When will we learn?

DARA E. HEALY

OK, I admit it. I still vividly remember LL Cool J just a few feet away from me, crooning, smiling and handing out roses. It was a surreal and mesmerising experience to share the same space as this mega star.

Artists sing the songs that give our lives context. They capture specific moments in time – when we came of age, or fell in love. People organise concerts to capitalise on our emotions and nostalgia, essentially, to make a profit. We, the fans, go to the shows trusting that at least they will respect us. Unfortunately, after years of mistakes and disappointments, when will we get the international concert right? When will we learn?

My fascination with LL Cool J was not enough to ease the embarrassment I felt over the fact that Diana Ross (yes, the global icon) was cut short to make way for another artist. That situation happened almost 20 years ago, but the same mistakes are still being repeated in one form or another. “Oh sorry, we do not have any chairs. Yes, we know you paid over $1,000, but you can only have two drinks. My goodness, you mean we need to get permission from the environmental authorities to build a structure in an environmentally sensitive location? Oh dear, we are really sorry about that stage falling on you. Oh, you expected the VIP area to have clean chairs and a good line of sight to the stage?”

The latest curious case of a certain dancehall artist is another in a long list of concerts gone bad. Prior to this fiasco, I noted that international artists were contracted for other events but they just sang a couple songs and left. Others did not show up at all.

Every time I read about these issues, the shocked face of Ross resurfaces and I push out my bottom lip, make "couya mouth." In truth, I do not feel vindicated by my decision to stay away from these ill-fated concerts. What I feel is a great deal of anger and frustration at the way we continue to disrespect patrons, and allow ourselves to be insulted by the arrogance and dishonesty of international performers. I read someone saying that local artists are not able to generate similar crowds. Was it not an artist from TT that sold out Madison Square Garden – a venue that can hold 20,000 people – more than once?

After decades of flops, it is important that we focus on solutions. What are the gaps in the system? For instance, is there enough scrutiny before they arrive? TT artists seeking to perform in other countries are faced with extensive rules and restrictions. From references to evidence of the ability to pay for all expenses, the process is gruelling and exhausting. Are international artists subjected to the same degree of rigour to perform here?

Is there oversight of contractual agreements? Although the arrangement is a private one between the promoter and the artist, are there global standards to which both parties should adhere? What are the protections against an artist hired to perform for a certain amount of time, who then decides not to honour that commitment? When concerts go wrong, the issue is no longer a private one, but extends to the rights of the consumer. Patrons often have little recourse for inflated ticket prices, inferior service or money spent on clothes, hair, make-up and other preparations.

While it is important to investigate if there were any instances of fraud at this latest concert, it is equally necessary for relevant agencies to develop national standards for the hiring of international artists. We already have countless examples of all-inclusives, cooler fetes and any number of gatherings that are well organised, safe and enjoyable, so developing such guidelines should not be difficult.

Concerts, quite literally, bring the music and fantasy of show business into our lives. The experience, when done well, can generate memories for a lifetime. However, before we plan another show with international performers, it would be wise to remember that without the dedication of the fans, artists would be relegated to singing and performing to themselves. International performers with integrity know this and give of their all, like LL Cool J and Diana Ross did.

So, who is the show for? Until promoters can properly answer this question, their concerts will continue to fail.

Dara E Healy is a performing artist and founder of the Idakeda Group, a cultural organisation dedicated to empowering communities through the arts