Summer Gig Guide: NarowBi
Owning a publication lets me relive powerful memories, like my first NarowBi event. Walking in felt like discovering a whole new community—outrageously cool outfits, Yolophonik blending Brenda Fassie’s Vulindlela with Kaytranada, and a palpable sense of safety and freedom. NarowBi, with its transformative and rebellious energy, has become a cornerstone of Joburg’s entertainment scene, redefining movement, music, and space.
What inspired the inception of NarowBi? Tell us about that moment—what sparked the decision to dive in, and how did you decide, “We’re doing this, and here’s our vision for it”?
Firstly, it was mostly inspired by my desire to create a space where I could truly be myself and connect with like-minded people. I wanted it to be a place where everyone feels comfortable and welcome. You know, it’s not about being one of the “cool kids” — it’s for everyone. It’s for anyone who feels like a misfit, like they don’t quite belong anywhere else. At NarowBi, they can feel safe and embraced, like, “Yo, I belong here.” That’s one of the main things that drove me to start NarowBi.
Secondly, I wanted to create a platform for non-commercial artists. I noticed that at most events I attended before NarowBi, the focus was always on established artists or people with a significant following. And I thought, “No, man, why can’t we showcase the talents of those grinding on SoundCloud or doing bedroom recordings?” That idea — giving a platform to these underrepresented artists — really inspired me as well.
Icebreaker: If you could only listen to three songs for the rest of your life, which ones would you choose?
- Kamasi Washington – Truth
- DJ Lag – Yebo
What did the process look like?
It started pretty casually. I posted on WhatsApp — you know, back in the day when we used those copy-paste YouTube links on WhatsApp statuses? I just put it out there: “Yo, I think we should throw a party.” I got responses from about five or more people who were super supportive and keen to get involved. That’s when I thought, “Okay, let’s do this.”
From there, I started figuring out the logistics. I found a venue, and the original price was R5000, but I managed to negotiate it down to R3000. I almost booked the event for a Thursday, which would’ve been a disaster financially, but thankfully I worked it out.
Next, I created a flyer on Canva and posted it on Facebook. And, of course, I started an Instagram page because, honestly, it’s not a business if you don’t have an IG page these days. Once the posts were live, I began receiving emails from people wanting to perform. There wasn’t much curation at that point — I just gave the performers who reached out a slot on the lineup. And that’s how the first NarowBi event came together.
What would you say are the key values and principles that have sustained NarowBi’s journey thus far? How do those principles shape your business model?
Honestly, I’d be lying if I said there was a detailed plan from the beginning. At this point, it’s more about principles we’ve implemented along the way. One of the most important lessons we’ve learned is how to be financially savvy — knowing how to manage money and avoid overspending on events. That’s been a critical factor in keeping things sustainable.
Another key aspect is understanding our target audience — knowing who they are, what they want, and who they’re listening to at any given time. For example, we’ve noticed that many of our attendees aren’t looking for Amapiano anymore; they hear it everywhere else. NarowBi offers them an alternative, a platform where they can explore something different. This deeper understanding of our audience has made a huge difference.
As NarowBi has grown, in what ways have you had to adapt or shift your approach? How have you maintained resilience and rebellion against norms and kept that spirit alive through these changes?
We’re also not afraid to take risks. For instance, we’ve had lineups entirely made up of upcoming artists, and people still show up. That’s because we’ve gotten better at curating our events. Whether it’s DJs or other performers, we don’t just throw people onto a lineup — we focus on thoughtful curation. If there’s a specific concept for a show, we work hard to build around it. Even if it’s part of something larger, like a market, we ensure it has its own identity and feels cohesive. It’s all about creating an experience that resonates.
We’ve also evolved in terms of branding. We now understand the importance of having a proper brand guideline and maintaining a consistent CI (corporate identity). These details might seem small, but they make a big impact. Overall, we’ve grown a lot, both creatively and operationally.
What are your thoughts on Johannesburg’s current nightlife and entertainment culture, and where do you see it heading?
I think they should incorporate more live entertainment into the nightlife scene to truly bring the city alive. It shouldn’t just be about DJs — there should also be live acts. You can’t go out late at night and only experience a DJ set; there needs to be more variety. Adding live performances to nightlife would make it much more dynamic and engaging.
What’s your favourite part of South Africa’s contemporary live music and performance scene?
We’re just different. South Africans are deep listeners in a way the rest of the world isn’t. The music culture here is something else entirely. Everyone is coming to South African artists and producers, not just because we have the numbers but because we genuinely listen. The listening culture here is on another level.
It’s like when we used to write lyrics down in notebooks — not just to sing along, but because we love and truly connect with the music. That passion is unmatched, and it’s why South Africa stands out on the global stage.
The summer gig guide start here so secure your Tickets to NarowBi
#OutrunTheHype #Summergigguide2024
