Country Profile: South Africa

South Africa’s live music scene is faced with a post-pandemic reality defined by shrinking consumer disposable income and the need for innovation, especially following the loss of the 80,000-capacity Ticketpro Dome in Johannesburg, which has been converted into a car showroom.

Yet key promoters, including Live Nation-owned Big Concerts, Showtime Management, Glen21 Entertainment, and Breakout Agency, are adapting to the challenging conditions with creativity as much as possible.

The loss of the nation’s premiere large-scale venue in 2021, coupled with the further blow of the pandemic, saw many live industry personnel move to the Middle East and Europe to seek work, leaving local promoters in a bind. Glen Netshipise of Glen21 and Damon Forbes of Breakout, however, resorted to creative solutions such as using old warehouses and unconventional spaces to keep shows alive. Forbes says a “can-do mindset” is key, suggesting that focus has tilted towards “finding a way to make shows happen” rather than being hampered by a situation beyond their immediate control.

The aftermath of the lockdowns (the nation had some of the longest and strictest restrictions in Africa) was marked by a peak in audience appetite for live music. “We had a honeymoon period of about a year where people were very keen to just go out – business was booming,” Tony Feldman of Showtime Management says.

“We had a honeymoon period of about a year where people were very keen to just go out – business was booming”

However, this post-pandemic high was short-lived, as Netshipise notes: “Compared to the past two years, when almost all the shows were selling out, this year, it’s slowed down a little bit. People are being more selective about where they spend their money.” This means strategic marketing is even more important, as all three promoters attest that digital platforms, especially social media, are now major tools in their arsenal for reaching younger audiences, compared to traditional methods. However, radio remains effective for older demographics.

The rising cost of booking international artists, and the resulting increase in ticket prices, comes at a challenging time for SA. The country has recently seen waves of load- shedding [electricity blackouts], which have caused businesses to shut down and reduced people’s spending power. The instability of the rand further turns the screws, making it tougher for people to be convinced to spend money on live music, which now competes with seemingly more affordable entertainment options.

“We’re fighting against other forms of entertainment: TV, Netflix, restaurants,” Netshipise explains. “There’s less disposable income, and people are asking, ‘Should I invest in a concert ticket or television?'”

By nurturing artists early in their careers and helping them build a fan base in South Africa, Forbes has seen success with acts like Myles Smith and Rainbow Kitten Surprise. He emphasises the importance of bringing artists to South Africa while they are still “on cycle” and in the middle of a campaign, rather than waiting until phase-out. “Trying to get an artist when they are buzzworthy or in the media is important to me,” he notes. This strategy has paid off, with artists like Calum Scott and JP Cooper returning for multiple tours and growing their audience and ticket sales with each visit.

“There’s less disposable income, and people are asking, ‘Should I invest in a concert ticket or television?'”

Feldman envisions a future where South Africa is integrated into a broader touring network, connecting cities in the Middle East, Australia, or India. “It’s about creating a route that makes sense for artists,” he says. Netshipise, who handled booking of Kendrick Lamar, Boys II Men, J Cole, and The Chainsmokers, agrees, citing a logistical nightmare: “South Africa is far from the main touring circuits, and there’s no current routing in Africa that works. Artists ask, ‘Is it worth traveling all the way to South Africa for one or two shows when we could do multiple dates in Europe or the US?’”

However, he believes that if a route could be established through cities like Lagos, Accra, Cape Town, Johannesburg, and Nairobi, South Africa would be a more viable stop. Forbes adds, “Working with promoters across different territories is great, but there’s still concern about travelling around Africa. Getting from South Africa to Lagos, including moving equipment, is nearly impossible.”

South Africa is witnessing a rise in DJ-driven events, thanks to Amapiano (a subgenre of kwaito and house music), alongside a growing interest in country music and family- friendly entertainment. Meanwhile, the reception towards musical theatre events has slowed, as the younger audience hasn’t embraced it as much as promoters had hoped.