With the initial clamour over whether the urban grooves genres was the right thing for the Zimbabwean music industry almost dying down, it’s time for the individual artists who play urban grooves music to take a look at themselves.
Initially looked upon as music copied from the western countries especially the United States of America, the local version of urban grooves music has grown such that one can list down more than 20 names of brilliant urban grooves artists.
And if Zimbabweans are honest, there has been some good music from urban grooves pot.
One need only think of Betty Makaya, Tererai, Jamal, Rocqui, Xtra Large, Decibel, Njikizana, 2BG, Mafriq and many others.
Of course, it’s true that most of these still use backtracks but with time most music lovers have come to accept them and appreciate the lyrics that have since changed from being mere rhyme to meaningful and infectious ones.
Their music is no longer a requirement for filling the void left by the removal of foreign music from the airwaves when the 75 percent local content policy was put in place.
Of course, there are some artists who are still seeking controversy for their names to be in the media but the majority are now working hard and when their names come out in the papers, it’s for the right reasons.
But be that as it may, a number of urban grooves artists need discipline. It’s true that fame can make people behave weirdly but when one is in music one is actually on a job and an form of lack of discipline does not augur well for any workplace.
Drunkenness is one of the most forms of indiscipline that plagues urban grooves artists today. There have been reports of urban groove artists who fail to perform after getting sloshed while on duty.
Next on the list are reports of public violence either between the urban grooves artists themselves or against members of the public.
Then comes casual sex at a time when the youth should be careful since they are the future.
And lastly, I don’t understand why most of these urban grooves artists crowd on street corners. It seems this is where all their misdemeanours emanate from. While some of the above forms of indiscipline are not only common with urban grooves artists, it must be pointed out that if urban grooves artists want their music to be accepted there is need for discipline.
The belief that controversy sells like what is done in the United States or South Africa does not apply here in Zimbabwe.
The music consumer in Zimbabwe is very selective and does not waste time in embarking on a silent boycott of musical products.
Others would talk about engaging managers but I think that as individuals, each artist must be responsible and be able to manage their fame. It’s difficult sometimes but it can be done.
By disciplining themselves, urban grooves artists would do themselves a great deal of favour because they would prove wrong those who view their genre as nothing but music for the misfits.