Jade, better known behind the decks as Tinkz, can name the exact second her career began. A tween, driving home from dance class with her mom, listening to Grant & Anele’s countdown on the radio, she said out loud: I want to be a DJ.
It wasn’t a phase or a hobby, but a decision she made on the spot. Tinkz kept gravitating toward the scene until an opening appeared. Years later, the youth events brand U-Party invited her onto a new DJ programme. After graduating, she became a resident for the brand. This was especially noteworthy as she would be its first female resident in nearly two decades of events.
Her route was never a straight line. She tried corporate life and hated sitting behind a desk. She studied sound engineering and music production (insisting on learning properly on CDJs rather than “picking up bad habits” online). She also learned quickly that breakthroughs often arrive with booby traps. At one point, she earned more from gigs than her day job; a venue offered a residency worth more than her salary. She resigned, and the residency was cancelled the next month. It was a brutal lesson in how volatile the work can be.
Tinkz builds sets around energy mapping, crates for different moments, cue points she can reach fast, while still having the humility to pivot when the floor goes cold. It is never one genre forever. She credits U-Party crowds with teen attention spans measured in seconds for forcing her to read the room and change direction quickly.
Then there’s the business. “Corporates pay the bills,” she says. But that is not without its challenges. Requests fly in from corporate crowds ranging from Amapiano to Taylor Swift to Kwaito in the same ten minutes. Festivals, club residencies, and brand work, on the other hand, build identity and reach. Her rule of thumb is to treat them as different jobs with different expectations and keep a story that sets you apart.
Tinkz also co-runs YES MA’AM, a women-centred platform she launched with veteran DJ Lady Lea to put emerging female DJs on serious stages like Truth, The Greenhouse Bar, Rita’s Cocktail Bar, and other line-ups where access can take years without a co-sign. The model blends workshops with real bookings during Women’s Month and beyond, giving new talent a first professional foothold.
Some of the defining moments of her career included becoming U-Party’s first female resident and sharing a stage with Mi Casa early on. At the time, a lecturer told her a crucial track would never work, but it became the moment of the night, and a personal turning point in trusting her instincts.
The work has visibility, but it is not without its challenges. South Africa’s circuit is late-night, male-dominated, and unpredictably paid. Tinkz sets boundaries. She does not drink at gigs, she communicates arrivals and departures with family, and she treats contracts, routes, parking, and exits as part of the prep.
Offstage, she has the kind of CV that speaks to consistency. She has held down corporate residencies, built a following on social, and earned recognition on industry lists, placing 22nd (2018) and 21st (2019) among Africa’s female DJs on DJaneTop’s rankings. Beyond local club and festival work, she has also played on international stages such as France, Turkey, England, and Mozambique.
If there is a thread through all of it, it is one of resilience. While the industry has its share of difficulties, she focuses on creating multiple income streams, a platform that empowers women alongside her, and preparation so thorough that it appears effortless. There is also the old-school ethos of showing up on time, knowing your room, and keeping the crowd dancing, which never goes out of style.
So, while South African media love meteoric rises, Tinkz’s story is more instructive. It has been a decade-long apprenticeship in the craft, refusing to be boxed into a single genre, and insisting that safety, ethics, and professionalism matter as much as the music itself.
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Author: Nhlalenhle Dlangalala from ByDesign Communications on behalf of Academy of Sound Engineering.
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