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Fred Zindi Music Column
It was a buzz, but an organisational nightmare. I am talking about the much-hyped Kalado show.
The venue was a sports arena at the Old Hararians Sports Club.  The police and their police dogs were lined up to intimidate those likely to misbehave as Zim dance hall shows  now have a reputation of violence.  The dogs, however, appeared to be scared of the large crowd as they refused to follow instructions to chase away unwanted people at the show. Hundreds of youths were milling around outside the venue looking for ways of getting into the show for free.

Inside the venue, there were no seats. The stage lighting and PA system were set up so that everyone could see the performances. Those who chose to sit on the grass floor would soon abandon the idea as thousands of ants were positioned to make a feast out of them for daring to invade their territory. This meant that almost everyone in the venue had a great view of the artistes but had to stand up all night. This pissed off quite a few punters to no end.

As I was removed from the crowd, I had a fair view of everything and it was quite a sight. A Nicki Minaj look-alike in tight green tights passed nearby and jumped high in excitement when the MC announced the first act. She started dancing in a sexually provocative way. 90 percent of the fans, I would say, were aged below 30. They were dressed like  Rastas outfits, men with trousers hanging down,ladies in above-knee Gothic and Lolita wear. The tension was high, with everyone really excited and ready to party.

When the first artiste came on stage singing along to backing CDs or music loops, everyone cheered and the atmosphere was electric. We thought that was the last time we would hear CD’s playing, but no, every artiste who came on to perform for the next five hours except Freeman, Winky D and Guspy Warrior, was being backed by pre-recorded music.

In came one spiffed up artiste who performed some unknown song while asking the whole crowd to raise their hands in the air to show him that they were having fun. The typical dancehall fans were buzzed on substances and laid back. So, despite his pleas, only a handful followed his instruction as he tried in vain to work up the crowd.

A lot of energy was also exuded when Guspy Warrior took to the stage with a live band. We heard ‘Ita Seunononga’ in the original version and its re-mixes. That was impressive.

Then came Lady Squanda who tried to impress the crowd by “bigging up” Chitungwiza, but there were not many ghetto youths from Chitungwiza. When she saw that this was not going down as anticipated, she tried in vain to shock us by singing “@#$& rema guava”. Typical vulgarity at its worst, and before long she was off the stage.

A few more dancehall artistes  such as Kinnah, Lipsy, Cello Culture, She Calaz, and Killer T were given the opportunity to sing along to their backing CD’s. When Cello Culture came on the stage, he was decked out in military style and I could not help overhearing two girls standing in front of me debating whether it was Jah Prayzah or someone else. When he started singing “Minana”, they were convinced it was not Jah Prayzah because they did not recognise any of the songs he sang. After that, Shinsoman took to the stage. He sang his usual hits, “Ndodiwa Mhani”, “Mama Devante” and “Mawayawaya” but these were cut short as he preferred to do a re-mix of his hits.

After that, the bearded Legend Elly of “Zunza Mazakwatira” and “Giroriya” fame invaded the stage and did his known hits along with a new one, “Mapurisa Akaitwa Party neMapositori” much to the dismay of the police who were wielding batons and acting as security at the show.

It was close to 1 am that the Ninja president, Winky D, dressed to kill in an all white batman style stage outfit came to showcase his talent. Everyone cheered when Winky D rushed to the stage and the atmosphere was electric. He swung his hands in the air from left to right and the crowd was also moving wildly with perfectly-timed hand actions. This was the second time that we saw a live band on stage. He sang all the hits including “TakaipaTakaipa”, then reaffirmed his position in a bid to please the ghetto youths who were present, by declaring that he was a ghetto youth from Kambuzuma and he will remain one despite moving on as he makes progress. He was in his best musical form.  The Vigilance Band which suffered a recent split, were very tight. The sound was incredible. I can still remember the pure bliss of the big octave bends during the chorus of “Musarova Bigman”. They had to be kicked off the stage after extending their act beyond the set time.

We then thought that it was now time for Kalado. No ways! More Zim dancehall artistes came one after another. It was 2:30 am and I had stood up in that sports ground for over five hours. The attraction was Kalado from Jamaica as we do not often get such a treat, but he was still not on stage.

I went to see a Mr Pazvakavambwa who was sitting next to his daughter, Yvonne, of Digital One International whom I was told was behind the organisation of this show. I told him that in my view Kalado should have come on stage before midnight because we all know what happens at Zim dancehall shows if the ghetto youths are allowed to stay up after midnight. He simply smiled at me.

There was only one drink outlet and it took close to an hour to buy a drink. Only four hired portable toilets were available for use by over 3 000 music fans and they were filthy. The crowd, both men and women ended up peeing outside the toilets. The cold in that open air venue was getting horrendous. Together with over 100 others, I decided to leave. Before I left, I gave an assignment to Mr Bangure to send me an e-mail about what happens at the show afterwards. Here is what he wrote:
“Fred, you were right to leave when you did. Kalado finally came on stage at 3:15 am and he soon ran out of steam.

The crowd did not appreciate him at all.  He sang his known hit, “Make Me Feel” and that was it. After two more songs, “Sad Streets” and “Bad Inna Bed” they started throwing missiles on stage and Kalado tried to duck them, but a few landed. It was only when he sang Bob Marley’s “Zimbabwe” that the missiles stopped. I guess it is because we Zimbabweans respect Bob Marley. After that, he came with another tune, a rendition of P. Square’s ‘Personally’  and the missiles started again. Kalado found it difficult to match the high standards of previous artistes, especially Winky D and missiles started raining on stage again resulting in him cutting his performance short.

“Tocky Vibes dressed in a purple outfit, rushed to his rescue from the hostile crowd to the applause of the audience.
“For a moment Kalado was reduced to a backing vocalist with the youthful chanter proving his mettle as he sang “Kure Kure”, “Ndini Ndinorira”, “Simudza Maoko” and “Mhai” This was followed by  Kinnah, then Soul Jah Love and when these two performed, the crowd was in ecstasy. The Kalado performance in my view was a big flop.”

“I am embarrassed. Perhaps Kalado did not perform according to expectations, but was there a need for such violence? In violence, we forget who we are. It would surely be better for the Zim dancehall fans, if instead of throwing missiles at artistes, they all stayed at home and read some novels.

“Where is this ghetto culture coming from? And what has happened to the so-called Zimbabwean hospitality where we respect visitors and show them love? We ought to be ashamed of ourselves. Can we let our reputation as good hosts in Zimbabwe be destroyed by these drunken fans? If that happens, no Jamaican dancehall artiste will be interested in coming to perform in Zimbabwe in future.

Could this violence be the reason why Busy Signal scheduled to perform at the Lion Lager Summer Beer Festival this year is not coming? These youths must just keep their violence in the mind where it belongs, but should never let it out. Yes we have shown the world that we are violent, vulgar and dangerous. Now it is time to crawl back to shelter.”

One love!

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