Celebrating and reflecting on 56 years of music - Page 2
Lottering returns to stand up - Page 7
Things get spicy in Arendsvlei this March - Page 8
What’s on at the Baxter theatre this March - Page 9
Jerry Watt’s death on 9th February 2023 brings to end one of the most remarkable and enduring performance careers of Cape Town and South Africa’s entertainment industry. For the last 52 years, The Rockets guitarist has been entertaining the band’s legion of fans across the country
Since the departure of drummer Molly Baron more than 30 years ago, Jerry has been the face of The Rockets. Keeping alive the name of the group he joined two years after it was formed in 1967.
Social media has been awash with tributes to Jerry and he has been eulogised on radio, TV and in the print media. This article joins the thousands who have extended condolences to Jerry’s families. He was one of the true nice guys I dealt with over the many years of reporting on local music. Sadly, his death
after a lengthy illness, brings about the demise of The Rockets, an institution, no less, among local bands.
No more.
The band’s manager, Jerry’s wife Alison Watt, has issued a statement saying Jerry’s wish was that the band no longer continue under the name of The Rockets.
It is understood the last gig would in fact be the tribute concert for Jerry held at Grand West last weekend and planned before his passing.
And, just like that, the curtain comes down on the band. They started when the big names were The Flames, the Invaders, the Big Beats. All long, long gone.
Who were The Rockets, and what made them so popular? The Rockets had its genesis in Elsies River and Bellville South.
A self-effacing singer named Walter Brown had something going with another youngster, named Robert Jansen, from Matroosfontein. In Bellville South, Molly Baron had hooked up with guitarist Georgie Carelse and bassist Carlo Barron in
a group called the Bell Beats which had a very short shelf life.
Walter Brown was the driving force in getting the five together under the banner of The Bismarcks.
They played the majority of their gigs in places like The Reo Hotel, Eureka Lounge, the Dunsheen, The Burial Hall (yes, it was a multi-purpose venue) in Matroosfontein and backyards in Elsies
The Bismarcks did not last very long, probably because Walter Brown always had his eye on being a solo stage performer doing popular ballads.
The Bismarcks morphed into The Rockets sometime in 1967 with Georgie Carelse on lead, Robbie Jansen on rhythm, Carlo Barron on bass and Fiela on drums. They played what the people wanted – and that was songs they recognised from the radio hit parade and songs that they could dance to. It was a formula that The Rockets have followed right up until their last gig.
Record companies recognised their popularity and The Rockets was one of the first local bands in the ’60s to cut a single just as The
Invaders and The Flames were earning gold discs for songs like Shockwave and For Your Precious Love. The Rockets released Itchy Fingers and Argie. Instantly forgettable.
But their ability to do cover versions well stood them in good stead. In December 1969, they won the prestigious Battle of The Bands competition that earned them a trip to London. By then the group had had a significant line-up change. Georgie had switched to keyboards and Robbie to saxophone. Carlo had moved on and the group had recruited two teenager brothers, Claude and Frankie Brown from The Fantastics, where they had been playing with Jerry Watt. That arrangement didn’t last long after their return from London. Towards the end of the ’60s and early ’70s, popular music started evolving into different “genres”. Music-lovers who scorned the simple
tastes of syrupy songs like Sugar Sugar and Simple Simon stuff, followed the psychedelic and underground sounds from groups like The Jimi Hendrix Experience, Vanilla Fudge, Spooky Tooth. Georgie Carelse and Robbie Jansen quite clearly had matured and sought other kindred spirits in the form of guitarist Issy Ariefdien and drummer Jack Momple who were putting together Pacific Express with Paul Abrahams at the Eureka Lounge. They moved on and for a while Molly, green behind ears, had to go it alone with the Brown brothers. But Claude Brown also had bigger ambitions and he moved on.
Molly lured Jerry Watt away from The Fantastics and Claude duly walked out because the stage wasn’t big enough for both him and Jerry as lead guitarists.
The group then struck gold when they recruited Colin “Bones” Delight. And for a while they also had “Little Jonathan” Butler sharing the stage with them as they toured South Africa in the early ‘’70s. They also brought Cliffie Valentine on deck to handle keyboards. This, to my mind, was their golden period. The group was dynamite – but they still played, essentially, cover versions.
when both Molly and “Bones” walked away. Molly followed in the footsteps of RJS and Lionel Petersen (and a few others) in turning to gospel music. “Bones” opted to pursue a solo career. He did cause a stir when he gave an interview to the local paper saying he was quitting the group because he did not want to play mainly in white clubs.
Molly did return to the group in 1985 but in 2000 he went back to being a gospel artist. He had also wanted to form another group using the name of The Rockets but Jerry, now much more experienced, stood firm and said he had left the group.
Molly had matured into a very capable band leader. Under his guidance there was a long period of stability in the group during which they increased their popularity and came to be the go-to backing band for the overseas artists who toured South Africa and local superstars like Richard Jon Smith and Lionel Petersen.That tranquil period came to end in the ‘’early 80s
He had no legal right. So, after 30-odd years, Jerry was the ringmaster and guided the group right up until his death. The group was responsible for blooding a number of solo performers who went on to greater things. Among them Little Ronnie Joyce, Ricardo, Alistair Izobell. My connection with The Rockets fell away after 1986 when I moved a little way down the road but I am in awe of their achievements over all these years. They may not have played everyone’s type of music, but when it was time to party, the Rockets was everyone’s type of band.
SO I WROTE THAT MUSICAL is Marc Lottering’s brand new stand-up comedy show. Marc has recently come out of his smash hit musical AUNTY MERLE THINGS GET REAL. Seen by more than 40 000 people, it was the third musical penned by Lottering.
In his new solo stand-up show, one of South Africa’s favourite comedians shares hilarious stories as he reflects on the fascinating process of moving between the worlds of stand-upcomedy and musicals.
And as is to be expected, Lottering will weave in his views on the
madness of current South African life.
SO I WROTE THAT MUSICAL initially runs for a limited season in the Baxter Concert Hall, from 21 March until 1 April 2023. The show returns to the Baxter later this year to accommodate all muslim fans.
SO I WROTE THAT MUSICAL runs for 80 minutes with no interval and is not suitable for children.
Tickets are available via www.webtickets.co.za . For additional show dates outside of Cape Town, please visit www.marclottering.com
Morgenhof Wines Estate situated on the slopes of the Simonsberg in Stellenbosch dates back to 1692 with over 76Ha of vineyards and over 100Ha of natural land. The farm is only a brief 40mins drive from Cape Town CBD and a 10min drive to the heart of Stellenbosch. The surrounding area is renowned for the quality of wines, and more so the distinctive terroir characteristics that is reflected through the crafting of exceptional wines.
Previously owned by Anne Cointreau, whose family has produced wine, champagne and spirits in France since 1272, Morgenhof was purchased by a local investment firm, Unipalm Investments in 2021. Morgenhof Wine Estate is now officially a 100% BBBEE owned wine farm. At Morgenhof, we are committed to growth and change, building a stron
ger team and encouraging innovative thinking. We hire great people, from all walks of life and a variety of backgrounds. Not just because it’s the right thing to do , but because it makes our company stronger. Our portfolio of wines includes a mixture of reds and whites, ranging from the fresh Sauvignon Blanc to the barrel-fermented Chenin Blanc.
It’s a new dawn for the people of South Africa and the world… “The Covid pandemic did not break the courage and determination of the people of…” News articles and media was filled with positivity of a pandemic almost forgotten, but not quite. Yes, we lost loved ones, yes, we were (are) crippled by the financial constraints of not being able to work and yes, we are not completely over it…yet. We continue to live life as best we can, pick up where we hope to prosper, but who talks and cares about our mental wellbeing? There is no guidebook on “How to survive after you’ve gone through a global pandemic”. Yet we are tasked to send our kids back to school, take ourselves back to offices and live on in the pursuit of (hopefully) financial freedom and better
The red wine range offers a selection of iconic single varietal wines including a revered Merlot and a vibrant Pinotage, as well as a Bordeaux-style blend that is also the flagship of the Morgenhof range . With family being our main focus, our farm is a child friendly venue with a dedicated children play area and minder. Our wine tasting room offers tastings and cellar tours seven days a week. For those looking for some action and adventure, we currently have 20 quad bikes doing tours through our vineyards
futures. The questions remain:
Have we really checked in with ourselves? Have we really dealt with the loss of not just lives, but life for a time that completely came and changed everything?
Yes, I know. Covid story! Blah blah blah…but no. This is a perspective on you, individually, truthfully, as a valid person with feelings. We tend to neglect that part when we have the responsibility of keeping that pot going at home, or when raising future men and women and hoping, praying that things will be better for them. Few seem to care if your health is good and there is food on the table. What about you? What about the harbouring of stress and anxiety that no one asks you about? Where do you go from here? So many times
with more to come. Soon we will be adding electric bikes to our adventure offering With a passion for growth, collaboration and upliftment, Morgenhof Wine Estate has some exciting additions joining the farm. We are so excited to welcome our wonderful partners: Cause | Effect Cocktail Kitchen (Voted top 53 Best bar in the World), Bella Stella –Authentic Italian Restaurant , Meat Kraft – Arcane & Artisanal Gastronomy, and The Main Scoop –Gelato Emporioum. Each with their own unique offerings, the farm is set to be the place to be. What to expect at the farm? Morgenhof Wine Estate is the new kid on the block. Expect a great vibe, picturesque views, delightful music , mouthwatering food offerings, refreshing cocktails and our lovely wines.With later trading hours, we are bringing the heat to Stellenbosch.
I see ‘post covid’ friends thriving with tears in their eyes but a smile on their faces. We must check in with each other, but we must also check in with ourselves. No, you are not selfish, you are listening to your body and mind. PTSD is a real thing and now is the time to investigate that within yourself. Your feelings matter, your thoughts and emotions are valid.
Rue the day when you have worked hard for university monies and degrees and paying off house bonds, but you are miserable and bitter. Take this valuable time to listen to your heartbeat, to your breathing. Those are indications that you are alive. Then listen to your heart, and to your laugh and joy and often times to your pain. Those are indications that you are living -
Dean Balie
The Haven has had a great year with 2 861 persons assisted in the Haven shelters and our old aged home. On average our clients stayed with us an average of 151 days. 702 persons were successfully re-integrated creating on site Social Work bedspaces in the 1 065 fixed used in the 15 Haven branches in the Western Cape, last year. We continue to provide pathways out of homelessness to anyone who chooses to work with the Haven. Besides being homeless and alienated from their families our clients also had to be assisted to deal with challenges like 19.2% addiction, 6.1% mental health, 1.5% mental health and addiction, and 7.79% physically challenged. Thankfully the greater number presented with only being homeless and no health
challenges observed. It is with humility and gratitude that we acknowledge and thank the community and institutional partners for your trust and support in our work to help the homeless end their homelessness. You enable the Haven staff and based
volunteers to help the most vulnerable in our community with shelter based service and our “pipeline to the poor” which is very active daily, passing on any excess food and goods to the poor in the communities around the Haven shelters.
thoughts that it has brought to human beings.
We certainly have showcased our tenacity, our innovation, our strength, our ‘ we won’t give up spirit ‘ during this horrendous attack on humanity.
Iam thrilled to be introducing this brand new publication - So where
2, to you . Yet again, one of my many dreams. We have had so many conversations around navigating through Covid and the post Covid syndrome and the realities of the damage and complete disruption that it caused. And then we get to reflect on the enormous change of
And those of us who did survive, we are here to tell the tale. Looking around from tourism, the arts industry and all other sectors, not only with the working class, but high level and socioeconomic gated people, people are just getting on with life. Theatres are thriving, restaurants are packed. People want to be out. gated people, people are just getting on with life. They want to access entertainment.
They want their hearts to be smiling because of an amazing production they’ve watched, a great song they’ve heard on the radio, a beautiful poem that they’ve read, a meal shared with friends. They are out to embrace and consume. Hotels and their occupancy are growing, malls are bursting at the seams, packed to capacity with people just being out and wanting to live and not exist. Economies are growing, people are earning, people are spending. It’s just wonderful. As damaging as the pandemic was it has also brought out the strongest version of ourselves, with a few challenges, many people with mental health damage, which we need to embrace and look out for each other and be present in the moments that
we interact with one another.
But what is great is that SMEs are doing exceptionally well, and that by the contribution of us consuming their product. This publication is about creating another platform for people to expose their small, medium, and or large products or service offering to us.
It is also a platform to celebrate the wonderful, tenacious and innovative things that people are doing all over. It is to tell positive stories. We will not have anything negative in here.
It is about the celebration of the human spirit, the assistance and helping guide someone to their greatest potential. We will shine the spotlight on stories, plays , music , products,
life, wellness, health, and everything else that we get to consume as human beings. I’m thrilled to have So Where 2, find a space and the space where it belongs.
I trust that this paper will be shared amongst many, and if you find something that excites you, share it with us and contribute to every edition, so that we get to share positive things and identify and celebrate the wonderful growth of businesses that people tenaciously have started.
We are here to embrace and support it.
Enjoy ‘So Where 2’ , and be mindful of everyone that we get to interact with, but more so, be present in the moments where you get to make someone’ s heart smile.
- Alistair
Cape Town’s winter comedic tonic, The Jive Cape Town Funny Festival returns to the Baxter Theatre from 5 June – 2 July for its 24th season.
Started way back in 1997 by publicist and comedy lover Eddy Cassar, the Funny Festival has grown into the country’s oldest and largest comedy festival.
The project’s unique selling point is that it presents top local and international speciality acts alongside the country’s foremost comics in a gala showcase which has become known as a “great night out”.
Popular with charities and corporates, the Festival offers generous discounts for group bookings.
Comedy is best enjoyed in all and sundry enjoy what’s on offer. The variety acts keep the show exciting and different, earning the Funny Festival its reputation as a blue-chip festival on the global calendar.
“I am amazed at our sphere of influence in this industry.
We are internationally fondly spoken about and respected as one of the unique festivals in the world”, says festival founder Eddy Cassar. Making their first appearance on the Funny Festival is Daredevil Chicken, a renowned street-performing duo out of San Francisco. The husband and wife team enjoy a full international order book, which makes new bookings like the Funny Festival difficult to acquire their services.
They have appeared on all the top variety spectacular
shows.
“I was fortunate to see them in Denmark last year”, says Eddy Cassar and “I was amazed that they found space in their order book to come to Cape Town”.
“I learnt that the Cape Town Funny Festival has a great reputation with variety acts that perform on Cirque du Soleil, La Soiree, Majestique and other world famous spectaculars” says Cassar.
“We have become a desirable Festival for international acts to tick off their bucket list which is hugely encouraging to see” says Cassar.
Joining the American street performers are local mentalist
Larry Soffer and musical guru and the reigning prince of entertainment Emo Adams, who never fails to bring the audience to its feet.
Larry Soffer rarely performs in local theatres and is better known to corporates and private parties. His skill and acumen have earned him the title of the best mentalist on the continent, in which he is well known.
Heading the comedians is Alan Committie, the award-winning actor and comic who has become the resident master of ceremonies for the last 13 years!
Alan will introduce a riot of local comedians, such as Dalin Oliver, Schalk Bezuidenhout, Marc Lottering and Riaad Moosa. The Jive Cape Town Funny Festival has over
the last nine years developed a feeder competition, where aspirant comics present their talent in the hope of winning a coveted spot on the Funny Festival.
Presented by MTN, The Jive Funny Championships are held over the entire month of May, resulting in a final competition in late May. The winning act gets to perform on the country’s most important
comedy stage, Jive Funny Festival.
Smiling and laughter are integral to our characteristics as human beings, and hence the Festival’s beneficiary is Operation Smile, which operates on children who are denied this simple ability. Operation Smile collects coins from the audience, which is used to pay for “cleft palate” operations.
The Jive Cape Town Funny Festival has become part of the cultural fabric of the Mother City since its beginning in 1997.
Cape Town is a comedic city and the Jive Cape Town Funny Festival reflects this.
Bookings can be made through webtickets and group bookings of over 99 can be made through Eddy on 0824503151 or carmen at carmen.kearns@uct.ac.za
More information is available through www.funnyfestival.co.za
Catapult Foundation’s mission is to address intolerances and reform to a culture of engagement aimed at uniting individuals from diverse backgrounds and different socio-economic spaces. We aim to provide continuous learning, uplifting and empowering of youth with music education in the disadvantaged areas of the Overstrand, and as a parallel process restoring the dignity and acknowledging local veteran musicians. The purpose of Catapult Foundation music school and public education system is to provide
for the development of learners so that each may take a meaningful place in society. We are rapidly growing every day and currently have 210 learners. Our challenge is to offer learners a school experience that reflects a contemporary view of knowledge, skills and attitudes that are of most worth to the individual and to society. Our vision for 2023 and beyond is to ensure the quantitative outputs of the Catapult Foundation response to household security and food security for children as well as their families who have been negatively impacted,
while ensuring continued learning and stimulation of children from ECD through to post high school students. Our endgame was always to strive for a no fees Music Academy, which we have launched June 24th 2022, two years prior to our intended launch date. The academy offers learners a safe environment, afterschool music program, theoretical & practical diplomas, homework assistance, meals and a culture of pride. As our classes grow, we require more donations and/or funding for instruments, food, and hygiene products. Currently we are not only feeding our students and teachers, but we extend our generosity to the community. We wish to continue doing so, and because of the aid from The Rupert Foundation & Pre
This coming month Arendsvlei will spice things up in ways you never expected it to! With the industry legend Terence Bridgett (Anthony) and multi-talented Kim Syster (Rachel) already starting with their plan to ruin the Cupido’s lives forever, the Vlei will be surprised with yet another familiar
face. We’ve seen the community always gossiping about the Galant family and how dangerous Desmond Galant (Alistair Izobell) is, but have they ever faced him?
Too much surprise, Desmond shows up in Arendsvlei for the first time in years and the community is shocked to its core.
What is Desmond up to this time? Why is he in Arendsvlei?
mier Foods we have been able to fulfil some of the need within the community, but not to the degree we hope to achieve.
My husband James and I have been using our own income to substitute the shortfall. There are so many students who wish to join our classes but sadly we do not have sufficient equipment and teachers to accommodate the desire within the youth. In our community there are many families experiencing a financial struggle. We wish to provide sustenance to as many homes as possible. Weekly: Mondays to Thursdays from 11h00 to 16h30. Music Facilitation
• Both Lead Guitar & Bass Guitar
• Drums Keyboard Recorder Saxophone
The program compliments and leverages existing Government efforts for maximum impact for those most in need.
+27 79 564 6670 / +27 82 625 5147 l 214 Marine Drive, Hawston, Hermanus, 7202
Email: info@catapult-foundation.co.za
FB: Catapult Foundation
Instagram: catapultfoundationacademy
Web: catapultfoundtion.co.za
NPO Registration No. 195-127
Petra (Shimmy Isaacs) is the first to spot him and tells everyone that he is back in the Vlei. And as we know Petra, she makes everything seem way more dramatic than it is. But is she right
this time?
And what will the Cupido’s do when they find out that Rachel has been seeing Desmond Viewers will have to wait and see how they’re connected...
The Baxter foyers and stages will pulsate with excitement, from 24 March to 1 April 2023, when 37 fresh and innovative theatre productions and close to 200 artists, come together for the 2023 Baxter Zabalaza Theatre Festival.
Now in its 13th year and widely regarded as the premiere festival of its kind the programme will include dance, drama, music and poetry, to entertain, captivate and intrigue audiences. This year’s festival is once again the product of the successful hybrid mentorship programmes launched during the COVID-19 lockdown which saw script writing mentorship for writers and mentorship workshops for directors to ensure the finest in trailblazing theatre. This year the mentorship collaboration has extended with double the number of mentor’s offering support to each of the main festival productions. The main festival programme includes themes of tradition, culture and identity.
As a tribute to the award-winning Khayalethu Anthony (The Champion, Solomon and Marion), who sadly passed away in September 2022, his acclaimed production, The Champion will be screened as part of the Family
weekend on Saturday 25 March at 5pm.
Anthony’s work won the Best of Zabalaza award in 2013 and was published by Junket Publishers in 2014. The Champion also won the Fresh Award for Writing in the 2107 Cape Town Fringe Festival.
All proceeds from the screening of this award-winning production will go to Khayalethu’s family. Khayalethu’s involvement and contribution towards the Zabalaza Festival is immense, both as a participant and a mentor.
Tickets to the main festival are R30 each or R55 for two shows for schools and organisations only. They are available through Webtickets on 086 111 0005, online at www.webtickets.co.za or at Pick n Pay stores.
Award-winning director, Mandla Mbothwe’s acclaimed, iKrele leChiza… the sermon,fires up The Baxter Flipside, from 23 March to 8 April 2023 at 7.30pm, following its hugely successful debut run last year.
In a vibrant collaboration with the stellar professional cast and the talented Magnet Theatre Youth Company, iKrele leChiza…the sermon is a rare opportunity for audiences to immerse themselves in a visual
exploration and a vivid African soundscape. The production takes on a magical realism style that explores a dreamlike state of spiritual ecstasy and, as in a sermon, is as highly musical and choral.
Megan Choritz for WeekendSpecial raved, saying “I was fortunate enough to experience brilliant, meaningful, evolutionary theatre … what can only be described as a transcendent experience. Mandla and his team have created in
iKrele leChiza what theatre can be and do to your soul and spirit.” iKrele leChiza…the sermon, is part of a six-year research project called Re-Imagining Tragedy in Africa and the Global South (ReTAGS). The ReTAGS project’s
principal investigator is Mark Fleishman and Mandla Mbothwe is a co-investigator. The production has had three iterations thus far: an initial recorded version, Sonic Passages; a Live/Digital Mutation and the live production. It follows the narrative of two siblings, a brother and sister named Luphawo and Mesuli, who find them selves navigating a child-headed home, a current reality for many South-African chil dren. Their parents are stuck in respective limin al spaces between life and death; their mother in an an cestral orientation room because she refused death until her body could no longer go on and their father is in spiritual exile. He seeks ways of finding their
father as well as defend ing and restoring humanity in their home while his sister, Mesuli (wiper of tears/comforter) mean while has to prematurely take on a maternal role in their home. Mbothwe asserts that ‘home’ in the play represents humanity, Mbothwe uses iKrele leChiza…the sermon to argue that humanity or the spirit of Ubuntu “bubambeke ngeyesigcawu” (hanging on by a spider’s web) has become a wound in African society and is constantly under
attack. Through the production, he asks “ how can you heal or tend to a wound while the wound is still being attacked ? “
Mbothwe draws from Iintsomi, African oral tradition of storytelling and Homer’s Odyssey terms to differentiate between the ‘good and evil’ characters in the play.
movement direction by Jennie Reznek. The original iKrele leChiza…the sermon showcased sound design by Elvis Sibeko, digital editing by Sanjin Muftic, lighting design by Themba Stewart, choreography by Mzo Gasa, musical direction
The Western Cape Business Opportunities Forum (WECBOF) provides a platform for businesses to establish and maintain contact with fellow entrepreneurs; to have access to opportunities, information and training; and to have representation on a number of relevant forums of government and other associations focused on growing and enhancing the commercial sector, with a specific focus on small, medium, and micro enterprises (SMMEs).
WECBOF is widely recognized and respected as a powerful voice for business in the Western Cape; we are a provincial service organization with our focus and attention firmly on the national and international business pulse.
Live is on legacy-driven life support
Live music venues are closing fast. Braamfontein’s once-popular Leano (formally The Orbit) shut its doors only last week.
The Cape Town Jazz Festival moved to 2024 due to a myriad of excuses that does not bode well at all.
Major global stars are not touring SA in a hurry due to the weak rand. Think the likes of Taylor Swift, Adam Lambert and
By Martin MyersThinks of the analogy that the current local music industry reality is riddled with flu-like symptoms, not life-threatening. Still, committed, passionate specialists are in dire need of returning it to good health.
The output of music is non-stop, and we all know streaming helps discovery, but we have foundational problems to remedy first. The artists’ remuneration structure needs to change so that creators get their fair share. This is not only a local challenge but an international one.
The likes of Apple Music need to be transparent and engage with creatives in South Africa at appropriate thought-leadership, industry-focused conferences to empower artists to use the tools available on these streaming apps to the collective benefit of all invested in its ecosystem.That system, in turn, needs to promote collabo ration and support actively
and yet all too often business seems to run on one set of rules designed to benefit the platform first and foremost. Remember, creatives are its lifeblood, and yet get shown the door when challenging its host around royalty returns and marketing support.
This needs to stop.
The same applies to the collection agencies; SAMPA, CAPASSO, SAMRO and RISA. The South African Music Awards (SAMAs) remain in perpetual disarray.
One just needs to reflect on 2022’s well-documented shambolic delivery. And yet it remains unchallenged and unaccountable to its constituency. All these agencies collect money on behalf of artists.
Yet, when artists apply for funding or assistance, they invariably get the run-around and a standard cut-and-paste reply, with no concrete empirical answers to their rejections of applications.
SAMPRA is notorious in this regard.
Queen, The Rolling Stones, Bruno Mars, et al.
South Africa has dialled back to the 1980s, and early 90s, when all we saw were legacy acts only invested in escaping a northern hemisphere winter. It’s 2023, and current international shows are thin on the ground. Ronan Keating in March and UB40 featuring Ali Campbell are just two in a myriad of examples.
The flip sides
Radio, both terrestrial and streaming, has impressive figures, and SA music is supported big time. One only needs to chat with Jarrod Aston from Radio Monitor to see what is happening with accurate data delivery.
Radio Monitor is a vital tool for artists to track airplay, and any act releasing music should invest in the system to track their airplay.
The numbers
SA’s biggest song of last year - Q-Mark & TpZee feat. Afriikan Papi - Paris - 6157 spins and 656.5m impacts (release date: September 2021).
It’s important to note that KO feat. Young Stunna & Blxckie was in second place, despite only being released in August 2022, 11 months after the #1 song.
It remained at #1 for 20 consecutive weeks and is the first ever song to do that, local or international The second most consec
more, especially when doing live shows to help create that ‘wow’ factor that makes you want to attend the live event.
Onward and Forever upward
utive #1s was Zakes Bantwini’s “Osama” with 11.
Station to Station
Here are the Top 10 biggest radio stations by listenership (as of March 2022, when the last diary was last updated):
1. Ukhozi FM
2. Umhlobo Wenene
3. Metro FM
7. 947
8. 5FM
9. YFM
10. Jacaranda
The economy is tough, the recovery is still ongoing, and load shedding does not make events more un uncomplicated. These are the cold hard facts we need to negotiate, so build each other up
Future - Focused Crystal gazing, one dreams of a BBC Sounds style of programming. Music discovery is fundamental and traditional radio is on the decline due to outdated curation strategies not informed by the audiences it aims to appeal to. So, where do fans find new SA music? The playlists of most stations have very little variety – the same songs in a different order, all going for the same, highly competitive market.
and respect the paying fans. Take ownership and responsibility for your patch; I believe there will be a bumper harvest if we all play along. Have a hit-filled 2023.
Rid the red tape
City By-Laws for music need to become easier to navigate so that artists can create events. For example, on Friday, 21st May 2021, during COVID restrictions, an event was delivered by an independent promotor in Cape Town. That single show
had five artists and created over 39 paying job opportunities on the night. The creative economy brings a sixtime multiplier effect to the greater economy. Artists also need to have more skin in the game by supporting each other
