ESWATINI TOP 20 BACK ON EBIS

 MBABANE - The country’s flagship radio music show is back ! With arguably has one of the most listenership, the Eswatini Top 20, is back on the airwaves for a new season with a few tweaks. 

Also known as the radio charts, the Top 20 returned last Friday at 8pm, with 20 new entries dominated by music from Eswatini.

The show which airs on Eswatini  Broadcasting and Information Services (EBIS) is back to being presented by the popular Double Impact team of Bongani ‘Bobo’ Dlamini and Bongani ‘Tizalami’ Dube following the return of the former having taken a two-year sabbatical to pursue further studies. In his absence, the show had been steered by Lindelwa ‘Lindz’ Mafa and ‘Tizalami’ until December 2020.

The return of the show marks big oppourtinities for  an artist, manager, a music business entrepreneur. Charts can turn music from an under-the-radar creation into an acclaimed piece of art, thanks to plays on radio airplay stations, social media rankings, digital downloads, streams on music streaming services and more. Music charts tell most people what to listen to and where the whole music industry is going for the time being.

Charts are forever adapting to the music industry. Many years ago, for example, audiences had to wait for Channel YemaSwati, Eswatini Tv or Channnel O to play music videos, or for EBIS local radio station to play songs that would lead music lovers to buy cassette tapes to listen to on repeat. Popularity nowadays is largely based on streams, YouTube views and even social media influen. so how have charts incorporated this into their rankings? 

presenters

Explaining how the chart show is compiled, the presenters of Double Impact, Bongani ‘Tizalami’ Dube and Lindelwa ‘Lindz’ Mafa said the charts are typically reflective of what’s currently popular and on heavy rotation across various radio stations in Eswatini and in the SADC region.

Various radio stations in the region share their weekly charts in the music compiler group, and some post these on their websites and social media pages. These ratings are then assessed by each station, with respective presenters empowered to use objective discretion to rate the music. 

“This model is used by almost all major radio stations in the region, the likes of MetroFM, Ukhozi FM, Ligwalagwala FM, YFM, Botswana’s Yarona FM, Zimbabwe’s StarFM, among many others,” explained Dube. 

For radio, the primary focus is the listener; hence the chart show scans all popular shows to ascertain what the listener wants, not what the artist wants. However, said the presenters, the chart show takes a deliberate stance to promote local music by ensuring that an unofficial 75 per cent quota is reserved for local music in the charts.

“This is why we will always have some few tracks from outside Eswatini making it to the charts, so as to truly reflect the popular (pop) culture that’s prevailing on the ground in Eswatini. 

influence

Pop culture is influenced not just by radio, but by music that’s played at recreational places like clubs; music that is heavily downloaded from online sites; music that’s played at parties (including the virtual lockdown parties on tv), etc,” he said.

Dube added, “That is why while South African radio stations like MetroFM would have the likes of Beyonce etc. on their Top 40 charts, but still ensure there are more South African songs on their charts, as they are in the South African territory. Likewise, we have few South African and American songs, but we ensure that the bulk is local as we want emaSwati to compete neck-and-neck with their global compatriots. In all honesty, the digital era we are in has fast tracked globalisation, hence music shows, including chart shows, cannot be an island on their own. Listeners’ preferences are wide and vast, and they have to be respected while tactfully influencing loyalty to local as well.”

Meanwhile, the radio presenter also stated in no uncertain terms that the chart show is a hallmark for excellence hence strict quality requirements are observed. The chart show is responsible for unearthing some of today’s big names in the arts locally, and continues to introduce new talent. 

stations

Historically and how radio stations do it in other parts of the world, music charts are lists based on popularity of songs and albums. 

They are showcased in order to highlight the trends of each era according to the level of consumption. In the modern day world, it is about physical sales, digital downloads and radio airplay. 

What typically counts when compiling these, as stated by Rolling stone Magazine (an American monthly magazine that focuses on popular culture) are physical sales, digital downloads, radio airplay, streams, video views, and social media influence. 

For many decades, commercial radio airplay has been highly coveted by songwriters, musicians and record labels alike because of its enormous promotional power and reach. It has been well understood that consistent commercial airplay accompanies significant record sales, generates public performance royalties, and burnishes a recording artist’s profile.

Some local musicians believe airplay impacts sales or concert attendance. For others, it’s part of a broader brand awareness and exposure strategy. For a few, airplay on digital platforms has become a noticeable revenue stream on its own. And for most, airplay on any platform remains elusive. 

However, more shows on radio that promote new talent and up-and-coming artists include Fifidope’s Local Playlist, where social media users vote for songs they’ll want to hear; Linda Jele’s Local Playlist and  Supaphly’s Local Jams, among others. A show that’s strictly local is the Swazi Rhythm, presented by Lindelwa ‘Lindz’ Mafa and partially produced by Tizalami. 

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