Weekend Argus (Saturday Edition)
Musicians are scaling the digital platform
18 Sound is going online, with more musicians able to control their own music recording, writes BRONWYN DAVIDS
SOME local musicians have embraced an era of resurgence as they utilise technology to change the way they market their work independently.
Award-winning Joburg musician RJ Benjamin is optimistic about technology giving artists greater control of their music and said: “The day of that one superstar getting everything is starting to thin out. The megastar pool is smaller than it was seven years ago and will probably grow smaller in 10 years’ time.
“There are so many options, so many ways to discover unknown artists who may end up going viral on YouTube, getting more views than a Beyoncé-type star, for instance.
“We may want to watch a YouTube star in a stadium but that won’t come from record labels but from us; we’ve got the power. If we want to watch an artist on YouTube, then we will. No one is going to tell us
‘The talent is all
downloads were made.
African and South African artists have a good revenue source through ring-back tones. In July, there were
4 000 downloads of four of Benjamin’s latest tracks, but a star such as Rebecca Malope could easily get 100 000s downloads a month, he said.
After researching the market, Benjamin decided to produce just a few CDs because older fans wanted to complete their collections of his music. In six weeks, he sold just 20.
“I feel as if I am getting a bigger portion of the revenue. Everyone has a smartphone and is streaming and downloading,” said Benjamin. He will be launching his album in Cape Town at a workshop he is running at Paul Bothner Music, Claremont, on January 13, where he will discuss “creating an album – from writing the song to scoring, selection, recording to marketing”.
Martin Myers, publicist and convener of the Music Exchange, which upskills musicians’ business acumen, said music consumption has never been bigger, but consumers need to realise there is a “societal value in the cost of recording” and a process that takes place from the studio to musicians, to printing and presentation.
“Yes, online is massive; streaming is where the next frontier is, in terms of artist exposure. However, it is no use getting it out onto platforms, not supporting it with shows and being like a smous (hawker) ... and selling CDs out of the back of cars.
“You do shows at Spier, Kirstenbosch or the Gardens and you have someone merchandising the CDs.
When Sipho Hotstix Mabuse performed at Kirstenbosch, we sold out of CDs before the show even happened,” said Myers.
Audiences still want to buy CDs for sentimental value. Creative merchandising is the name of the game with pop-up performances, as these attract big social media interest.
“Maybe we don’t feel proud enough of our music. The talent is all here and there needs to be some re-thought ... in terms of retail ... The days of the record deal are over ... Most of the guys record in their garages or use an app. All they need is a publicity team.”
From January to December 2016, the Recording Industry of South Africa (Risa) indicated that the total sales for local artists with record labels was R126 350 894.39. The breakdown was: R86 469 987.71 for CDs;
R28 458 046.70 for digital;
R115 788.04 for vinyl and
R5 894 774.45 for DVDs.
Risa reported that international music sold in South Africa last year amounted to R281 975 889.20.
Reggae and soul singer Ernestine Deane said: “The recording process ... has changed a lot over the years. The focus is on songs, singles or, at the most, EPs. And as it is so much cheaper and easier to record these days. I enjoy recording at live shows too. Currently, I’m recording a single with Gabi le Roux, who produced Mandoza.
“It is always good to be independent and have creative control or share it in collaborations and be educated and informed on the administration of the music. As an executive member of the Western Cape branch of music union Masa (Musicians Association of South Africa), this is important to me.”
Deane won’t sign with a record label unless it “resonates” with who she is as an artist, respects creative control and offers a joint venture and collaboration: “I do feel it is redundant ... if it is about releasing music, that can be done independently.”
Nikki Froneman, who manages mostly jazz and indigenous music artists, said few of her musicians were signed to record labels, as record companies did not have money to back them.
They were creating their own musical identities, producing albums and selling online.