- Natte Visstick has signed with William Morris Endeavor (WME) for representation in North America, South America, Asia, and Australia, covering live music and touring.
- He continues to be managed by Standouts for music management.
- The deal follows streaming success with "POLSKA JUMPSTYLE," his 2026 collaboration "SPRING" with Ski Aggu and Mr. Polska, and "CRUSH," which soundtracked a scene in the A24 film Babygirl.
- He has played major festivals including Tomorrowland, Intents Festival, Rebirth Festival, and Sunrise Festival, and launched his "4 THE PEOPLE" movement in 2026.
Dutch hard techno and jumpstyle artist Natte Visstick has signed with William Morris Endeavor (WME) for representation in North America, South America, Asia, and Australia, with agent Bailey Greenwood handling his live music and touring business across those territories.
Visstick built his fanbase through raw, internet-fueled dance tracks, breaking out with “Visstick Gooi Die Kanker Kick” and later “POLSKA JUMPSTYLE,” which has topped 30 million Spotify streams and become a fixture on TikTok, in clubs, and on festival lineups.
His 2026 collaboration “SPRING” with Ski Aggu and Mr. Polska added more than 1.6 million streams in its first ten days. His track “CRUSH,” a collaboration with Yellow Claw featuring RHYME, reached new listeners after soundtracking a rave scene in the A24 film Babygirl.
This year, Visstick launched “4 THE PEOPLE,” a community-driven rave movement that has become one of the most talked-about concepts among his fanbase.
He has performed on major stages including Tomorrowland, Verknipt Festival, Intents Festival, Rebirth Festival, and Sunrise Festival, across Europe and Australia.
Visstick continues to be managed by Standouts for music management; WME’s new deal covers only live music and touring representation in his newly assigned territories.
The signing adds Visstick to a busy run of touring deals at WME this year. The agency recently landed Ryan Bingham for worldwide representation ahead of his headlining tour, signed Rhiannon Giddens for worldwide representation as she preps her seventh studio album, and brought on Yung Miami for worldwide representation following her first solo No. 1 radio hit.
Takeaways
WME picking up a hard techno and jumpstyle artist for touring says something about where the agency sees growth right now: internet-driven rave culture, not just traditional festival headliners.
Visstick’s team kept his management in place and handed WME only the touring piece across four territories: a sign this is about scaling shows internationally, not a full overhaul of his team.
Does this signal WME building out a real hard techno and jumpstyle touring roster, or is Visstick a standalone bet? Could WME’s global network help Visstick land bigger North American and Australian festival slots?
