In a music economy increasingly shaped by experiences rather than recordings, the most valuable move an artist can make is no longer just releasing great work or landing prestigious bookings. It’s owning the room itself. In Cape Town, DJ and cultural operator Tashinga’s Winehouse offers a clear case study in what happens when an artist stops being a line item on someone else’s poster and starts building an asset that speaks directly to who they are.
There’s an immediate clarity to NANI?!’s latest EP, Everyone’s Lookin’ At Me, before a single note is played. The artwork…
It’s not easy to go back. Especially when “back” isn’t a place but a version of yourself you’ve outgrown. For…
It starts quietly: a few artists pulling their catalogues, a few more muttering about payouts and principles. But lately, the…
It makes sense that Champion Trees’ latest releases feel more like autumn than spring, since they’re now singing to us…
These days, too many events feel designed for people who drift in, snap a few photos, and leave before the…
In recent years, many musicians and fans have questioned whether jazz still carries the same political charge it once did.…
A few years ago, landing a track on RapCaviar was akin to winning the lottery. Today, the same placement feels…
For a few hours on the evening of the first Thursday of September, Cape Town’s music scene witnessed a shift.…
By the time the last question was asked last Saturday afternoon, you could feel it: nobody wanted to leave. In…
