The boundary between the structured energy of a dance floor and the spontaneous improvisation of a jazz club is often a wide one, but for the South African electronic duo GoldFish, that space is where they thrive. By blending academic jazz training with modern house beats, Dominic Peters and David Poole have carved out a sonic identity that refuses to be pinned down to a single genre, creating a GoldFish jazz and dance music fusion that resonates across continents.
Currently navigating a flurry of international activity, the duo is preparing for a high-profile appearance at the Toulouse Theatre in New Orleans on April 23, marking the opening night of the New Orleans Jazz &. Heritage Festival. This performance arrives alongside the release of their new single, “Little Wonder,” featuring the acclaimed South African vocalist Zolani Mahola, signaling a shift in the group’s creative direction.
For Peters and Poole, the integration of live instrumentation into electronic music is not a stylistic choice but a return to their roots. Having met over two decades ago while studying jazz at the University of Cape Town, the pair built GoldFish on the foundation of their formal training. David Poole notes that taking their studio ideas and performing them with live instruments was a “natural progression,” stating, “This is what we actually trained to do.”
The Bridge Between Improvisation and Electronic Beats
The signature sound of GoldFish is defined by the “collision of analogue and digital,” a balance that Dominic Peters argues is the essential “X factor” for a high-quality record. By avoiding a sound that is “too sterile and clean,” the duo ensures that their music retains a human element, often driven by Poole’s saxophone and Peters’ bass solos.
This commitment to live performance is most evident in their 2025 album, Live in Amsterdam, which captures the spontaneous, improvised moments that differentiate them from strictly electronic acts. Many of their studio tracks originate from these live “nuggets”—small ideas that emerge during a concert and are later refined in the studio. A prime example is the 2009 track “Soundtracks & Comebacks,” which was built around an upright bass riff Peters improvised during a live show.
This approach to songwriting allows the duo to maintain a dynamic range, moving from the euphoric, warm-weather vibes of their 2023 album If Summer Was a Sound to darker, rock-influenced textures. Their versatility has seen them interpolate The White Stripes’ “Seven Nation Army” on their Live in Amsterdam version of “If I Could Find” and cover Nirvana’s “Heart-Shaped Box” in 2015 with collaborator Julia Church.
From Cape Town to San Diego: A Parallel Journey
The trajectory of GoldFish is as much about geography as it is about music. After spending eight years splitting their time between Cape Town and Ibiza, the duo eventually relocated to San Diego. This North-South duality is baked into the very structure of their business; they named their record label 33 Degrees as a nod to the fact that both Cape Town and San Diego sit on the 33rd parallel in their respective hemispheres.
This global perspective has helped them cultivate a massive following in both the Northern and Southern hemispheres, with significant commercial success in the Netherlands. Their ability to translate live energy into recorded success has not been without challenges, but. Peters acknowledges that “what works live at the shows doesn’t always translate into repeated listening on an album or single,” describing the tension between live performance and studio recording as a “double-edged sword.”
Despite these challenges, the duo’s accolades speak to their impact on the global music scene. GoldFish has earned three South African Music Awards and an MTV Africa Music Award, cementing their status as pioneers of the South African electronic scene.
Collaborative Spirits: Mahola and Bantwini
Collaboration has remained a cornerstone of the GoldFish philosophy. Their latest single, “Little Wonder,” was a long-awaited partnership with Zolani Mahola, who visited the duo in San Diego to write and record the track. Poole describes Mahola’s “energy and enormous talent” as a key driver for the song’s development.
The duo has also leaned into the strength of the South African music community through their 33 Degrees label. The 2025 track “Born A Miracle” featured Zakes Bantwini, one of the country’s most prominent international stars and a 2022 Grammy winner. Peters recalls reaching out to Bantwini immediately following his Grammy win, later channeling that momentum into their collaboration while Bantwini was in Los Angeles.
“South African artists are always really supportive of each other,” Peters noted, expressing pride in seeing the global music community recognize the “insane talent” emerging from their home country.
“Get Busy Living Vintage”: A New Creative Era
With the release of “Little Wonder,” GoldFish is introducing a new creative philosophy they have termed “Get Busy Living Vintage.” This initiative is described as something broader and more immersive than a standard album or concert series, representing a shift toward a more holistic artistic experience.
This new era is paired with a desire to return to their roots. Poole has indicated that the singles currently being released via 33 Degrees—including “Body Language” and “Born A Miracle”—are leading toward a larger project focused on their origins in Cape Town. While the philosophy evolves, the duo’s commitment to the stage remains unchanged; as Poole puts it, they “still can’t get enough” of performing live.
Looking ahead, the duo continues to expand their international footprint. Beyond their upcoming New Orleans appearance, they are scheduled to perform at the Pachena Bay Music Festival 2026, ensuring that their blend of jazz and dance music reaches new audiences across the globe.
The next major checkpoint for fans will be the “Disco Fish” late-night set in New Orleans on April 23, where the duo will bring their “Get Busy Living Vintage” energy to the heart of the Jazz & Heritage Festival. Details regarding the late-night performance are now available for those attending the festival.
Do you think the blend of live jazz and electronic music is the future of dance music, or does the studio polish of pure EDM still reign supreme? Share your thoughts in the comments below.