adminMelissa Mpofu and Bongani Ndlovu
LOCAL artistes have failed to penetrate foreign markets because their work is sub-standard thus not recognised internationally, say South Africa-based urban grooves musicians, Nox (real name Enock Guni) and Buffalo Souljah. Responding to an outcry by Zimbabweans over the country’s exclusion at the recently held MTV Africa Music Awards (Mama), Nox said people needed to understand that the music being produced in Zimbabwe did not meet international standards and does not appeal to those outside the country.
“Let’s go back to the basics, the sound that everybody is singing and praising in Zimbabwe right now, can it appeal to the international community? Well, that’s too far-fetched, can it at least appeal to our neighbouring countries to start with?” questioned a disgruntled Nox on his Facebook account.
He blamed the local music industry which he, like Professor Jonathan Moyo, described as non-existent.
“Zim artistes think going to UK, Aussie and USA, singing to a small Zim crowd is the real deal. If Bhundu Boys were alive, they’d laugh at you for days. Going to UK and singing for a small Zim crowd is just like performing in Triangle, Chimanimani and Chirundu for people who miss Harare and will scream at anything from there, don’t be fooled. Why and how do we keep performing for Zimbabweans only when we tour? The answer is there, we’re not internationally recognised.”
As what has now become the norm, no Zimbabwean artiste was nominated for the Mamas which were dominated by Nigeria and South African artistes.
Boasting of artistes such as Jeys Marabini, Jah Prayzah, Ammara Brown, Winky D, Tocky Vibes, Roki, Ex Q and Nox who have won countless local awards, Zimbabwean artistes, who at one point, were said to be producing Bubblegum music by legendary Thomas Mapfumo, have failed to make their mark internationally. Artistes such as Eric Moyo who won the Idols East Africa competition have failed to launch their careers, preferring to ride on established group — Joyous Celebration’s fame.
Another urban grooves musician Alishias “Maskiri” Musimbe said local musicians needed to shoulder the blame for their failure to be counted on the African continent.
“The problem is with us artistes. Our music isn’t quality as everything is done by one person, for example, recording, mixing and mastering. Secondly, we produce songs for Zimbabwean consumption only, our videos are of poor quality and we aren’t united as artistes,” posted Maskiri on his Facebook account.
South Africa-based dancehall artiste, Buffalo Souljah who has made a mark on the international scene, scooping numerous Channel O awards, concurred with Nox saying music produced here was irrelevant.
“Zimbabwe music lacks relevance. The fact that it can’t penetrate the South African market says a lot. There’s no radio station here that plays their (local artistes) music. It becomes difficult for them to have their videos played on international music channels,” said Buffalo Souljah.
He said Zimbabweans would probably have their music played on stations such as MTV Base and Channel O if they value quality over quantity.
“Some, if not most of the music videos which are submitted are sub-standard as they’re low-cost productions. I wonder why the Zimbabwe corporate world doesn’t want to sponsor local musicians just like what’s done in countries like Nigeria and South Africa. We’ll never be on the same level as them if we don’t have financial support,” Souljah said.
The Izandla Phezulu hit-maker further blamed local musicians for not making an effort to link up with knowledgeable players in South Africa’s music industry through attending key events like award ceremonies and concerts.
Kalawa Jazzmee artiste manager, Arthur “Scotch” Mathenga, concurred with Buffalo Souljah saying artistes needed not compromise on quality if they want to compete with others on an international level.
“Before videos are approved for airplay, there’s a panel of judges which watches them and doesn’t compromise on quality. As long as you package your material well, you can never go wrong,” said Scotch.
While most local videos are recorded with a $300 to $2,000 budget, videos shot in South Africa cost nothing less than R50,000.
“We spend about R50,000 to R120,000 on a single music video as we don’t want to compromise on the quality. Music videos are like adverts. When the market likes the music video, then they’ll buy the album or download the single. That’s how we recoup our money as a stable,” said Scotch.
Local producer Trevor Ncube said the onus was on Zimbabweans to support their own music by creating demand for the few music videos on rotation at Channel O and MTV Base.
“Channel O has a request show and Zimbabwe should create a demand for their music videos. I don’t think there’re many people who’ve sent a request to the show whether through SMS or Twitter, Facebook or any social media. In South Africa, someone requests KO’s Caracara or Cassper’s Doc Shebeleza, giving those artistes an advantage over ours,” said Ncube.
He said one of the music videos he worked on Waiting for Love by Black Bird had been successfully accepted by Channel O, but abruptly stopped receiving airplay.
“Black Bird’s music video was played a couple of times on Channel O, but I think there was no demand for it. It didn’t last long on that music channel. I believe we produce quality music videos, but what’s lacking is the demand from Zimbabweans.”
DJ Tenny T who manages NaakMusiQ said Zimbabwe’s musicians needed to take a leaf from Kwekwe-hustler, DJ Stavo who has had most of his music videos played on Channel O and MTV Base.
“DJ Stavo puts a lot of work into his music videos. He doesn’t compromise on quality and that’s why his videos are played. His Teka Famba music video which features Fiesta Black was heavily rotated on Channel O and MTV Base,” said Tenny T.
Online Reporter