Coronavirus: The Crippling Effect on the African Music Industry
The coronavirus epidemic is bringing more casualties than we ever thought possible. Other than the tragic deaths of loved ones, we are experiencing depleted store shelves, mass panic and the instability caused to business and finance. From the stock markets to airlines, businesses everywhere are being hit, and the African music industry is not spared.
In the last few weeks, Afronation, one of the world’s largest Afro music outdoor concerts due to hold in Puerto Rico this year, has been cancelled. Asa, the ever-melodic songbird, has postponed her tour. Davido was going to show us all “A Good Time” with his tour, but had to announce a blanket postponement on all dates – including those that had been sold out. Victor AD is going to have cause to ask Coronavirus “Wetin We Gain” as his 12-date Europe tour promoted by DJ Ike has been cancelled, all leading to thousands of euros in losses for the promoters and decidedly lighter pockets for the musicians.
The financial damage is staggering. Despite its global success, the African music scene remains largely bankrolled by private investors, sponsors and smaller labels, creating a deficit that will take many moons to emerge out of Cancelled flights, work permits, accommodations and fan refunds might be easily absorbed by larger corporations, but for many upcoming and established artistes and promoters, this might be the end of the road.
An artists cancelled flight ticket due to coronvirus
The Coronavirus too shall pass as has many ailments before it. It is expected that for many work spaces, however, there will be a new status quo; a new method of doing business. Many businesses will restructure the way they operate going forward. Some will gain from the new-found benefits of working from home and will incorporate it permanently – closing down physical structures, improving staff morale, and saving money as a result. Companies that can afford to will alter their priorities and look into creating emergency funds for crises such as this.
There are many lessons for the African music industry to take from recent events too. The first has to undoubtedly be that African artists must collaborate with promoters to create profitable, sold-out shows. In a world where you are only as good as your last concert, the aloofness that a lot of performing artists bring to the marketing table must now cease as their pockets are invariably hurt in the event of a crisis also.
It would be good to see if promoters can persuade artists to agree to a sliding percentage as opposed to an appearance and performance fee, compelling the artists to take a more involved role in the publicity of their own events. The industry is rife with tales of artists refusing to promote their own shows on their own social media platforms, telling promoters that it is what they are paid for. Artists squander money – missed flights, trashed hotel rooms, travel with unreasonable-sized entourages – making it difficult for promoters to turn a profit from shows that seem well attended or even sold out. Without this sort of powerful partnership and co-ownership in the business, it will be difficult to create a sustainable, thriving business model that can withstand adversity if and when it rises.
The second critical lesson stems from the way African governments have reacted to the aftereffects of the virus in comparison to their Western counterparts. As governments around the world release funds to ringfence businesses, financial markets and vulnerable individuals, the African music industry, arguably one of our most laudable exports, seems to be falling through the cracks. Promoters are expected to absorb the exorbitant costs of cancelled flights, venue and equipment hire, security, and any other miscellanea.
While we cannot mandate African governments to do right by their industries and people, the entertainment industry might want to look into establishing a governing body or trust that takes care of its own. With the exception of a few countries, most Africans are used to creating their own way of life – power, water, healthcare and infrastructure. Financial security should be no different. Outside of the glitz and glamour of rented limousines and hired castles for music videos, many are one cancelled concert away from serious financial woes and even possibly obscurity. It pays to plan.
This too shall pass, of this, there is no doubt. We shall breathe freely and hug our loved ones again. We hope it does so with lessons learnt.
Lastly, stay up to date with all you need to know about African music at SOA, right here.
Rachel Onamusi is the founder of VN Sync, a full-service digital agency with expertise in all aspects of digital media, with special focus on strategy development, implementation and facilitation. Her projects have ranged from marketing consulting, market research, corporate & personal brand management, product & campaign launch, media & publicity strategy development and management, to technology training and certification platforms’ management. An accomplished digital media strategist and growth facilitator for major corporate global brands, Ms Onamusi’s extensive experience spans three continents and covers both the private and public sector.
Coronavirus: The Crippling Effect on the African Music Industry
