Maria McCloy
Polygram’s Johannesburg outfit Bayete and Sony’s Jennifer Jones in Cape Town are the musicians wallowing in strong rumours that either act could support Michael Jackson’s HIStory tour to South Africa.
Any label is allowed to submit potential support acts, and no one has been confirmed yet, but negotiations continue between promoter and Big Concerts boss Attie van Wyk and Jackson’s managers ahead of the concerts on October 6, 12 and 15.
Van Wyk could not confirm anything, but it’s known that Jackson ultimately gets to decide what material suits his spectacular show, which rules out heavy metal or Zulu traditional.
A kwaito act like Boom Shaka, M’du or Abashante? “It could be …”
He wouldn’t say which artists had been submitted because the musicians themselves are not informed. Losing the contract would be something of a blow.
Who wouldn’t dig the privilege of performing in superb facilities and interacting with the only real white man in the world? (Even the biggest South African artists are subjected to lousy sound, lighting and non-existent changing rooms.)
CCP records managing director Harvey Roberts says he’s working on lists of artists to be submitted for the concert and also for six other international acts which are expected in the country within months. All he would reveal is that Abashante is one of four acts on its list.
Don Laka, head of Kalawa Jazmee records – home to Boom Shaka, Brothers of Peace and Trompies – said he hadn’t been approached, and believed it was because “it’s a Sony thing and they might use their acts. Asami issues statements to bigger companies like Polygram and CCP.”
He said an act like Boom Shaka would be perfect for a young audience that is into Jackson: “If they did approach us, obviously we’d love to do it. Who wouldn’t?”
Lance Stehr of independent label Ghetto Ruff (Prophets of da City and Skeem) agrees that big stables might have a monopoly. “It costs Sony money when its act is here. What it does is put on one of its local acts.”
Jackson’s presence spectacular lighting, staging, audiovisuals (that include at least three references to Mandela) and special effects make for a real thriller of a concert.
Duncan Gibbon, local head of Sony’s marketing direction, has watched two Michael Jackson shows and describes them as “being in the true showbiz tradition”.
“You walk out of there absolutely staggered. He takes you through eras and recaptures how it was at the time. He goes to a great deal of trouble to entertain. It’s not just a guy getting up there and swinging his hips.”
Gavin Taylor, production manager for the event (as well as the U2 concert), watched a Jackson show in Nice two weeks ago, and describes it as “spectacular”.
It ain’t easy putting on a show like this, and the costs are enormous.
There will be eight touring buses, 40 trucks of equipment and a crew of 147. The stage is 60m wide, 25m deep and 2,8m high, with twin jumbo screens on either side of the stage, hundreds of moving lights and effects plus the most advanced sound techniques.
It will take two hours to set up the stages for the South African concerts, using a 50- ton crane, nine forklifts and 140 stage hands.