Plugged in: Joburg’s live music spots jive to sound business model
LIVE music venues have become something of a threatened species in South Africa’s rapidly densifying cities. They also have to fight for quality talent below the top rung, which they cannot hope to attract without big sponsorships for events. But some are making the situation work.
Aymeric Péguillan, co-owner and artist-roster manager at Johannesburg jazz club The Orbit, says that despite its single-genre restriction there is a “serious and consistent following” for local artists that links to the country’s long tradition of composition and performance in jazz.
“There are also a lot of young musicians coming up with an interesting and diverse following in terms of audience age. And interest is growing, from what we can see. That doesn’t mean an established artist can easily fill the club — it takes lots of work and we compete with other forms of entertainment.”
Péguillan says the club’s policy to book 30% of its acts from jazz artists under the age of 30 has so far been successful, despite the temptation to book acts that are known to draw crowds at the risk of overexposure. “There are lots of collaborations between established and younger musicians.”
He says the club has always been determined to be fair in terms of payment and for most nights the setup is a generous portion of the door takings — which means both club and artist are incentivised to market the event.
“Artists such as Hugh Masekela or Oliver Mtukudzi don’t come cheap, as well as some younger acts who have crossed over into other genres and SOUND MINDS: The Great Fernando at Rumours Lounge, Johannesburg have big-price tickets for other reasons. But we both actively source acts and are approached by musicians, and they all have to work on the promotion with us.”
Getting an entertainment licence in a residential suburb can prove impossible, Péguillan says, so it suits the club to be located in Braamfontein, even if public perceptions of the inner city can be a challenge, especially on weeknights.
“Uber has really made our life easier. We don’t regret our choice of location — it’s a constraint we can manage. We’re close to a vibrant place full of new investment. We don’t see ourselves in a mall or being YES, PLEASE: Festivalgoers at Oppikoppi at Northam, Limpopo disconnected from the city.”
Fred Otto, owner of Rumours Lounge on the West Rand, says interest in live music at the venue can differ depending on act quality, with most well-known rock acts making “a fair amount of money”.
He adds: “Well-established bands with years of experience who play festivals or overseas such as The Parlotones, Just Jinjer, Prime Circle or Jack Parow can demand fees for appearances, but deliver the goods. Support is always great.”
Moving down a tier, he says acts such as Shortstraw, Wonderboom and Jeremy Loops can make R80 000 in a night and fill the smaller venues easily. “They are close to becoming category-one bands.”
Another step down the ladder, and it’s the most difficult category for musicians to be in, says Otto.
“This is the hard-work phase and most members have day jobs. Below that are the bands with a small following of family and friends, usually trying to figure out what the hell they are doing. Mostly they don’t make any money and it’s more of a fun category funded by passion.”
The upside of running such a venue is that Otto believes there is no better job if you enjoy music.
“But it is becoming increasingly difficult to make a success of a live music venue. Electricity costs have shot up and you cannot always pass on those costs. Our business model works because we also run as a restaurant and pub during the day.”
Otto provides the venue for free to bands, and supplies a sound engineer. “Fees charged for entrance go directly to the promoter and bands. All parties benefit.”
Gareth Wilson, artist liaison manager for Oppikoppi festival organiser Hilltop Live, says the company is “ecstatic” about the SABC’s 90% local content quota on its radio stations. “We hope they will put enough good new content out there to keep this trend going.”
Wilson says the local music scene appears to be growing strongly, with posts on its social media platforms about local music attracting even more excitement than announcements about international acts.
“We don’t have to look far and wide to book great acts. There have been no changes to our business model as far as local artists are concerned. The model remains the same — book good acts, tell people about it, sell them tickets.
“The biggest changes have come on the technological front, like cashless payment systems, which provide more control for the promoter.
“We’re rolling that out more frequently now.” — Brendan Peacock