Turning Passion Into Music Business Power
Written by Hlengiwe Mkwayi
Leading up to one of the most exciting music festivals of the year in South Africa, the Standard Bank Joy of Jazz held The JazzWise Youth Music Business Workshop, which is a youth-empowerment programme that aims to equip with tools to navigate music and creative industries. Facilitated by Mandla Maseko, the day brought together high school learners, students, and young professionals with industry experts, creating a space for mentorship, networking, and skills transfer that ensures the next generation of artists and cultural entrepreneurs are prepared to thrive.
In this house we leave no man behind so here are some nuggets we want to share with YOU to help you on your journey of becoming.
The Art of Booking
This session pulled back the curtain on what it really takes for artists to secure gigs and sustain careers in a competitive industry. Led by a panel featuring cultural entrepreneur and event producer Vuyo McGlad of Narow-Bi, veteran DJ, music producer, and promoter Kenny Nzama (Kenzhero) of Untitled Basement, and booking agent Sifiso Dlangamandla of the Makhelwane Festival, the session offered practical insights into positioning oneself as “bookable.” The discussion gave emerging artists a blueprint for moving beyond talent and into sustainable opportunity.
Kenzhero:
By a show of hands, who thinks they’re going to be the Beyoncé of their generation? Okay, that’s most of you, right? Just off the record, here is a hard truth: not everyone is going to be a star. And that’s okay. Some of you will become the people who help build stars. Not everyone has to be in front of the mic singing. Some of you have an incredible sense of style, some of you are studying accounting, some of you are pursuing law. Guess what? The star in your crew needs those skills too. We can all be stars, but in the roles we play to create something bigger together. So if you feel like you’ve “failed” at being the main act, remember that you can still make it by helping someone else shine. With that said, I have 2 key points to feed the reason why I’m here.
Audience development is key.
Platforms like Instagram and Facebook give you insights into who follows you; their age, gender, and location. That’s valuable data you can use to understand and grow your audience. For example, when I started DJing back in 1998, I realised around 2010 that almost all my followers were men. So I launched a party series called Party Songs for Girls to intentionally bring women into my audience because let’s face it, there’s no party without women. Now that’s strategy.
Imagine sitting down with a promoter and saying: “I’ve got 50,000 followers worldwide. 20,000 are in South Africa, 10,000 are in Joburg. 55% are women, and 2,000 are working professionals who can afford tickets.” That’s powerful. Promoters can’t just book you because you’re talented; they need data.
Put in the hours and build experience.
You’ve probably heard of the “10,000 hours” rule. But those hours don’t count if they’re just in the shower. They count when you’re singing at family birthdays, DJing at parties, or styling friends for events. That’s how you build experience. I started by throwing my own parties, sometimes even guilt-tripping family members into attending.
Your birthday is the easiest first gig: invite people, create a vibe, and suddenly you have an audience. If your family and their friends love what you do, you’ve already started building a reputation. By your third or fourth event, someone new will book you because they saw you perform at one of those parties.
Sifiso Dlangamandla:
Be a message driven artist.
Bookings, for me, are about building a conscious community, not just entertaining. “Community” extends beyond local residents to include awareness of the environment and society. I generally prefer artists whose music carries meaning and a sense of social consciousness.
If you look at someone like Thandiswa Mazwai, her music carries a strong message. Through Belede, you can hear how much depth goes into her work. Even with newer voices like Tando Nje; I pay attention to artists who are emerging with something meaningful to say.
Vuyo McGlad:
I’d like to preface this by highlighting this: friendship doesn’t always work in management. You might have a close friend with talent, and you think, “I’ll ask them to be my manager.” But that often doesn’t work, because now your friend might also want to be a superstar. Competition can get in the way. So the first thing to remember when looking for a manager is: it shouldn’t be someone who doesn’t have key management skills on the basis that they are close to you. But here are two things:
Presentation and professionalism.
When it comes to getting booked and earning money, think of yourself as a package. We get so many emails from performers with selfies as PR images, and while that’s part of it, you really need to invest in your craft. Investing in your craft isn’t just about sending emails to promoters; it’s about creating a proper package: a professional bio, polished PR images, and quality content that represents your brand well.
To echo what Uncle Kenny said: even if you’re not a full time musician yet, if your craft is strong, you can get booked. Make sure your package reflects that dedication.
Marketing Techniques For The Art of Jazz
For the 3rd session of the day, brought together was a powerhouse panel featuring Judith Mugeni a Global Marketing Strategist, Lebo Lion who is a marketing strategist and entrepreneur, and Nadine Elie a brand strategist with extensive experience in media marketing. Explored was how artists and cultural entrepreneurs can position themselves digitally in today’s competitive music landscape. The discussion unpacked practical strategies for building visibility, cultivating audiences, and turning creativity into opportunity. From branding and storytelling to audience engagement and the smart use of digital tools, the panel offered a roadmap for artists who want to ensure their work doesn’t just resonate on stage, but also reaches the right ears, venues, and markets.
Judith Mugeni
Personal Branding Matters
Think of yourself as the CEO of Me Inc. Your first job is to produce great music. Your second is to brand and market yourself intentionally. That includes:
- Defining your story.
- Understanding your target audience (aficionados, casual listeners, or cultural explorers).
- Being consistent and present.
- Using tools like hashtags, photos, and video content to show up where audiences already are.
Marketing is also about perception. A photo with the right people can shift how others see you. A short video inviting fans to your show can draw them in. Your backyard can be your first stage — you don’t need a festival setup to create content.
Strategic Storytelling & Targeting
Social media is powerful, but don’t just post. Think in terms of visual storytelling. Content builds visibility. Use Instagram, Facebook, YouTube to share performances and behind-the-scenes content. Even small backyard shows can become content that grows your visibility.
Build and Nurture Your Community
Your jazz community matters. We saw it though NSAt: Langa Mavuso, Zoë Modiga, Mpumi Dlamini, Mandla Mlangeni; all from the same school, and now all thriving. You may not see it now, but this is your network. Build together, support each other, and bring one another up.Your peers are your future collaborators; strong networks open doors for shared opportunities.
Nadine Elie
Diversifying Your Portfolio
Build your brand so it can stand alone outside of a group and stay consistent to secure long-term campaigns and collaboration. If you’re not booked with the group, your brand should still hold its own. The key is consistency across both identities, which makes you marketable for collaborations, campaigns, and ambassadorships that often run six months to a year. If you change your brand halfway, it becomes a problem.
Branding & PR
Keep your story consistent across micro (personal), macro (industry), and market (community) levels.
PR and media amplify what’s already established; they can’t fix a broken brand. Digital marketing amplifies reach but also creates vulnerability (public scrutiny). Your brand must tell the same story on stage, off stage, online, and abroad. If your digital footprint contradicts your pitch, no one can “save you” with PR. Consistency builds trust and long-term opportunity.
Lebo Lion
How many of you actually know what a personal brand is? We hear it all the time, but few can define it. Some say it’s who you think you are, others say it’s who the world thinks you are. The truth is, most people nod along without really knowing. Yet, personal branding and navigating social media are two of the most valuable skills for the future of work and commerce.
A personal brand is your commercial DNA, the parts of you that can be leveraged to access opportunities and make money. It’s not just about being authentic, it’s about being intentional and building something that sustains you. Think of your brand as what your stakeholders (whether they’re clients, fans, collaborators, or followers) need to know about you in order to engage with and support your journey.
Social media makes this possible. For Africans in particular, it’s revolutionary. It gives us agency over our own stories in a way that traditional systems never have. It’s your stage, your office, your platform. What you post says something about your brand at all times. Be mindful, not fearful. Use social media to showcase your creativity, because these platforms are designed to amplify talent.
Remember, being online makes you a global player. Social media is a marketplace of billions—far bigger than any venue you’ll perform at. Your followers are not just numbers; they’re your market, your community, and your research lab. Engage them, learn from them, and build with them. A strong, engaged community converts into opportunities, income, and growth.
