I recall being actively involved in the local music scene between 1977-1979, just before heading off to Trinidad to study engineering. After having an opportunity to reacquaint myself with the industry some 17 years later, I have had to ask myself, what has changed? If there are changes, have they resulted in a stronger or weaker local music industry?It is clear that the technology has changed and there appears to be more hotel bands. We see far fewer public performances of the dance bands. Before we had Tru Tones, Quavers, Hibiscus, Big Six, Larc En Ciel, Merry Makers, and many other bands doing public shows that St. Lucians could enjoy. Back then there was a lot more support for local bands. I have also noticed that many band musicians today make $50 per gig. I made $75 per night in a quartet 18 years ago back in 1978. Clearly the salaries have not improved. Another thing that is for real, is that there appears to be a lot more bickering and back-stabbing than ever before. There is a greater level of production of recorded material as recording has become more and more affordable. Many musicians have midi studios in their homes.
For some time now, I have been asked by several musicians to write something about local music industry. I stress the word industry, because this is where I would like to place the emphasis in this article. As a developing country, with limited resources and limited prospects for creating new employment, St. Lucia needs to have all of its economic sectors strengthened and working effectively. We often speak of the retail sector, the tourism sector, and the manufacturing sector as contributors to the economy. Very rarely does anyone refer to the music/entertainment sector as a serious contributor to the economy. In fact, I called the Ministry of Culture and the Ministry of Finance to ascertain the level of contribution of the music sector to the gross domestic product (GDP) of the country and was laughed at. There were no statistics. "Where are you going to get that?" I was asked. Obviously, it would be extremely difficult for governments and the population to appreciate the true value of the music industry if we are unable to indicate its contribution to the economy, and more so if we are unable to assess the industry’s worth as a sector which produces employment for St. Lucians. It is my guesstimate that some 250-300 persons (musicians, "roadies", sound techs., etc.) are actively engaged in the music industry. These are 300 persons our public sector cannot absorb by any stretch.
Before placing the industry under a microscope, I must first provide an analytical framework for my exposé. We can begin by asking, what are the critical elements of a strong music industry? A partial listing would include: 1) strong marketable products; 2) professionalism and integrity; 3) viable markets; 4) cooperation within the industry; 5) effective management; and 6) support and recognition from the government.
What are we Marketing?
It is axiomatic that "if you have nothing good to sell, then no one will buy". The product comes in two basic forms, live music and pre-recorded music. St. Lucian musicians primarily engage in marketing two musical genres, calypso and reggae. To a smaller extent, they explore the zouk idiom. Fundamental principles of competition and marketing suggest that one must either offer the same competing product at a cheaper price, or offer the same product but of superior quality and charge more, or offer a unique product. In all cases, one must offer what audiences want. On a large scale, I am not aware of any unique musical offering, neither am I aware that we offer similar products of superior quality. Perhaps that explains why there is very little export of St. Lucian musical product. There is small group of very creative musicians that export their product.
Producing marketable product requires a strong creative culture. To achieve that, first and foremost, our musicians and performers must be skillful. We must also have access to affordable technology which would allow for the production of quality product. While, in my opinion, we have a number of very talented musicians, there is an apparent lack of expressed creativity, and/or that the expressed creativity is simply not being marketed effectively. I believe that both factors prevail. Most of our younger bands in particular are cover bands who make no attempt to offer alternative arrangements of songs. This brings me to the skills level of many of our musicians. Many young musicians rush to form groups before properly honing their skills. Most can barely explain the meaning of a triad. If St. Lucian audiences purchase this sort of talent (or lack of), then we are guilty of perpetuating mediocrity.
Do we Function with Professionalism and Integrity?
This is one area where the industry suffers most. There are all kinds of horror stories. There are stories of people who do not get pay for their work, bands and musicians that simply do not show when they are scheduled to perform, musicians "high" on the job, bands and/or musicians that do not show up on time, the lack of written contractual agreements with band members, promoters, or employers; the dishonoring of even written contractual arrangements, late payment of musicians, the poor management of events, etc. All elements do one thing - they perpetuate mediocrity and audience skepticism.
I recall recently being asked to perform at a well-known venue with no discussion of fees. When I asked what would be the remuneration, I was hastily told that there was no money. Now why would anyone want to work hard at developing a skill and allow someone else to exploit it for their financial gain without being compensated? I do not mind playing for free, but I would like the decision to rest with me. Amazingly enough, there are many promoters who are not willing to treat musicians as professionals, and there are many musicians who do not demand that they be treated as professionals. If musicians were to demand professional treatment, they would be scorned. To put it in a nutshell, the industry lacks sophistication. The music industry like any other, involves trading relationships for which professionalism and integrity are key ingredients for effectiveness.
Are we Exploiting Viable Markets for St. Lucian Musical Product?
I have often wondered about the market constituents within which St. Lucian music industry participates. Or rather, what really is the market focus of the industry? Do we engage in international, regional, and domestic markets? What sort of market penetration does our music industry enjoy? Would I hear St. Lucian music on CBC in Barbados, or Gem Radio, or on a community radio station in Brooklyn or Toronto? I do not know what the statistics are. Regional and international penetration would require the existence of quality recorded material. My guesstimate is that calypso forms the bulk of or prerecorded material. Few people like Invader, Parrot, and Jaunty have enjoyed some measure of regional and even international penetration. A number of individuals contend that the compositions are too parochial to enjoy any level of regional penetration. Calypso compositions in particular, seem to suffer from this weakness. The over-emphasis on problems and issues in St. Lucia would rarely interest a listener in Anguilla.
Further, what marketing machinery is currently facilitating the regional and international marketing of St. Lucian music product? What steps are being taken by the producers in the industry to produce exportable product? What quality of product should we attempt to market for regional and international consumption? It is clear that there is a need for a critical look at how the industry markets itself and its products.
Next week, Part 2 of the article will examine, cooperation within the industry, the need for effective management, and the role of government in facilitating the development of the industry.
