ZVRI: Unreal Gqom
If you’ve ever been at a party with a Gqom set and heard the chant “I just want to party,” then let us introduce you to the man behind the memorable track. Tlhompo Khanya Nqhome, widely known by his stage name ZVRI, is an award- winning producer, DJ, and music curator from Durban, South Africa. His musical journey is deeply rooted in a rich and diverse sonic environment, exposing him to a wide range of genres. However, it was the magnetic allure of GQOM that truly captivated him, paving the way to an exciting musical exploration path.
ZVRI’s steadfast commitment to refining his craft as both a producer and DJ has inspired him to immerse himself in the works of influential artists, including DJ Lag, Culoe De Song, Da Capo, and Martin Garrix. In this sonic journey, ZVRI discovered a unique connection with GQOM, mastering the exceptional ability to blend it with Electronic Music. This fusion gave rise to the innovative sub-genre GqomTech, which creates a striking and harmonious balance between these two genres.He also dedicates much of his time to collaborating with other creatives in music production, focusing on composing, arranging, mixing, and mastering to bring creative visions to life. His notable contributions include his work on Que DJ’s ‘We Don’t Play The Same Gqom 2,’ which earned a SAMA Award for Best Gqom Album.
Let’s talk about how it all started. Were you at a party and they played a fire Gqom set and you thought, that’s it—I want to be a Gqom DJ?
I have always been deeply fascinated by the art of DJing. From an early age, I found myself drawn to the energy, precision, and creativity that DJs bring to their craft. I vividly remember watching Martin Garrix’s videos and Black Coffee’s Africa Rising while growing up, asking myself how they did it. I think that’s where it all started.
Gqom has distinct regional styles—CPT Gqom, DBN Gqom, and Joburg Gqom. But beyond the sound, do you think music, especially Gqom, is shaped more by geography or by the emotions and energy of the people who create it?
I believe it is a dynamic exchange, shaped by the emotions and energy that creators pour into their work while simultaneously being influenced by the energy and response of the audience. It feels like a form of cross-pollination, where creativity is not just self-contained but transformed through interaction. The more engaged and responsive the audience is, the more it fuels the creator, creating something truly immersive and alive.
As a SAMA Award-winning producer, how has this recognition influenced your career, and what impact has it had on your approach to your music or overall career?
It’s been an exciting journey; I won’t lie! It has taught me that anything is possible and has truly motivated me to push myself further. However, as I achieve these accomplishments, my standards evolve. Consequently, everything I create often feels mediocre, and I’m still working to navigate that challenge.
How would you say Gqom has influenced contemporary South Africa’s sneaker culture? How does “Infinite Experimentation” and “Unreal Movement” resonate with your approach to music and creativity?
Fashion and sneaker culture in South Africa have always been connected to some kind of generational movement. Gqom, for instance, has incorporated elements from the Dirty Paraffin and BoyzNBucks wave, and this influence can be seen across various genres in the country. We are the keepers of culture, but we are also part of a new wave, and we will undoubtedly add our own unique touches to this evolution. This is just the beginning, and the full extent of our influence has yet to unfold.
From the start, I believe Gqom has been experimental, innovative, and unreal—taking the hip-hop 808 drum pack and folding it into unpredictable drumlines. My approach? I am on a journey to pioneer the Gqom-Tech wave, which merges traditional Gqom sounds with Afro-Tech and electronic elements. I see this as a significant advancement of an already underground and experimental movement.
How do you see the intersection of music, fashion, and technology evolving, and what role do you envision for yourself within the landscape?
I find it exciting to see how these different worlds are already intertwined. I envision an evolution into a space where everything is interconnected in real time, with events in one area instantly influencing another. In this context, I want to experiment with virtual and augmented reality experiences that seamlessly blend music, fashion, and technology.
Collaborating with fashion powerhouses, digital fashion designers, and filmmakers would be incredible. I’m also intrigued by immersive audio—a technology that creates a three-dimensional soundscape, surpassing traditional ways of experiencing sound. We are currently experimenting with this for the Air Max DN8 launch, merging fashion with spatial audio technology. I believe this is a step in the right direction.
Editorial Crew:
Creative Director & Editor-in-Chief: Renaé Mangena (@renae_mangena)
Art Director & Vice-Editor: Anastatia Nkhuna ( @anastatia_n)
Producer: Hlengiwe Mkwayi ( @hlengsinthemorning )
Photography: Mishaal Gangaram ( @mishaalganjaz )
Stills Lighting Tech: Hlengiwe Lala (@hlengiwelala
Digi: Tsoseletso Lato Mahlatsi (@jeffreybrkn)
DOP: Daliwonga Sakman (@daliwonga.sakman )
MUA: Shakirah Sithole ( @shakirahsithole )
MUA Assistant: Raheemah Sithole (raheemahsithole_)
Stylist: Nhlanhla Buys ( @nhlanhla_buys )
Stylist Assists: Sefako Hlapolosa & Yolanda Scott (@_sefako_hlapolosa & @yolandaa_scott)
Social Media Content Producer: Rorisang Sebiloane ( @oneandonly_rori )
Graphic Design: Shaylah Pardey ( @shaylah_pardey )
Studio: Shamase Studios
Agency: S’innamon PR & Communications @sinnamon_pr
