts company in South Africa, despite RISA’s best efforts to create one. Although the data is publicly available, artists and managers complain about the lack of access to this data, so we decided to publish this information in the form of charts in one place. Hopefully, there will be a Spotify South Africa chart soon.
  • The RocoMamas Smash Hits playlist: Earlier this year when Spotify launched, I saw an opportunity to create a Spotify playlist for a music-related brand to capitalise on the media buzz. That brand was RocoMamas, a Burger Eatery with an algorithmic Spotify playlist that Labs.fm published and maintains. This playlist only exists on Spotify, I encourage the RocoMamas social media team to share it and I believe that it will be baked into the Restaurant’s new app. We also made a deck about it.


On a personal level, around the same time that Spotify launched I published some of my playlists. Forever creating new ones, I’m a fan of Glenn McDonald’s work and regularly use Playlist Machinery. I help out Academie, and when Spotify launched I asked them to share their artist profile on social media from within the app in order to generate the Spotify Code. Before that, I’ve asked Spotify to launch in South Africa:

  • On a 2011 blog post where fellow some industry people commented;
  • On a 2009 email conversation with employee #25, Andreas Liffgarden, after discovering Spotify and wanting to share it with everyone I knew.

There aren’t many exact moments that I can remember from 10 years ago, but I remember when I first realised that Spotify would change everything. I’d been working for Universal for a year and had gotten promoted. One morning I opened Spotify, started listening and had the thought that listening to new releases was easier than piracy. I got a chance to see the company’s colossal growth from within the industry.

All I’ve wanted for the last 5+ years has been to work with Spotify, and so far I’ve done  that to the best of my ability in an unofficial capacity.  I have retained many of my global relationships with people at Universal Music, and since leaving I have made new connections at other labels and independents in South Africa. I believe I can add significant value to this region.

Spotify, please hire me as Artist & Label Marketing Manager South Africa.

Thank you for your time.




Spotify said nope. The recruiting team didn’t even look at this page 😦

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You know me now, and I’ll keep trying 😉


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