In many industries trainees are entitled dissimilar. Mechanics start as apprentice, university graduates are named interns and cadets are junior soldiers. There are certain abilities these trainees are expected to gain before they graduate. The understanding is that the learners will become equal options and replace the experienced in the event of need. In professional jobs there are age restrictions, retirement age. Other opportunities open in other positions of influence politics, religion and business opportunities and leave senior positions vacant.
In the music industry the designation upcoming musician seems to have settled well with beginners. These are musicians who would be finding everything unfamiliar. Abilities to lure fans will still be distant even though the skill to make music exists. Attracting audiences is the most vital skill required to commercialise music. No matter how good a musician is, success will be difficult if he hasn't got a handful following. Sometimes a few people with resources can sustain you if they believe you.
After recording many upcoming musicians are gripped with the excitement that fame is knocking. They get elated just to imagine they will be receiving celebrity status and making news. Little is expected the string to the top is almost prohibitive. When you join other upcoming musicians in WhatsApp groups is when you learn the movement is coagulated. Talented musicians are moving in circles. For reasons of progress I will not mention names but there are musicians who have more than 5 albums to their name but they are still upcoming musicians relating to their small following.
So many arguments ensue in WhatsApp groups on what really puts an artist on top. Is it talent? Some cite lack of airplay and funding as some of their impediments, while some upcoming musicians believe their chance is yet to pop up. Those who are on top are sitting pretty evidenced by their properties and the latest motor vehicles they drive. Some though show off with designer clothing to the admiration of the upcoming.
Since the hyperinflation 2008 I have observed that, very few musicians have risen to the top considering the number of musicians in Zimbabwe. Also looking at the Zimbabwean population, regional market and international demand. The same names continue to trend with just a few added to the crème de la crème. Some few stars Andy Muridzo, Mark Ngwazi, Jah Signal, Enzo Ishaal, Takura, Tocky Vibes have shaken away the upcoming tag but their stars are yet to coat silver in their lining.
Stakeholders in music corporates, media, promoters, politicians are commanded by popularity. They follow those with huge numbers to increase their business opportunities. The few musicians are overwhelmed as companies interchange to engage them in their corporate and promotional activities. The corporate income component has always been sensitive though as a lot of professionalism is required to match up to the expectations. The screening has always been tight.
A pilot's seniority is appraised from more hours they fly. Through practice and furthering in law studies makes a qualified lawyer a senior attorney. I might crack your head by going all the way trying to explain. Upcoming musicians rise to stardom by having their work accepted by the society, the more popular their work becomes the more they climb up the ranks. Good record sales, views on social media and sold out shows tell.
Zimbabwe’s music industry has a strong live circuit which is the main source of income and evaluation at the moment. It's very capital intense to put up a show. A musician would need rehearsals before the show. The show needs advertising before to attract fans. Then lastly some equipment is required PA system, an engineer, security and transport too. The costs are inhibitory to many upcoming musicians as they would just be starting without good number attending their shows.
Radio airplay is commanded by what is perpetual in the society's taste. Alick Macheso plays close to 6 hrs 3 times a week. His songs range from old to new. The few upcoming musicians who get the chance to play in the live circuit end up playing copyrights. They begin to promote old songs as a strategy to be known. The yesteryear hits form a monopoly. So the demand of new music is defeated. Radio becomes responsive to what the people are demanding.
YouTube views work well with international music because, It's in the norms of humanity that sacredness of something is perceived highly valuable by those far from it and unconsecrated by those within its close reach. Stars from other countries make it easy from YouTube. There should be our own local platforms rising from district, provincial to national. YouTube is an international platform where trending songs from well funded recording labels dominate. If you log in on YouTube one way or the other you are controlled by trending songs that are suggested. So there is need for our own local platforms where our musicians compete on their own.
The club DJs play an important role every night entertaining patrons, the demand for songs is high. Though professionalism and regulations lack from club DJs, they call the shots in making songs trend though they are not recognised by the system. Club DJs seem to be doing a lot to introduce new music. I remember when I was the Hollys Bar Manager in 2016 around July I heard a song that ended up viral, Amai Munodonhedza Musika by Boom Beto. The then DJs played the song on repeat. Revellers especially the ladies twerked in response to the lyrics. Boom Beto disappeared he is forgotten. But the club DJs pushed that song until it went national.
Sales of CDs and online have been seriously affected by piracy and technology. Music like politics is a game of numbers. You might have the best plan for a country but if you do not gain enough votes in an election your plans remain a dream and best for your cupboards. So what an upcoming artist lacks are numbers, experience and fame because they are new. Numbers will still be promising even if they are very good.
Instead of closing the gap upcoming musicians end up outpaced by their gaffers. It should be working naturally that the seniors move to next assignments in the international space. But you still find older musicians are fighting for the same venues with their novices. There was a time between 1999 – 2007 when the Late Dr Oliver Mtukudzi would be booked for about 3 months abroad. In August 1999 I wanted to hire the Black Spirits for my wedding but I failed to secure the band because it was on tour. I ended up settling for the Prison band which did not disappoint at all. So this should be happening with most of our leading musicians. The corporate should be busy hiring the upcoming because the stars diary will be fully booked.
Some top musicians move into production and investment. Peter Mparutsa is a top producer despite his unmatched vocal prowess. Isaac Chirwa went the same route and he was instrumental in the Pax Afro creation of many stars who are now household names now. Michael Mahendere, Tendai Manatsa and wife Selmor. Keith Farquharson is one of the best mastering producers despite making hits with Illanga. Not forgetting my friend Mono Mukundu who started a thriving recording studio. Mono Mukundu has been in every band not forgetting the Black Spirits where he toured widely.
For as long musicians keep at one stage the upgrading of new musicians is difficult. Promoters want to make money and they make sure they have a profitable line up. There is a similar problem in soccer that made smaller clubs fold easier leaving Dynamos, Caps and Highlanders to dominate the championship. Because of the huge following on these three teams corporates concentrated funding on them leaving smaller teams to suffer. The coming in of company owned clubs is bringing in equitable distribution of funding and leading to meaningful followers of all clubs.
The other mistake upcoming musicians make is the demand to rise easy. All they aspire are the benefits that come with a big name without considering the toil required. When the gradient becomes hilly they sweat out and give up. Some gain quick success and become thick headed. The established musicians know very well that the process to success is arduous, they will have endured it themselves so they fold their hands knowing very well the end is abrupt. Some leading musicians are happy to create monopolies, they sing gospel, traditional, contemporary and house on one album so that they keep a wider following.
The new trends in our music that I find baffling are the collaborations. Every musician is different, fans are happy to taste varying melodies. Upcoming artists are busy hunting for collaborations from established musicians. The idea is to tap into the senior artist's following but in many cases upcoming artists lose out. A loyal following will always subscribe religiously to their Idol. The hype will only last a while. Collaborations have worked for some but its the senior artist who always win because of the long experience of building followers gained. Fans find their established artist accommodative and working to uplift newcomers so they appreciate their musicians more. Also you can't engage an artist whom you are competing with for the same venues and same corporates. Established musicians have a bigger aorta when it comes to competition. It would work well only if the bigger artist is touring and you are the next available option. While he is away you tap to his audiences and impress. In the end you win because his fans slowly prize you.
Our economy must move from the doldrums, better disposable income will increase demand for entertainment. Our society must be conscientized to value the work of musicians. Media; print and broadcast must play an equitable role rather than pursue profit. Musicians are important in building a health social fabric.
That's so profound and powerful thank you for sharing
ReplyDeleteThank you too for going through our article
Delete