FM PRO TECH 5 – 2NIGHT Management
Mac (Matic) Rogan built his route into artist management the hard way: from Slovenia, outside the comfort of a major music industry system, through live promotion, booking, ticketing, and international artist relationships.
After promoting hip-hop shows as a teenager and later working around major electronic names including Calvin Harris and Sebastian Ingrosso, Rogan shifted from one-night events into long-term artist development. That move became 2NIGHT Management, the global management company he now leads across Europe and Los Angeles.
Today, 2NIGHT Management works with international electronic acts including Matroda, San Pacho, TWO LANES, Ragie Ban, Pedroz, Greg 99 and others, with a focus on breaking non-American talent into the U.S. market through touring strategy, branding, creative direction, and market-by-market growth.
For this FM PRO TECH 5, Rogan breaks down the early signals he looks for in artists, the behind-the-scenes build behind Matroda’s rise, and how music, content, and live shows now need to move as one connected system.
Today, everything has to work together as one ecosystem. The music is obviously the foundation, but the content, storytelling, touring, and timing all need to support the same vision.
Q1. You started promoting shows as a teenager. What pulled you into artist management?
I started promoting events when I was around 18 years old in Slovenia. At that time, there wasn’t really a developed music industry around me, so I had to learn everything from scratch—booking artists, marketing events, selling tickets, and building relationships. I was promoting both international and local artists, and through those events I started meeting local electronic producers and DJs as well.
At one point, I found a local producer that I saw a potential in him and that’s really how I got into management organically. I realized I was more passionate about building careers long term than just organizing one night. A lot of talented artists had the music, but they lacked structure, strategy, and international vision.
As I got deeper into electronic music, I became increasingly involved in helping artists grow their projects, and that eventually led me to founding 2night Management.
Q2. Coming out of Slovenia and stepping into lineups alongside Calvin Harris and Sebastian Ingrosso, how did that shape your global approach early on? Not the best questions..i promoted Calvin and Harris…
Coming from Slovenia gave me a very different perspective because I was never operating inside a major music industry system. I had to think internationally from day one. There was no local infrastructure that could naturally create global artists, so the mindset was always bigger than the market we came from.
Working around artists like Calvin Harris and Sebastian Ingrosso early on showed me the level of professionalism, branding, consistency, and long-term vision required to compete globally. I understood very quickly that talent alone is never enough. The biggest artists think like global brands, and that heavily influenced the way I approach artist development today.
Q3. When you first connect with an artist, what signals tell you they can reach stages like Coachella or Tomorrowland?
The biggest signal is always the energy. A lot of talented artists can make good music, but very few are able to consistently evolve, handle pressure, and stay focused for years. That’s why energy and long term plan & vision are super important.
I also look at whether the artist has a real identity—something people can emotionally connect to beyond just one track. Festivals like Coachella or Tomorrowland are not only booking songs, they’re booking worlds, personalities, and movements.
Another important factor is work ethic. The artists that reach that level are usually obsessed with improving every aspect of their project—music, live performance, branding, social presence, everything. You can feel very early who is truly building for the long term.
Q4. Using Matroda as an example, what does the early build phase actually look like behind the scenes?
With Matroda, the early phase was a combination of patience, consistency, and strategic positioning. We focused heavily on building a recognizable sound and strong brand identity before chasing short-term hype.
Behind the scenes, it was a lot of daily work—developing records, building relationships with labels, planning releases carefully, growing the fanbase market by market, and making sure every tour opportunity added value long term.
One of the key things was understanding the U.S. market early and positioning the project internationally rather than regionally. Over time, that consistency compounds. Eventually, you go from small club shows to headline tours and selling thousands of tickets in major cities like Los Angeles.
Q5. When planning a release, how do you align music, content, and live shows into one strategy?
Today, everything has to work together as one ecosystem. The music is obviously the foundation, but the content, storytelling, touring, and timing all need to support the same vision.
When we plan a release, we look at the full picture: what story are we telling, what type of content supports the record naturally, where the artist will be touring, what markets we want to grow, and how the release can create momentum beyond streaming numbers.
Live shows are especially important because that’s where online attention becomes a real fan connection. Ideally, every release should strengthen the artist’s overall world and push the project forward globally, not just generate short-term data.
©fm