The revolution will not be televised.
It’ll happen in dimly lit venues, backyard shows, and community spaces where strangers become regulars and new bands become tomorrow’s headliners.
From Soweto to Pretoria to Joburg, a new generation of artists and organisers is proving that the strongest music scenes are built by the people who refuse to wait for permission.
The concept of bands and artists putting on their own shows is not new. Let’s take it to Soweto for a moment. A few years ago, while in search of an adventure, some friends and I found ourselves there, at the Purple House, watching Soweto thrash punk band T.C.I.Y.F. Years later, the venue has become a hub not just for Soweto’s punk scene, but beyond.
The Purple House plays host to local and international bands eager to engage with one of the country’s most exciting music scenes. “The Purple House shows started as a means to give bands a place to play when they had nowhere else,” venue owner Thulasizwe Nkosi says. Beyond creating a space where bands can play, the house functions to serve the community it operates in. Nkosi explains, “We want to show kids that they can be anything they want. That their environment doesn’t confine who they can be.”
The sense of belonging this creates drives a kind of camaraderie among mutual fans of the same musicians, and the same applies to events outside of the punk scene. Joburg-based alternative event Saliva was built around this understanding. “Saliva is the most diverse event in South Africa,” say founders The Immaculate Angel and Berty Vasconcelos, and it just might be. The event meshes music, queer and kink culture together to offer attendees a unique experience. The decision to merge different subcultures came from the founders noticing a lack of integration between Joburg’s underground scenes. They explain, “It never made sense that the gay club was separated from the punk club and the ravers were hidden away in caves in town.” This willingness to mix things up disrupts the stagnation that Joburg’s scene has often found itself in.
The focus on community building doesn’t just include the audience. For the emerging Afrikaans underground scene, a musicians-for-musicians approach has resulted in the emergence of shows like Afrikaans is Emo. Pieter Smith, a member of Pretoria band Hoofmeisie and co-founder of the event, explains, “Younger bands often struggle to find a place to perform, as they have no record or proof of their ability. Someone needs to take a chance on them; that’s what we do. We want to give them a stage and a platform to put themselves out there, find an audience, and ultimately break into the music scene.”
Events aren’t the only thing cultivating new communities and demonstrating what artists can do; artist-organised tours have seen a resurgence this year too. Metal heavyweights Sunken State went on tour earlier this year with Ghast and No Closure, with guest appearances from other bands along the way. The tour was proof of what a community can pull off when it comes together.
Sunken State bassist Sean Gaisford explains: “Our first show in Cape Town was sold out before we even started travelling, and we packed out Music Kitchen in Gqeberha on a Tuesday, hitting new spaces like Jeffrey’s Bay.” With three bands’ worth of people and gear on the road, the tour was no small feat. But making it happen with a group of friends all exactly on the same page, made it not only memorable, but possible. “We got to watch our favourite bands every night,” Gaisford adds. “Ghast and No Closure made a serious impact in cementing themselves in the minds of the scene as the top dogs.”
As artists take it upon themselves to cultivating their communities and create spaces, do traditional promoters still have a role to play in Gauteng’s underground ecosystem? It’s a point of contention. On one hand, traditional promoters can have a tendency to play it safe. Ruff Majik’s Jimmy Glass explains, “Promoters might book the same acts because they’re the safe option in terms of pulling a crowd and helping a show be a success. But that takes away from making room for emerging acts.”
While it’s understandable that traditional promoters would prioritise avoiding losses, it doesn’t do much for scene growth in the long run. That’s not to say that the role of the traditional promoter is obsolete. Gaisford points out: “Promoters have a huge role in scene development. They have the opportunity to curate lineups, shows and events in way that bands, big or small, have equal opportunities in front of crowds.”
Entities like Planet Karavan, We Did This Records and Emalyth, among others, continue to play vital roles in giving bands a platform. Joining them are newer entities like Pleasure Palace, who are aiming to diversify smaller-scale shows. Their event, First Thursday, gives Joburg audiences the chance to experience two events on one ticket, with recent editions mixing genres in the hope of giving audiences two unique experiences in one night.
Founder Troye Alexander explains, “Our mission is to empower artists and curate fresh experiences for audiences through the cultivation of culture and effective promotion.” These experiences vary in genre and invite audiences to witness something outside their comfort zone.
Amongst these artists, promoters, and events, one thing is common: a human-first approach. Gauteng’s DIY scene is creating spaces based on intention and sincerity. That’s what people go back to – it’s not just the vibe. It’s the truth of it all.
Photography courtesy of Pleasure Palace & Salvia.
Refiloe Mathelela
texxandthecity.com
