The Sunday Mail
Mtandazo Dube
THIS week, Pamela Zulu aka Gonyeti, who counts among my favourite female vocalists in Zimbabwe, will launch her second album, “Madhin’adhin’ali”.
The former Third Generation band member returns to Dandaro Inn at Exhibition Park in Harare on Friday, where she launched her debut, “One Day”.
Gonyeti is releasing another six-track effort as she builds up her own content in an effort to reduce the number of cover versions she plays.
As one of the few female performers willing to grind it out in the tough local music industry, Gonyeti is a talent to watch out for. She could prove to be a real game changer.
Look at me going on and on about Gonyeti when she is not even my story this week.
My story is about her male counterparts, struggling Baba Harare included. I hear there is a petition to have Baba Harare back at Jah Prayzah’s band. Music lovers fear the lanky guitarist could abandon music entirely if he continues to play at empty venues.
Baba Harare and company show there is a crisis in Zimbabwe’s music industry, particularly on the live show front. Whenever the likes of Jah Prayzah, Suluman Chimbetu, Alick Macheso, Oliver Mtukudzi, Winky D or Peter “Young Igwe” Moyo are not playing in Harare or its environs, there seems to be nowhere to go.
Not that these handful I have mentioned are doing particularly great, no, but they are miles ahead of their lesser colleagues in terms of drawing power.
Macheso has been avoiding Harare lately, preferring its outskirts. Jah Prayzah is mostly out of the country, becoming a scarce commodity locally. Suluman seems to be limiting his shows in Harare, while it is Winky D’s custom not to make himself too available. Young Igwe, of course, is the champion of the jungle.
This leaves promoters with very limited options in terms of performers who pull crowds. Most live show enthusiasts – like myself – attend almost all gigs regardless of the stature of the artiste or the venue.
And the crisis, especially for promoters and venue owners, is palpable.
Venue owners are trying to push alternative artistes, not out of choice but out of desperation. Still, the numbers are not improving.
Three weeks ago I watched Baba Harare, real name Braveman Chizvino, bravely belting it out at a largely empty Jazz 24/7 on a Saturday night.
The following Friday, Mbeu, Gary Tight and Sam Dondo were all in Harare’s CBD playing at different – empty – venues. Mbeu was at Jazz 24/7, Gary Tight at The Volt and Sam Dondo at Time and Jazz Café.
I managed to attend all gigs and got a chance to speak to the venue owners/managers about these artistes.
There are quite a number of them but these aforementioned four, plus Andy Muridzo and a few others, are the most determined and promising stars.
Gary fared better than his other colleagues but still, for a Friday gig, it left a lot to be desired.
I thought that maybe there had not been enough publicity but the venue owners provided proof that extensive marketing had been done.
Could it be that they were all crammed into the CBD thus dividing the fans? But even then, the numbers still did not add up.
Even if we were to combine the people that got into all three shows, Peter Moyo and Utakataka Express would still have a larger crowd at a local bar.
What got me worried is that these are the boys that should be getting ripe. As the Sulus and Machesos of this world among others, get less active or decide to play in the outskirts or in the case of Jah Prayzah are busy going international, these boys should be taking over.
The likes of Andy Muridzo should be graduating into men. The prevailing situation should end at all costs, even if it means these musicians have to join forces for certain shows.
We have the talent in this country – artistes like Gary Tight are a marvel to watch. Last week I watched Mbeu dazzle as a curtain raiser for Jah Prayzah at Tanza Centre.
So where are they missing it? Have show-goers become weary? Zimbabwe, are these our future stars? I believe they are and they need support, yours and mine.
So, let’s give it to them.
