The Creative Hustles Talk With Phil Chard, Walter Wanyanya and Charlotte Kanter

Feb 17

Phil Chard was invited to be a panellist in an online discussion hosted by the British Council focused on Creative Industries and how best to build a sustainable business online

The conversation was recorded as part of the "Creative Hustles Space" and was hosted by Fungai from Enthuse Afrika.

The panellists were;

Phil Chard from Point Black Entertainment
Walter Wanyana from Ngoma Nehosho
Charlotte Kanter from Morse Code

Key Takeaways:

Creative spaces and collaboration are essential
Challenges are common in the industry and more so in Zimbabwe
Understand the environment you are working in.

Actionable Advice for Artists:

Create a dedicated creative space: Even if it's a small corner of your home, having a designated space for creative work can help you focus and be more productive.
Connect with other artists: Join online communities, attend workshops, and network with fellow creatives for support, inspiration, and collaboration.
Learn basic technical skills: Familiarize yourself with recording equipment, software, and troubleshooting techniques.
Plan and prepare for your recording sessions: Have a clear objective in mind, choose a quiet recording environment, and ensure your equipment is properly set up.
Embrace flexibility and adaptability: Challenges and interruptions are part of the creative process. Be prepared to adjust your plans, experiment with new approaches, and find creative solutions.

Soundcloud https://on.soundcloud.com/kg3ggfPSKzs1rKZn7

[This was made with the help of an AI transcription service and they may be grammatical inaccuracies]
Today, we're going to be speaking to three esteemed panellists. We have Phil Sharpe from Point Black Africa. We have Charlotte Kantor from Victoria Falls Gin, and we have Walter Wanyanya from Gomanewosho. They are going to be our three panellists, and they're going to be picking their brains on the best practices on how to create for international markets and how to expand your reach as a creative entrepreneur. So, now, we'll give it over to our panellists to give a brief overview and introduction of themselves, starting with you, Walter. Walter, please just introduce yourself briefly.
Hi um uh Thank you for having me. I hope you can hear me clearly.
We can hear you.
Um, yeah. My name is Walter Wanyanya. I am a creative entrepreneur um, I run a company called Ngoma Nehosho, which is an artist development company. It's a company. Um, and we do management and uh everything that has to do with um, enhancing the creative space, uh, more so through music than uh, than any other part of the creative sector. Yeah. So, that's a quick a quick introduction for myself.
Okay, fantastic. Over to you Phil. Please introduce yourself a bit.
Hey guys. um I'm Phil um I'm the managing director of Point Black. We are uh essentially a creative agency that focuses mainly on digital, well, content and then how that intersects with the creative industries and the arts. So, we also manage and release music for a few contemporary artists.
Yeah, I think that's it. Fantastic.
Thank you Phil. Over to you Charlotte. Please introduce yourself.
Hi guys. Um good to be on this chat with everyone today. My name is Charlotte Kantor. I am the uh Director of Morse Code, which is my marketing agency. Uh clear communication that cuts through the noise. I work with a lot of South Africa's, or sorry, Africa's top artists. I used to be the marketing director for the Victoria Falls Carnival. And through that, has sprung my latest venture, which is Victoria Falls Gin, a proudly Zimbabwean product that I am focused on promoting to the international market.
Fantastic. And my name is Fungai, just for reference. So, without further ado, we'll get right into it. So, the process of expanding your creative ventures beyond your borders probably takes time and a great deal of patience. How did you get started on your journey of creating for international markets and expanding your reach? We'll start with you, Charlotte.
Okay. So, I was the marketing director for Victoria Falls Carnival for, sort of, eight years um, and that's how I know its - - - - its. At that time, I always thought why isn't there a proudly Zimbabwean spirit? Because at the event everyone drinks, you know, um, Zambezi, Sapphire, Tanqueray, London Dry, and uh Victoria Falls in particular is such a special place, obviously. The water and the falls themselves, one of the seven wonders of the world. If you could bottle this, in an international audience would absolutely love it. It's also a fantastic tourism tool. And that's actually how Victoria Falls Gin started to, um the lady that started it, Luna Scott, she was on the board of tourism for the area. So, it's very interesting to think of products as, um vehicles to promote areas and to drive tourism, and that's how I got started with Victoria Falls Gin. I actually started it during COVID, because events became illegal. Um, so all my work personally dried up, and it was sort of a sync also, um, and in this case, I thought this is an idea I've had for a very long time, and now is the time to sort of grasp this opportunity and make the most of it. And, that's how I began creating the product for international markets.
Great. Great. And Phil, how did you get started on your journey?
Um how much time do we have? Uh I think I think in short, um I've always been somewhat involved in the creative arts, um from high school. Um, after that, um when I started working, I found myself um blogging. My business partner Ross already had started the blog and asked me to join and at that time, it was 25 to Life, which later became the African Hip-Hop Blog. Um and our audience grew um to the point where we started having brands knocking on our doors, asking to advertise with us, but we did not fully understand how to um pretty much process those payments. How to run ads. So, we we learned all that on the fly. And, the majority of those brands were international brands. So, um this is around um the last decade. Um I think of the first big brand to come calling was Heineken. And they had a massive campaign with um the James Bond movie. Then, there was Mtn South Africa, Vodafone South Africa. Um and then alcohol brands like Absolut Vodka, and then a few other brands under the Diageo stable. So, it's hard to say um what exactly we did because there was no deliberate plan to make international content. We were literally just blogging about the content that we loved at the time, which happened to appeal to an international audience. And then we started figuring out how to um adapt our blog to to meet those requirements.
Alright, great. Thank you for that. And Walter, how did you get started on your journey for on creating for international markets?
Um, not necessarily for international markets per se, but uh I I I focus more on the Zimbabwean market and Zimbabwean artists. And, then, uh organically we didn't uh got out of Zimbabwe, through the artists that we were working with, but we started off uh directing all our work uh specifically to Zimbabwean artists, but um, personally, I started off as a musician, as a bass player. Um, I played um uh, bass for a number of years. Uh for Celebration Choir, for a number of other artists. I recorded uh music for them. Um, and then, I got into business, running um an Apple authorized dealership, which then kind of put me more in touch uh with artists and creatives. So, basically setting up studios, setting up uh creative spaces with Apple products and that kind of thing. So, I started working a whole lot more with artists on that side of things. Um, but I was still playing at that time. Um and then, like what Chad said, you start getting requests for this and that and that. Uh helping artists. So, we then started, uh Gomanewosho, uh to formalize all the work that we were doing already with artists. Um, and then uh, um after that, we uh got uh artists on board to manage. We started managing uh Brian K, Victor Kunonga. Uh, we then ended up working with Pumacol. Uh managing Dr. Oliver Mtukudzi. And, um and then in the middle of all that, as well, we started the Jacaranda Music Festival, which is on its sixth year running this year. We also started the Jabulani Jazz Festival. And, um, and holding a whole bunch of concerts in between the big festivals, and the big concerts. Yeah. So, basically, it was very organic. Um um Again, like how Phil said it, we really did not intend um to have uh we didn't really have a direction, per se, kuti this is exactly how we wanted it to happen. It kind of like um we found our way, as we were going. And we found out these these needs, and this is what we're capable of doing. And then we just aligned ourselves to the needs that were there in the creative space. And, then, obviously, we turned that into business. Alright, great. Great answers for all of you. Very impressive. So, you know, the individual journeys, right? And you've talked about how any of you were approached by brands to do something with them to market them. And, some of these enterprises can serve as one of the deals that don't necessarily lend themselves to long-term engagement. What are the best ways to maintain these international connections and ensure that you continue to have engagement with international markets and audiences for sustained monetization? We can start with you, Walter.
I think when you when you when you're looking at the international markets, there are practices that are there. And um you just can't work, uh, if you're working still in your backyard. So, I would say it's it's knowing what international markets need, as a professional, and then you align yourself to that. And, knowing what the international market needs is basically just seeking out education. So, no one knows everything. And, no one has all the information in the world. So, the good thing about uh today's world is that information is literally in, you know, in our hands through our devices, and stuff like that. There are a lot of uh there's a lot of information that you can Google. There's a lot of um uh workshops and seminars that happen where information is given out. Um that's basically the quickest and easiest way for one to actually find out what's going on out there internationally. So, that one can then prepare and say, okay, here in the local space, this is how we do business, but on the international stage, this is what is demanded of you. And, people take you seriously when you do A, B, C, D. So, it's a case of just knowing what the international market demands in the creative space, and then you align yourself to that, so that you are marketable. You are you you you are a product that they can you know, they can receive without them feeling like, oh, we're dealing with another Zimbabwean who doesn't know how to do business, or we're dealing with another, whatever. Um, so it's just a case of just making sure you know what is needed, and then you make sure you prepare for that. So, that when the opportunities come, you are you are ready to to be able to be part of the international creative space. Alright, great. And, Charlotte, what have you found to be the best ways to maintain these international connections, and continue engagement?
So, I think when you're talking about playing on the international stage, of course you have to level up in all regards. So, they will use you once, maybe for a particular reason. Maybe it's an introduction, a connection. Maybe you worked on a project they were involved in. It's up to you to make sure they work on with you on a repetitive basis. Of course, as you were saying, um, you want to have longevity to these relationships. So, as Walter was mentioning, you have to educate yourself. What are the world-class standards in your field, as a creative, whatever that may be. And, all that information is available online, whether it's through Google, whether it's through learning academies. There are a lot of free courses. You have to update your own knowledge. You have to make sure your practices are relevant, and you really have to deliver world-class product. Because, if you don't, they'll choose someone else the next time. So, it's really up to each of us, or all the creatives that are on this call, um, to level up when it comes to playing on a world-class arena.
Interesting. I I I like the idea of leveling up, you know, to just keep on growing. And, Phil, what's your advice in order to maintain these international connections?
Um, I I think it's been covered pretty well by the other two panelists. It's um ultimately, if a brand is approaching you, an organization is approaching you, it's to affect their bottom line. So, if you're not helping them make money or making the job of whoever is contacting you um easier, you you're not going to get a return call. So, figure out what it is that they need for whatever their success metrics, figure out what those are, and over deliver wherever you can um so that they keep coming back. And, you have case studies for future clients, as well.
Alright, great. So, you know, you are always, probably, born and originally based creatives. It carries its own unique challenges and opportunities. In what ways have the experiences being a Zimbabwean creative entrepreneur, and the specific context of operating here benefited your work abroad? Sorry. Do you mind Do you mind repeating that again? You mind repeating that question again?
I said in what ways has starting out in Zimbabwe and its specific, challenging context benefited your work abroad?
Um, for me, personally, I would say Zimbabwe is a very hard place to work in any any any any area. Um being the creative space, it's actually even harder. So, because it's very hard to get started, because it's very hard to break to break out of whatever mold, it means that, you know, when someone is out there working, doing the same thing, maybe from another country that has systems and they're supported from either corporate and government, government, or whatever, when we are you know, when they are putting in um 10% effort into their work, and 90% comes from elsewhere, we are putting in 90% work, and then 10% comes from elsewhere, if not less. So, I found that when other people are doing whatever they're doing, we're doing, you know, we're going the extra mile to make sure that we stay, you know, um on the same level as possible. You know, competitors or counterparts, whatever you want to call them. Um so from my end, I actually find that as Zimbabweans, when we get out there, we would have, you know, we would have we like almost overpowered, even for artists um is is uh when you when artists are asked to perform, to come and perform on an international stage, uh because we work with very very minimal stuff. Um when you go out there, you are giving everything else that you need for you to be able to deliver a performance. So, when you get there, you're ready to do whatever needs to be done for you to be on the stage uh where other people are waiting for A, B, C, D to be done for them. And, then they can be able to deliver. But it's as if we We're ready to do whatever needs to be done. So, I find that we, you know, we have the kind of advantage um from that perspective. It's basically making the most of our negatives.
Um great. Making the most of your negatives, using the downsides to help you to make upsides, right?
Yes. Exactly.
Alright, great. And, Phil, what's your perspective on this? How has operating in this Zimbabwean context um affected you and benefited your work abroad, or vice versa?
Um, I think uh like, as Walter said, um Zimbabwe is hard. Um it's like that um frankly, not really. And, if you can make it here, you can make it anywhere. Simply because when you leave and you're working with um places or systems or support networks that are actually functional, it's child's play. But being able to function in this environment is incredibly difficult. So, it's now figuring out, if I'm in an environment where I know my revenue is not guaranteed. I I may have to pay salaries, or I may have to pay service providers. How do I do that? Um, that's the tough part. And so, it's figuring out how to build that base here in Zimbabwe. And, once you succeed here, um getting success internationally, it is easier from a work-wise, I think what's more difficult now, switching to the conversation around music. I've been in rooms where because our population isn't um large, and because the average median income is so low, Zimbabwe is almost doomed, as a negligible market. On certain spread sheets, it we literally appear as a province in South Africa. So, that's the difficult thing is now figuring out, how do you create something that is Zimbabwean, but still appeals to a wider audience, when Zimbabwe is not deemed as a viable market in certain aspects. Um but as Walter said, um if you just figure out how to work here, it'll The hard work um will come easier in other places. It's now figuring out how to market your your brand, whatever it is you're working on creatively, to appeal to a much wider audience, because Zimbabwe, relatively speaking, is very small.
Alright, great. I guess, when you are strong enough to lift 500 kgs under the worst gravity conditions, lifting 200 is going to be much easier. And, Charlotte, what has been your experience with this?
So, um just a little bit of background, I am actually South African. Um but I did find myself working, obviously on the Victoria Falls Carnival and now Victoria Falls Gin. So, I have the experience, as opposed to working in South Africa, and then again working in Zimbabwe. And I think I can um mirror what the other two speakers have said. It's a lot more difficult. It's a lot more challenging, but, of course, it's under those conditions that we ourselves are forged. If you can make it there, you can make it anywhere. So, I am learning about the struggles and the challenges. Um uh I saw an opportunity, I suppose, in relation to a product, as we say. That can appeal to a global market. So, it is much more challenging to work in Zimbabwe than it is in South Africa. But, um I think it teaches you a lot of things. And, we all come out of it stronger, in my opinion.
Great. Great. So, you know, cultural contexts are very important. Charlotte, you mentioned you are originally from South Africa, right? And, perhaps, you can start and speak off speak on this particular topic. What have you found with the greatest cultural differences between Zimbabwe and the more international space and how do you navigate these differences?
So, um I think because everything is not as easy in Zimbabwe, Zimbabweans just seem to like make it work, whatever the situation. Whereas, in other countries, and I I don't just talk about South Africa, I've lived in London, and I've lived in Ireland. So, I talk about sort of global workplaces. People do not have the same work ethic, by any means. They have a job to do and they'll do the job using the tools that are available. And, if they can't complete it that way, that's not their problem. Whereas, Zimbabweans, definitely, will make it work, come hell or high water. Um and I think that's an amazing um attitude to have. And, I think you know that's That is how people are going to weather the storm. Um and then, once you break out and you do get into the international markets, it's so much easier to get things done.
Alright, great. And Phil, you know, you are involved with a lot of international brands, from Heineken, Vodafone, and MTN, which means that there's inevitably going to be a lot of cultural differences. So, what are some of these differences that you've found across the corporate monetization, creative culture, and how do you navigate these differences?
Hmm, I I wouldn't really say um a cultural thing, or cultural differences. Um with the brands you mentioned, that's when we were running the blog. So, um when those brands would approach us, they would approach us because we had a larger readership in South Africa. So, they already had an agency in market. They already had the CI guide and brand messaging. All we were taking was taking those assets, and posting them on our website. Um I think where that most applies is now, where uh I'll be receiving briefs from let's say, Yum Brands, cuz uh there was a time we were the agency that's we're we're doing pizza hut or when we're working with Pinotage record for Jameson. Um there is a bit of education that we have to do when they give us a brief to say, this messaging might work globally, but in market, these are what the um buyer trends, this is what customer data is saying. And, then having the data to back it up. Um and then, ultimately, showing and proving once again, with the numbers, no matter what the cultural difference is, because we live in a capitalistic world. Um if a brand is approaching you, it's either one of two goals. It's either part of the CSR, which is corporate responsibility, which and they will clearly have defined goals that they need you to reach, or it'll simply be for an ad campaign. And, it'll be how much can you improve our sales. How much can you improve our visibility? Which is pretty much numbers. So, in that respect, the the only thing is this contextualizing the information um for local markets. So, the best advice I would give anyone in this room is, understand the people you are trying to reach, locally and internationally, and then know how to adapt briefs, or know how to adapt messaging to reach them. Um, that's the simplest answer I can give.
So, would you say that there are more similarities in terms of culture, or are there still little nuances that need navigation?
Um, that's such a such a vague question because it it it depends on who you are trying to reach. Um, I think Zimbabwean culture is very unique to Zimbabwe. Obviously, because like, South Africa is this massive planet that pulls everything gravitationally towards it. There is a lot of South African culture that's embedded in Zimbabwe. But, it depends in in which demographics you you're trying to reach, and who the people you're trying to speak to. So, there are definitely cultural differences, but, as a cultural practitioner, it's now incumbent on you to understand who you are trying to reach. You need to understand your audience. Um, you need to understand what they care about. What motivates them, so that ultimately, you can earn a living.
Alright, great. And, Walter, you know, you have this background in music, and you've worked with likes of Pumacol and Oliver Mtukudzi, lots of artists from different backgrounds. Do you find that the culture translates across or there are differences, and how best do you navigate these differences?
I think um, from my end, looking at the music scene, uh cultural differences are actually, you know, what bloo- uh us together. Or, what makes uh Zimbabwean artists out there valuable. Because, you have to present something that's totally different to what someone is already doing. So, for example, if um uh uh the HIFA Festival, or Bushfire, is creating a lineup of artists that are uh, that they want to put on that uh, on their stage. They're going to look for people that are going to present music that is different from what they can what they have locally. So, I find that the cultural differences are not necessarily it's not a problem, but it's actually a good thing, because if you are true to yourself, if you're true to where you come from, you're true to being Zimbabwe, you are actually more likely to be booked. You are actually more likely to to to have um um a seat on a table where differences are valuable. Where people are looking for people that are going to bring something that's totally different. Whether it's going to be music. Whether it's going to be how you look at um uh uh ways of selling products or whatever it is. I find I've found that being different, and being a Zimbabwean, and presenting yourself as authentically Zimbabwean as possible is actually a plus. So, I haven't all the artists that I've worked with and they've all they've all done well because they are actually different. And because they are authentically them. Uh, whether they're South African or Zimbabwean. They're not trying to fit in into any mold that is, you know, whatever is trending. So, if if if the Nigerian sound of music is what's trending. Um, they're also trying to fit into that. If it's Amapiano that's happening, they're trying to fit into that. Because, they think that's what the world wants. But no, I've found that if if people are stuck to the to their culture. If they're stuck to the what makes them unique. That actually is what um what people are actually are looking for. They're not looking for duplicates of themselves. And, we I can't be an American. So, so there's never going to be a time we're going to be a better American than an actual American or a South African, because I'm not South African. I can only be a Zimbabwean. And, they can't be me. And when you look at it like that, that's where the value is.
Alright, great answers all around. And I'm curious about that because there's a potential that some markets might be reluctant to embrace someone viewed as an outsider, particularly with elements like music where language and background and context play a huge a huge role. So, how do you create engagement with your target audience on the international stage and ensure that you have the best reach possible to your international market? We'll start with you Walter.
I think when it comes to music, really language or the language that you sing in. Uh when we're talking of the lyrics um uh I will give you an example of Dr. Oliver Mtukudzi. He's saying, like, 90 8% of his, you know, of his songs in in Shona, and the 2% is just a word, a sentence, and a statement here and there in one of his songs. But, he's singing a lot of his music in in Shona. And a bit of Ndebele here and there. But, um when you think of music and the way that I look at music is music itself is a language before you understand the words that someone is saying with in a song. So, there are songs that you can listen to that someone is playing and you have no idea what they're saying, but you feel the pain or you feel the joy or you feel the excitement or whatever it is, before you even go and Google and say, "Okay, what is this person singing about?" But, the music would already spoken to you. So, we have a situation where uh I don't think that it's it's it's critical. I wouldn't even advise any artist to say because you're trying to reach the British audience, you must be very you must be you know, you must be you know, um you must be singing only in English, because you're going to go to England, they speak English there. Because, you're going to speak you're going to go and perform in China, now you must learn Mandarin so that you can appeal to them. I don't think it works like that when it comes to music. Because, music, in itself, before you even put lyrics and words, is a language. And, that's one language that everybody understands without having any um uh uh someone that comes and and interprets and says okay, this is what this song is about, and this is what the song is about. So, we then add lyrics onto it. So, you basically now almost have two languages being uh uh being delivered within a song. I don't know if that makes sense, but we have put it across. But yeah, so I don't think the language barrier is is is an issue when it comes to music. I remember growing up, I would listen to a lot of uh rumba music, and rumba was big in Zimbabwe at the time. I didn't know what uh Yende Muny means. But, it's one of my favorite songs and we used to dance to it and you know, and if you played it in Zimbabwe, if you played it at any wedding, at any party, people would dance to it, they know the song. But, they may not even know what the song is about or what the lyrics are about. So, when it comes to music, which is what I can talk about. I don't know about the other uh the other scenes, you know. Uh when it comes to music I wouldn't really say language is a barrier um when it comes to relevance or you being heard by by by an audience that doesn't speak whatever language that you're singing.
Now, so the language of creativity and creation is universal.
Definitely.
Alright.
Yeah. So, Charlotte, would you say that there's some reluctance by international markets to embrace someone that might be viewed as an outsider? And, how do you create engagement to overcome that potential reluctance?
Um, so I think if you're talking about competition, yes, your comp your competitors are reluctant to embrace you. But, if we talk about international markets, I think it's the exact opposite. I think they are yearning for something different. I think they are open to embracing African creativity. Um and I think there's actually a huge gap in the market. You know, they're so used to If we talk about um, you know, I also work in the music space, space. I work with like, Tresor, and some of the top artists like um I've worked with U2, luminaries, et cetera. So, if you talk about music or you talk about creativity as a whole, I think they're so used to this westernized, American sort of approach, and I think they really want to embrace something different, and original creativity is coming out of Africa. And, I think that's something that sort of all Africans can be proud of, and I think um that it's a huge benefit, and it's something that we must keep forging forward with.
Thank you. And, you know, Phil, how do you feel about the potential reluctance of the international markets to embrace an outsider? And, if that reluctance exists, how do you best overcome that?
Um I I I genuinely don't think um any outside markets are reluctant to accept um Obviously, there are consumers who are going to like what they like, and they don't want to deviate from that. But, there's so many people, especially in the last um few years, coming out of the pandemic, who love something that's new, something that's different. Um there's a massive subculture of people in Japan, that love Amapiano music. Um I think my frustration, and I think the the thing that's holding especially Zim artists back is just a failure to adapt international best practices. Um I keep having this rant about artists who release music that's only available on YouTube, or Audiomack, um when there are so many options for them to use, digital service providers to make sure that their songs are widely available. Because, with so much music being released, if someone just happens to hear a song of yours that they like, that's probably the only time they're going to remember, "Hey, I liked that song, let me Shazam it." Oh, it's not available on Shazam. They're going to move on to the next thing. Stuff like that, which is holding our artists back, where they take all the time and effort to create this amazing art, but they don't invest in promoting and marketing that art properly. And, then, monetizing that art on the back end. There's um multiple cases, and multiple people that we've worked with, where they made a data loss. They've got uncollected royalties. They're not collecting their publishing, um, and for those of you who don't know, you only have 3 to 5 years to collect your publishing. It's what's called black box um revenue. After that, it's then dispersed to other members of collection societies. So, you have artists who are making this great arts, who are throwing money away all across the value chain, which then limits their ability to continue creating valuable art, which then limits the lifespan of their careers. So, that's the issue that I've found. It's not most of the people aren't receptive. They're very receptive. It's more so once you've made the the effort to create the art, make sure you're putting as much effort, if not more, in promoting that art and making sure that you are being paid for your talent.
Alright. And, you answered really just segways into the next question. What would you consider to be best practices for monetization and marketing of yourself, outside of the country? You mentioned the issues like them only restricting themselves to a singular platform, where they can be Shazamed and discovered, but then there's much more that they can do. So, what do you think are the best practices to ensure that they overcome the challenges in monetization and marketing? We'll start with you, Phil.
Um well, if if you're speaking strictly to music, um we could go on for hours, but I think the simplest thing is um whatever artist you are, whether you you are just starting out and you're using a DIY distributor, or you you're working with a major label, they all have um two kits. Um CDBaby, um DistroKid, they all have seminars, they all have free e-books, they all have resources available for you to understand, this is what uh needs to be done. Because, from their side, it's also in their benefit to make sure that they have success stories of people using the platform because that's how they then sell these services to other musicians. So, use what's available. I think Charlotte was also mentioning, just continuously update your knowledge base. The same applies as an artist. If you're spending time learning how to use um a sound card, learning how to use vocal compression chains and so forth, do the same with learning how to market your music. Um yeah, I'm not going to delve deep uh into it, unless you guys want me to. But, I think the simplest thing is just educate yourself on those processes, because it's going to benefit you in the long run.
Alright. By all means, give us whatever you think is relevant. Dive deep. That's why we're here.
As it's going to be a long and boring conversation, uh um I would say, like this start with the basics, like obviously mixing and mastering. Make sure that your music sounds as good, if not better, than the music that's been released by international artists. Obviously, you don't have access to these incredible studios and these incredible, uh, mixing and mastering engineers that major artists have. But, do the best with what's available. There are massive hits um from South Africa, for example, that were recorded in a closet, that were mixed and mastered on Fruity Loops. So, it's possible to do that. But, then, once your song is done, do you have a marketing database? Do you have relationships with radio DJs? If not, stop stop stop the music. Make sure you start building those relationships with the radio DJs. Know who the people that you need to contact are. Do these radio DJs play the music you are making? Make sure that you find the right DJs. Do you have relationships with um DJs in the clubs, or who are performing? Do you have relationships with promoters like Walter, so that after you've released your music and you've got you maybe built an EPK and a bio, you can approach him and say, "Hey Walter, I've released this body of work. I'm trying to get it to as wide an audience as possible. This is an example of my previous performances. I'd love to perform at your next event. That type of stuff. Um, do you have relationships with your fans? Do you even know who your fans are? Um, one of the big mistakes um people get stuck on is vanity metrics, like, "I have 100,000 Instagram followers." That's great, but do you know their names? Do you know their email addresses? Do you know their phone numbers? Because you don't know those followers. Uh, Meta knows those followers. And, Meta is never going to give you free access to reach all 100,000 of those followers. That is why you have to pay to promote your posts on those platforms to reach a fraction of your following. That's their business model. So, do you have one-on-one relationships with them? If you are performing at a show, can you contact them directly, so that um they attend? Do you know who your high-value customers are, or your high-value fans are, which is every time I release a body of work or every time I announce a performance without a shadow of a doubt, I know so-and-so is coming to my show. And, I know they're coming with three more people. And, I know they're going to buy these drinks. That gives you leverage, so that when you go to um event owner, or Walter, or Charlotte, whoever it may be, they now know, hey, this person might not have a large following on social media, but every time I book them, I'm guaranteed 50 seats in the house. And, I know those 50 seats are spending $10 at the bar. Stuff like that is very valuable. Far more valuable than a lot of the things that people seem to be paying attention to. Um yeah, I think let let me stop there, before I delve deeper. But, I think the most important thing is understand the best practices for releasing the music. Understand the best practices for um creating value within the value chain and proving your valuable cog within that value chain. And, then, maximizing on that cuz that's then how you can get heard outside um Zimbabwe.
Alright, thank you for that deeper exploration. So, Charlotte, what would you say are the best practices in terms of monetization? You know, you worked with Victoria Falls Carnival and everything, and international audiences, what have you found to be the cross-cutting best practices that would help anyone who's trying to reach a broader international market?
Okay, so I think something that's really amazing about our times is how we can reach a global audience so easily. If we talk about products, events, or musicians, you know, it used to be a case of in order to reach your target market, you put a sign up in your shop, hopefully it attracts people to come into your shop. And they're going to buy whatever your product is. Maybe you run an activation. Now, we have all these platforms. You know, Facebook, I mean, obviously, is not as popular anymore, but you look at Instagram, um Twitter, TikTok, you can essentially reach a world population. And, so, if we talk about best practices um across all fields, I would say quality content and consistency. There's no excuse to not be taking advantage um of the access to these global markets. And, there's no excuse to be lazy about your content either. Um so, if I talk about my product, which is Victoria Falls Gin, you know, I am creating sort of 5-10 pieces of content per week, and it's all quality content. If I don't have the skill set, I'm hiring a professional. So, that every single time I'm representing my brand, it is of a world-class standard. So, as an example, I have a photographer on retainer. I'm not an amazing photographer. I don't pay them that much. They have to give me X amount of photos per month, but that makes sure that everything that I'm putting out there is high quality and does represent my brand correctly. Um, so, I think that can apply to any field. So, if you can upskill yourself to deliver content that is of a quality that is going to bring results, because that's what all of this comes down to. Are you going to sell tickets to the event? Are you going to sell your product, or whatever the case is. Whatever creative field you're in, and the field I'm in, it's very very obvious if you've done a good job or not. If no one's at your event, there's nowhere to hide from that, especially if you're at the event. So, you know, or if it's your product, I can see my sales in real-time. If I put out a a drive to action to buy the product, and there aren't any sales, I mean it's very obvious to me. I can see the metrics of who visits my website. All these metrics are available. So, if we talk about best practices, I would say number one, the highest quality content that you can produce. And, number two, to be consistent about the content that you do put out there, and also to look at the metrics to see is this yielding the results that I want?
Alright. Great. Thank you for that. And, Walter, what would you say are some of the best creative practices for monetization, and consistent marketing?
I think um the two panelists have really gone in deep into uh what it actually, you know, what it actually takes for you to to be relevant and to market your products. I mean Phil is is a guru at at this type of thing. And, um, he's really gone in deep into uh into the music side of things, and and the same with um with Charlotte bringing in that other angle. I don't really think that I can add anything more to that, otherwise, we're just going to be repeating ourselves. But yeah, they've basically covered everything that I can that I that I would have stayed as well.
Alright, great. So, final question, before we turn it over to our listeners for some of their questions. You know, you've all had individual journeys. And, the beauty of that is that an individual journey can offer broader insights for some people who might be trying to do something similar to what you've done. What are some of the lessons you've learned from your particular journey that you believe others could benefit from in the long run, and in trying to market themselves to a more international audience? We'll start with you, Walter.
Um, I would say um my growth and my business growth has has been more to do with uh fostering and uh promoting the right relationships. And, the right relationships have been lead to uh the the the doors that we needed to open to open, and for us to do what we need to do. So, relationships are key. Um and I think Phil touched on that a little bit about having relationships with different people that can actually propel whatever it is you're trying to do. Whether you are a musician, or you're a promoter, or whatever it is that you trying to put out onto the international market. So, those relationships are uh um you develop them by being in the right places, and talking to the right people. And, um investing in going to places where you're going to meet the right people that are also like-minded, that are also going in the same direction, and doing what you're wanting to do. So, and and investing in those relationships. A lot of people just think that um, for example, when you talk of music, and when you talk of talent-based products, that because you are talented, automatically uh the work is going to come, automatically you're going to become a superstar, automatically you're going to be booked, but talent is actually a very small percentage of what's needed for you to to blow up or for you to be successful, or for you to be relevant on the international stage. Um obviously, it is needed, but it's not like the the biggest thing that's needed. So, there are a lot of other issues and a lot of other things that you need to do um for you to be able to be relevant. And, also that comes from all the questions that you've asked. You know, things like, "What do I need to do so that I can monetize my product? What do I need to do so that I can be heard? What do I need to do so that I can stay relevant?" You ask yourself all those questions, and then you actually go with them. So, it's one thing to to acquire the knowledge, it's one thing to sit in seminars and workshops and hear people speak about these things. It's one thing to also, even, tune in to something like this and hear about it and take notes. But, then if you don't actually do what's supposed to be done, it's not going to happen, you know, by itself. So, you actually need to get up uh off your chair and be able to actually do active work and to get out there and do it. Yeah. So, that's basically what I would say would be my my last thing there.
Alright, thank you, Walter. And, Charlotte, what are some of the lessons you've learned from your individual journey that you believe others could benefit from?
Okay, perfect. So, I think the last speaker actually touched on this quite well, but I think something that's very very important is to just start. If you have an idea, you're a creative, you have a dream, you want to represent this artist, or you want to release this music, or you want to start your own marketing agency, or you have an event or whatever the case is, you don't know how to do it. You just need to start. Um I've seen it so many times, people that have so much analysis paralysis. And, yes, of course, you need to plan, and um the journey of being an entrepreneur is difficult. But, really, the biggest advice I can give to anyone that's on this session, is as a creative, don't just have an idea. You know, often, we get stuck in our heads, and we have concepts, and you really just need to start, because otherwise, nothing is going to happen. I had my idea for Victoria Falls Gin for eight years before I did anything. And, it was only because of COVID that it was sort of pushed me off the bridge, and I had to jump. And, um, I'm sure there are people that are sitting on this call, and they have ideas, whether it's for product or anything, really. And, whether you you have a roadmap, you don't have a roadmap. You know, you just need to start the journey. Um uh If you have like a seed of an idea, the only way it can grow is if you plant it, you know. So, I think that's very important, just start. Because, you can't get anywhere unless you do. And, um what value can you offer? And, that that's across any creative field. So, I think another speaker mentioned this earlier, but if you can over deliver, even if you under promise and you over deliver, that's going to mean so much more than people that do over promise, and then they don't meet their deliveries. So, whatever the value is, you know, what's my product? That's something I think about a lot, you know. And that's how you do you build those personal relationships. So, it's not just a case of having a product. I have coasters. And, the coasters are the Big 5, and basically each place you buy a drink, you receive one coaster. So, the concept is that you're going to buy five drinks to get the Big 5 coasters, and they're free. And, that's an added value. Um I created a map, because when people arrive in Victoria Falls, they they don't know They don't know the area, and they don't know where they need to go. So, it's like this beautiful map, and people also get that. And, that has my branding on it. There was a conference, and I created these beautiful tote bags. So, it's all about creating this sort of like lifestyle brand with a lot of value. And, as a entrepreneur in any fields, um you know, I think it was Walter was saying that if a musician can bring seats to an event, that's a huge amount of value that you're going to offer a promoter. So, it's not just about making a product and selling it. It is about the value. And, it's about just starting, wherever you are.
Alright. Action beats contemplation. Thank you for that.
So, Phil, what are your individual lessons that you feel other creative entrepreneurs could benefit from, if they try to reach out to broader markets?
Um, yeah, I think uh like like Charlotte and Walter have said, "A, just start. And, then be consistent." Um uh um I try and do um even now, like I try write a blog post every day, or I I try and do something creative, even at my level every day. With the artists that I work with, um, we now have a challenge where every day, they have to send a song. Even if it's just a top-line melody, even if it's just an instrumental, but something, because that's going to force you to consistently hone your craft and get better, and understand how things work. So, if you are creative in any space, whatever you're doing, do that, or the minimum of that, every day. Jake Cole speaks about how every morning he wakes up, and he writes a verse. The first thing he does every morning is he writes a verse. So, as a creative in whatever you do, I would say have a routine that reflects whatever it is that you want to do, and do it consistently, so you become better at it.
Alright. Thank you for that. So, we're now going to open up to our listeners. I'm sure they have plenty of questions to ask you guys. So, to the listeners, please just wave and request to be a speaker, and I'll put you on so you can ask your question.
Okay.
Over, you know, lap, but also have, you know, specific uniqueness that allows one to take what they need to take from it and go on. I don't know if he still does it, but um I happened to be attending this concert anyway, but he had invited me to attend a Kendrick Lamar concert, and he had bought or he had got I think it was like over 10 tickets. Uh, might have been more. Walter can correct me. And, literally, Walter took a number of Zimbabwean creatives, took them to this international concert, and exposed them um um to this. And, stuff like that is incredibly important. And, I certainly do appreciate it, and I think it also speaks to um the the topic that we're discussing here. Is, wherever possible, try and expose yourself to things outside what you're used to, and things outside your environment. Um you won't really understand how to reach an international market if you aren't able to travel. Obviously, it's very cost prohibitive in Zimbabwe. But, if wherever you can, even if it's just catching a bus. Catch a bus, um travel, get to see other performers and then learn from how they prepare their set lists, how they do their sound checks, how they set up their stages, how they deliver their music.
Yeah, that's very important. I believe part of it is, you know, mentorship. It's a critical element that we don't always speak about and touch on, you know, someone who has been there and done that, helping other people who are still trying to come up, grant them that exposure to a different worldview, to a different perspective, and different markets and environments, so that they can continue to flourish in that. So, yeah, thank you guys for that.
Yeah, Phil. Um I actually forgotten about that. Thanks for reminding me. Yeah, um We did Yes. We did take about We took 15 artists uh to South Africa when uh Kend- Kendrick Lamar came to to perform there. And, the whole goal was, obviously, uh like, what Phil said, to expose uh our local artists to how things are done internationally, how you know uh artists execute their acts. And I remember uh uh it was actually quite a a really really great opportunity that we had, spending time together. But what we've done is we That was before we actually started doing the festival events that we do now. But, like you said, Phil, it actually cost a lot for us to be able to take 10 15 20 artists out out of the country, or creatives, or creative entrepreneurs, to expose them outside. So, what we've found was we we now do it the other way around. With the workshops that we do at the Jacaranda Music Festival, at the Jabulani Jazz Festival, and all the other events that we do. So, we run uh educational workshops, and um conferences. So, instead of sending 10 out, what we do now is we actually bring 10 in. So, what what we do there is last year, we had the managing director of uh Mistral from come to speak at the Jacaranda Music Festival. We had the founder and creative director from Bushfire come through. We had um Glenn come through, the managing director for Glenn 21, come through to speak in Zimbabwe. This is only just last year. We had um uh the managing director of MindScape from Namibia. um They hosted Burning Man after that, Delicious Festival performance in Namibia. That's another company. So, we bring We now bring in uh uh creative entrepreneurs from other countries to Zimbabwe, so that we can then now have 50 to 100 Zimbabweans in a room uh, you know, receiving education from the 10 that we've brought in. We found that that is a a a much better um um uh uh way of doing it, rather than to send 10 out. We bring 10 in, then we have 50 to 100 creatives in a room. It means that we can educate a whole lot more people that way, and then, we have uh maybe one or two that we work with and then we send out to the other places. So, we found that it was actually much easier, and much better to do it like that. That's why we did now uh started doing workshops and the creative uh conferences that we attach to the events that we do, and also the festivals that we run. So, yeah, that's that's definitely something that that really really helps. So, I encourage people that whether it's Jacaranda Music Festival that's doing it, whether it's Shoko Festival that's doing it, anyone that is doing that, I think also, in in Intruz, and uh uh British Council, and all these people, they do a whole lot of these educational conferences. So, if you really want to learn, and you are hungry for it, attend these things. They are important, and you will learn a lot. And, uh, then after obviously learning a lot, then you can action it. So, yeah, it's definitely important.
Thank you for that. It's very insightful. So, we have Morse on line, who has a question. Morse, you're free to ask your question.
Uh, hello, I am assuming maybe that 10 is mine. Um

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