Anything Goes has built trust with its audience over 22 years through festivals such as Ultra, Kuye and Piano People.
The last five to 10 years have seen a growth in the number of music festivals in South Africa.
With globalisation, more international acts have performed in South Africa during this period.
The first edition of the AfroPunk festival, held eight years ago in Joburg, was one of the first platforms that showed what can be achieved in the local music festival landscape.
In that first edition of AfroPunk in 2017, the movement in the United States brought together the likes of Solange Knowles and Anderson. Paak & The Free Nationals, Laura Mvula, King Tha vs. BLK JKS, Black Motion, Spoek Mathambo, OKZharp & Manthe Ribane, and The Brother Moves On, to mention just a few.
The growth has been consistent in the following years from different parts of the country.
“The growth has been monumental. Post-pandemic, the world wanted to rejoice and celebrate life together more than ever before. That was the crucial initial catalyst,” founder and CEO of seasoned event organisers Anything Goes, Shaun Duwe tells The Citizen.
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Appetite for festivals and concerts
Anything Goes, the cultural collective behind concerts such as Kunye, Paradisco, and the Corona Sunsets Festival has been one of the leaders in the festival space.
Established in 2003, Anything Goes has more than 20 years of experience crafting festivals, events, nightlife experiences, and brand activations.
It specialises in elevating its partner brands into cultural icons through a blend of strategic expertise, creative excellence, and passion.
Music is the lifeblood of the festival, and Duwe says the long-term surge in the number of festivals and concerts is fuelled by the growth in South Africa’s music culture.
“The rise of South African music like Afro House and Amapiano has turned the world’s lens on us. That global attention has given our market the confidence to push boundaries and create more ambitious shows, meeting the intense demand for unique cultural events,” shares the experienced organiser and curator.
“… plus with so much interest in South African music, artists want to come and visit our country now more so than ever, which opens up the opportunity for more tours and more festivals, of course.”
Duwe says festivals are the ultimate destination for human connection, freedom, and expression.
“The dance floor is the best place where you can truly connect with your community, discover new fashion, find new music and meet new people. As the festivals grow, they become essential social pillars.”
Duwe says people have stopped planning their calendars around birthdays and have started preparing them around the cultural moments they create.
“The appetite is sparked by the quality of the communal experience.”
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Authenticity and credibility of festivals
Just like anything in life, with great opportunities come the charlatans who want to take advantage of these positive openings.
“Authenticity is no longer a marketing term. It is currency and operational insurance,” Duwe says.
“In a fragile market, if you lack a clear goal, a plan, and a transparent relationship with your audience, you will fail. That’s why our meticulous planning is crucial.”
Hey Neighbour festival is just one example of a paucity of meticulousness. The festival, which has only been hosted once, in 2023, was forced to cancel the 2024 and 2023 editions due to poor planning.
Several patrons who bought tickets for the festival, initially scheduled for August, have, for the past few months, complained about not receiving their refunds.
Only a few weeks ago, the organisers released a statement saying they’re working to repay the slew of concert-goers, but couldn’t provide an exact date for the repayment.
ALSO READ: Hey Neighbour festival ‘unable to confirm exact date for refunds at this stage’
Building trust
For Anything Goes concerts and festivals, not anything goes.
According to Duwe, their modus operandi starts by confirming the festival’s purpose, the audience they serve, and how they, as a festival, stand out.
“We run a rigorous process that vets everything from artist relevance and touring feasibility to venue break-even points and environmental factors. Our clear goal is risk management. We minimise risk by ensuring our events are built on a solid foundation of trust.”
The events company has built this trust in 22 years.
“There have been so many defining moments, but the ones that stand out are those that demanded the biggest leap of faith,” he says.
Duwe mentions The Deadmau5 Tour in 2011 as his first proper big-artist tour, which laid the foundation.
The first Ultra South Africa was also a massive moment for them, proving they could deliver a global gold-standard production.
“Also, Tyla’s homecoming tour was an incredible moment, not only for me, but the whole country. I look at each show like one of my kids: you need to love, nurture, and understand it from the inside out to watch it grow and build into something magical that everyone will love,” he says.
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Expectations for the festival summer run
For the summer, across 30 events in Cape Town, Johannesburg, and Plettenberg Bay, Anything Goes expects more than 100 000 festival-goers.
“We don’t just run one type of show; we focus on the market segmentation. We have our immersive lifestyle festivals, where the experience is more important than the music,” he says.
Duwe says they separate shows based on cultural DNA.
An event like Piano People speaks to the Amapiano audience; Kunye caters for the Afro House enthusiasts; Paradisco is pure Disco and House; and Ultra brings everyone together across multiple stages.
“Understanding that precise split of market taste is crucial to ensure every consumer finds their cultural home and every brand finds its target audience.”
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