‘Audience is to blame for poor recognition of Malawi music’
Around 1970s, 1980s and 1990s Malawian local music was powerful and used to rule the local airwaves with some of the eminent artists captivating international audience with their scintillating local vibes. By then, musicians used to record their music on reels with the Malawi Broadcasting Corporation (MBC) Radio 1. Dr. Daniel Kachamba, Michael Yekha, Robert Fumulani, Allan Namoko and many others used to be the cream of Malawi music. Our Arts correspondent HOWARD MLOZI caught up with music analyst Emmanuel Maliro to spellout some of the strategies that can help restore the lost music glory. Excerpts:

Q
: Take us back to the old days where Malawi music used to conquer the airwaves?
A
: Back in the 1970s, 80s and 90s, Malawi music was a force to reckon with and the only thing which we knew and loved. Most popular artists then such as Allan Namoko, Michael Yekha, Dr. Daniel Kachamba, Robert Fumulani and many others did not rely on marketing or flashy trends to gain recognition. But they were able to impress both local and international audiences as well as being invited to perform in other countries. Malawian music was heavily supported by the locals and enjoyed massive airplay on local radio stations.
The homegrown support was simply unwavering to the effect that Malawi was a force to reckon with.
Q
: So what has changed now and why?
A
: Yes, so much has changed. I think most
challenges Malawian musicians face today are not entirely their fault. The audiences, in my opinion, shoulder the blame, too. The DJs, event organisers, companies and decision-makers who have the power to shape the landscape of our creative and cultural industries are not doing justice to the local music industry.
If truth be told, our musicians are doing their best. But most of them are simply following trends because that is what we, the audience, demand. For instance, when a DJ plays only Malawian songs at a club, wedding, or a party, we tend to complain too much, giving them all sorts of offensive names such as ‘Dj osabebetsa’, ‘Osazitsata’ and Obowa and start asking for international music.
This, eventually, forces DJs to prioritise foreign music for them to stay relevant. And this, in turn, pressures our musicians to mimic global styles instead of exploring and growing our unique Malawian sound. The audiences are to blame for being obsessed with foreign music for them to look ozitsata (trendier).
Q
: I thought things are changing and we need to adapt?
A
: Of course, things are changing technologically, but that does not necessarily mean we should completely drop or forget our roots at the expense of the popular foreign music.
We should not be brainwashed. As a society we have a wrong mentality that everything international is standard. And we are spoiling our children with that mentality. Yet other countries do not even know a single musician or song from Malawi.
Q
: So, how can we as Malawi change the situation?
A
: Well, everyone has a role to play. It is a collective responsibility. Firstly, the media, which possesses great influence, should jealously guard and promote local content.
If you tune to most local radio and TV stations today, you will note that about 90 percent of the music played is international. How do we expect to promote our musicians when they are given so little airtime?
The solution is simple, let us learn from countries like Botswana where by law, radio stations play 90 percent local music. Even at concerts, foreign artists are regulated accordingly.
This is why you rarely hear about big international acts performing in Botswana. South Africa follows a similar approach. Visit any club in RSA or Tanzania and Mozambique, and you will only hear their music banging. No American or Nigerian tracks dominating the playlist.
Q
: Are you trying to say international music or artists are a bad influence?
A
: No. They are not. But the point is let us stop this obsession with international music and artists because it is killing our industry.
It is unfortunate that the preference for foreign content does not stop with radio or TV. Even festivals and concerts; audiences expect a foreign headliner for the event to be considered exciting.
Local gig organisers spend vast sums on these foreign artists.
For example, some foreign artists are paid $50 000 or more per show, including accommodation and meals for the entire band. While local artists, even with full bands, are paid only around K 5 million for the same effort. With these disparities, how do you expect the local music industry to grow? Malawian audiences should learn to support their homegrown industries.
Q
: Do you think that the issue of payments modalities between Malawian and foreign artists strain the local industry?
A
: Completely 100 percent. This is the very reason why the late Lucius Banda established the Sand Music Festival. The bone of contention was that the late Oliver Mtukudzi, a foreign artist, was being paid three times more than Lucius Banda and the Black Missionaries, even though they were scheduled to perform for much longer. This inconsistency did not sit well with Lucius Banda and the Black Missionaries; thus, Sand Music Festival was born as a response to the undervaluation of local talent.
Q
: Are there any other issues choking the local music industry?
A
: Definitely. Another problem is the lack of corporate support. Companies are quick to pump millions into sponsoring events featuring international artists as headliners. But when the event is led by local musicians, those same companies are nowhere to be found.
How can local musicians feel motivated to grow and create in such an environment? We have an attitude problem towards the potential of our local industries because we are obsessed with anything foreign.
Q
: What are your concluding remarks?
A
: As a country, Malawi should learn from other countries like Botswana, Tanzania, South Africa, Nigeria, Mozambique, even Zambia that prioritise their music industries.
The government should formulate and enforce policies that safeguard local content to ensure that radio stations and events prioritise local talent. This other day I felt bad when a South African entertainer DJ S’bu once played a set at Ryalls Hotel in Blantyre, where he played only South African music for two hours. And the Malawian crowd was fine with that.
I don’t understand why Malawians are so bitter with their own culture? We need to change this mindset and stop looking at everything foreign as good over our own stuff.
When we actively support our musicians, we give them the confidence to create authentically Malawian music. Over time, as we listen to and promote it, Malawian music will grow and find its place on the global stage.