By Marshall Shonhai
A question is always asked, why are international artists given better treatment compared to their local counterparts? Is it true?
Yes it’s true, no lie about that.
The treatment that is given to visiting artists is totally different, from how they travel, their accommodation, their meals, drinks and some even very specific, special and at times ridiculous demands or requirements.
Guess what? It is not their fault these artists and it is not even the promoter doing extra. This is exactly how it is supposed to be because these artists would have asked for such treatment.
When a promoter engages a foreign act, they are sent two documents which are called “riders” and there are two types of riders, a technical rider and a hospitality rider.
The tech rider is a document which specifies the types of equipment to be used, the staff to be provided, and other arrangements directly relating to the performance. Things like; stage size, lighting specifications, the number of microphones, guitar stations, specific keyboards, drums, combos etc.
The hospitality rider is a list of requests for the comfort of the artist, before, during and after the show. Common requests are: Specific foods and beverages (typically water, but sometimes alcoholic beverages) Fresh towels. Transportation and hotels.
So, if you were not in the know, for a promoter to bring an artist to Zimbabwe, he/she must be ready and prepared to meet the artist’s requirements on both fronts, technically and on the hospitality front as well.
The culture of technical riders has caught on with local acts but not so much the hospitality side of things. Promoters fail to provide decent sitting of local acts after performances and even bottled water when they are on stage.
On whatever amount they are paid, local acts are expected to transport themselves to wherever the event is, find their own accommodation or have to put up in substandard rooms and sort out their meals. Rarely do you find event organizers or promoters going out of their way to cater for the needs of local bands and artists.
Let me pause here for a moment and pay tribute to gospel artists and gospel event organizers. They take hospitality very seriously, the hosting is top notch, a point to note though is that this special treatment is reserved for the artists themselves and not their bands and backing vocalists who are left to fend for themselves. Something we need to relook.
Even in the instances where a Changing room, green room or holding room is provided focus and attention is given to visiting artists. What promoters do not understand is that these rooms help your artists feel comfortable and gives them a space pre-show to get in the Zone.
I recall one big show we did this year, the visiting artist had his own green room, so did his band. Local artists were all thrown into one room where not even water or
any refreshments were provided. In contrast, expensive drinks were flowing in the visitor’s green rooms.
These also help after performances.
As a stage manager you are at times left stuck with artists and their bands after a performance, most times, their tags do not clear them for VIP sitting and they also cannot go into the general sitting area.
So, they are left with no choice than have stand around backstage, this then presents that challenge of people wanting to stand on the stage during other performances.
Now, we need to qualify things here otherwise some are going to take this hospitality rider way out of context. This rider must be reasonable and functional not greedy and outrageous.
First off, as an industry we will need to accept these riders, this is mainly to event organizers and promoters.
There has to be a degree of effort in making sure that our artists are catered for and have the very basics at least to allow them to give a decent performance. Next time an artist hands you a hospitality rider, they are not being a “diva” neither are they being difficult, it should be a standard requirement. Even if they do not ask, water should be the very minimum we should offer them.
For the artists and their managers, there is need to look at the scope of the event. There are questions that should be asked and answered sufficiently before you accept some.of these events. Some of the critical questions include the following;
Where is the event?
What time is the artists going on stage?
What time is call time? (The time the artist is required to be at the venue)
What other events the promoter/organizers has done before?
Who is the tech provider?
What time is soundcheck?
Tags and Accreditation
Sitting after performance.
These are but a few questions that an artist or their manager can ask. Just from the above questions, the artist’s camp can make informed decisions.
This will allow them to provide tailor made riders for the event. Where the event is in your local town, there is absolutely no need for you demand accommodation unless the promoter offers.
Since most organizers and promoters neglect the hospitality needs of local artists, it is incumbent on the local artists’ managers to fact these costs into their performance fees. Like I said, it must be reasonable and don’t price yourself out of business.
Local artists do travel as well and this is mainly to places like South Africa, the United Kingdom, The United States of America, Canada and Australia to mention just a few destinations.
Unfortunately for us, most of our artists who go and play abroad, are mainly engaged by Zimbabwean promoters out there and to play for predominantly home sick Zimbabweans.
We have read so many times how disagreements arise after these events. The fights are always around travel, accommodation and performance fees.
One is left wondering what sort of agreements would have been put in place before the artists actually leave Zimbabwe.
I personally feel local artists are taken for granted and it is high time they started standing their ground
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