Not rosy on the road
It is every artist’s dream to perform beyond the borders of their country.
Understandably, when such opportunities fall in their path, it is like a dream come true. Over the years, a number of Malawian artists have made it across the borders.
Performances in the United States of America, Germany, United Kingdom (UK), Ireland and other African countries have almost become a normal occurrence.
Artists such as Lulu, Namadingo, Faith Mussa, Black Missionaries Band, Kell Kay, Tay Grin, Wendy Harawa, Onesimus and Dan Lu are some of the constant travellers.
But it has not been all rosy for our artistic ambassadors. A fews years ago, gospel musician Miracle Chinga and her brother Steve
Spesho were left stranded in South Africa after being short changed by organisers. Last year, the duo of Madalitso Band got stuck in UK where they were forced to sleep at the airport for days.
Last week, the misfortune reared its ugly head again when Tay Grin and Kell Kay were mistreated during their visit of the UK to take part in a highly publicised event dubbed the Southern African Experience at Magnet Centre in Birmingham.
According to sources from UK, the venue was changed at the eleventh hour to a nondescript place which many performers did not favour. That forced some of the acts such as Zambian socialite Mutale Mwanza to withdraw.
However, the Malawian duo decided to proceed with their performances. But their devotion to the cause was met with disdain by the event handlers.
Kell Kay was whisked off stage just four songs into his performance and Tay Grin ended up in a verbal crossfire as they tried to remove him on stage just after performing two songs. The Chipapapa hit-maker only stayed on stage after his strong insistence.
It is an experience that has not gone well with the two artists. Tay Grin told Chill in an interview that the behaviour of one guy handling international artists was frustrating as they were not accorded the respect they deserve.
He said the multiple rescheduling of the event showed patrons’ dedication as they travelled long distances and spent a lot of money to be part of the show.
“He was constantly rude and lacked any sense of courtesy. We tried to tolerate it, but it reached a point where his behaviour became excessively disrespectful. The continuous interruptions and disturbances during the performances were unacceptable to me,” said Tay Grin.
On his part, Kell Kay decried the limited time they were allocated and the standard of the venue. He said although this was the case, he got a positive response from the patronage.
He said: “We had close to 90 percent of the audience comprising Malawians and I could not disappoint these people. Notwithstanding everything that happened, they were excited with my performance and I am thankful for their support.”
In a separate interview, UK-based Malawian legal mind and artist manager Peter Makossah said it is important for artists to first enter into legally binding agreements with event promoters to cushion themselves from exploitation and abuse.
He said: “Most artists get excited when such proposals come their way. They rush things before getting into legally binding deals that look at all details such as hotel bookings, number of songs to be played, travel arrangements, food and all logistical aspects.”
Makossah advised local artists to first assess the calibre of people they are dealing with and their know-how in terms of event management and profile. He said it is also important to establish contacts with people on the ground in the countries.
Artist manager Sam Chiwaka agreed with Makossah, saying artists need to be tough when agreeing deals.
“Verbal discussions should always be followed by written documentation and acknowledgement from either party so that everyone know they are on the same page to avoid surprises and misunderstandings. Payment after shows is a no,” he said.
