Online Reporter
FRUSTRATED and drunk music fans hurled a variety of missiles on stage when they discovered that popular South African artiste, Young Stunna was not going to perform.
The Amapiano star failed to perform as advertised and he happened to be the biggest drawcard at the much-hyped show, which also included other decent performers.
Things had gone very well up until the moment Young Stunna was set for his act very late into the night.
Instead, what came was a late apology.
Fans started throwing all sorts of missiles on stage, causing damage to equipment although there were no reports of injuries to the people at the venue. In the end, what had been a good show will now be remembered for the violence and Young Stunna’s No Show.
This was not the first time Young Stunna has failed to deliver in Zimbabwe — and if promoters do not learn from this repeated failure, it will not be the last.
Obviously, there will be explanations, and the matter will eventually be “resolved amicably.”
However, for a musician of his profile, failing to honour an advertised gig is an insult to fans and an embarrassment to the promoters who stake their money and reputation on his brand.
Inevitably, the effects are such that fans lose money and trust, sponsors question their investment while the police are forced to deal with public disorder. No matter the reasons, crowd violence is always unacceptable.
Yet, it is equally true that emotions run high when paying customers feel cheated and in this case, it is because promoters would have sold tickets based on a big name like Young Stunna. The challenge comes with promoters avoiding to ruin an event before they recover the money they put in and what they will be bound to fork out afterwards to service providers. Otherwise, the right thing to do is for the promoters to be forthcoming.
In a situation like Young Stunna’s No Show, if there is even a hint of uncertainty, it should be addressed well before the gates open, not after people have gathered in anticipation.
Performers have a time they ought to have arrived and done “sound check”, which means the available artists are known well before gates open. Therefore, alerting the crowd and would be attendees of the development will go a long way to avoid the violence.
But obviously it will affect the attendance and, ultimately, the revenues. Part of the frustration at the weekend came from confusion and conflicting statements about why Young Stunna was absent.
If an artiste is delayed, stuck at the border, or unable to travel, organisers should inform the crowd promptly and honestly, offering solutions.
Silence or half-truths only inflame tensions. Young Stunna’s repeated failure to perform in Zimbabwe should now serve as a warning to all event organisers.
This is not simply a case of bad luck or last-minute travel issues — it has become a pattern.
If promoters insist on bringing Young Stunna again, they must introduce stricter contractual safeguards, including performance guarantees, financial penalties for no-shows, and advance travel arrangements that eliminate flimsy excuses.
