In Nairobi, a live concert means really fine margins

What you need to know:

  • Kenyan promoters seem to have gone the complete opposite of bringing those who are on the billboard charts now, choosing instead to bring those who charted a while ago.
  • Have you seen the way Ugandans and Tanzanians pack venues? I have never seen a Kenyan concert like that
  • Ask the person next to you how much they would pay to attend a Bahati concert, or a Kiu concert, and hear how high – or low – they’ll go.

Last weekend, 112, Ginuwine and Mya were in town to perform at the second PRC concert at the Ngong Racecourse.

It promised to be a night to remember for those of us who grew up in the era when Mya was still winning Grammys, and Ginuwine was a bit smaller (well, success shows) and 112 as sprightly as yesteryear.

Thankfully, I went for the very first PRC concert, with Dru Hill. I enjoyed myself thoroughly, for a number of reasons: the DJs before the acts came on were great, as were the opening acts. I love to watch Nameless perform my favourite jams, and seeing Necessary Noize in action is always a treat.

The concert was the ultimate throwback, in all senses of the word – I mean, Mr Lenny came out and performed "Githurai". He still sounds the same! And of course, for R&B lovers, Dru Hill was wonderful. I came for Sisqo, to be honest – he looked older, yes, but he still did the flip from the "Thong Song" video. At his age!

I did want to go for this one, but the budget was not willing. I have heard a number of mixed views about it though.

First off, no one really wants to pay Sh5,000 for anyone. Though as my cousin Cliff put it, since it was three acts, it was almost like paying Sh1,500 for three concerts, which made sense.

Second, Kenyan promoters seem to have gone the complete opposite of bringing those who are on the billboard charts now, choosing instead to bring those who charted a while ago.

Again, those of us from those eras are not complaining, but there are those who are.

TOK AND SHAGGY

I have often wondered what predicated this decision to bring this "seasoned" calibre of artists. So many artists who are charting now go to South Africa. Even East Africa around us has been graced by much bigger names than we attract. Why not us?

Then I had a chance to venture into the murky world of promotion to understand the culture of the typical concert-going Kenyan.

Granted, Blankets and Wine, Koroga and other such events are often packed to the brim. But this is not the norm, especially for the types of numbers you need before you can afford to bring an artist currently topping the charts, say, Rihanna.

Have you seen the way Ugandans and Tanzanians pack venues? I have never seen a Kenyan concert like that, not even when there is a slew of sterling artists on the line-up and the ticket cost is subsidised. And no pun intended, but numbers count for something.

We have not even gotten to the requirements of a big-name artiste, in terms of entourage, sound, lighting and the like. Of course, you could promise to bring someone huge, but who would show up?

I mean, what do you think happened to the promoters who brought us TOK and Shaggy in their heyday? What happened to those guys?

I think fans are the problem here. Sure, there are a few dodgy promoters, but there are also many Kenyans who will not, for reasons unbeknownst to me, come to a concert.

If we do not even go to concerts featuring our own Kenyan artistes, how would an international one work out? How would the promoters make money?

A BAHATI CONCERT

It is possible to be a millionaire in Uganda from your music. Just ask Jose Chameleone. Tanzania too, see Professor Jay and Lady Jaydee. In both countries, our counterparts, there is a sizeable list. Let’s not even venture to Nigeria. Kenya? Nope.

Becoming a millionaire from music takes a lot longer, and a lot more global recognition than in other African countries. Meanwhile, Kenyans don’t buy Kenyan. Just ask the person next to you how much they would pay to attend a Bahati concert, or a Kiu concert, and hear how high or low they’ll go.

Other than our rampant piracy, we are also robbing ourselves and our art. How many people do you know who would pay Sh5,000 to see a Kenyan artiste, with a Sh20,000 VIP area price tag?

Who would you pay for?

We should support our own too. Sure, it is great to go for Wizkid, Mafikizolo and Dru Hill. But I am ready to go for a Kenyan concert with great acts and a price tag worthy of Kenyan talent.