Botswana’s celebrated songstress, Amantle Brown, has recently taken a swipe at up-and-coming artist Lioness Ratang for reportedly charging P5,000 for a performance. Amantle, whose career has spanned years with chart-topping hits like Follo, expressed her surprise and disappointment upon learning of the pricing.
In an interview, Amantle Brown made it clear that she could not fathom accepting such a low payment for a gig. “I would rather stay home than take up a job that pays peanuts,” she remarked. Her comments quickly garnered attention, sparking a debate on the value of music gigs and the economics of the Botswana music industry.
Amantle’s stance comes as no surprise, given her established reputation in the local music scene. She has built a loyal fanbase and a solid reputation, earning significant recognition and accolades for her work. For Amantle, the compensation for music performances should reflect an artist’s experience, expertise, and the demand for their work.
However, some industry observers argue that emerging artists like Lioness Ratang, who are still making their mark in the industry, may not yet have the leverage to command higher fees. These artists are navigating a competitive landscape where exposure and building a fan base often take precedence over immediate financial gain.
Lioness Ratang, a newer name in the industry, has yet to achieve the same level of fame or success as Amantle, but she has been making strides with her music. The pricing of her gigs has been a point of contention, with some supporters feeling that charging P5,000 is a fair starting point for an artist who is still in the early stages of their career.
On the other hand, critics of her fee structure suggest that it may undermine the efforts of more established artists who have paved the way for newcomers. There is also concern that charging low rates could devalue the industry as a whole and make it difficult for other musicians to command appropriate compensation for their work.
Amantle’s remarks highlight a broader conversation about the value of music in Botswana and the importance of fair compensation for artists at all levels. As the industry continues to evolve, both established and emerging musicians must navigate a complex balance between securing financial sustainability and gaining exposure.
For now, the exchange between Amantle and Lioness serves as a reminder that the music business is not just about talent—it’s also about knowing your worth, negotiating effectively, and respecting the contributions of those who have been in the industry longer. As Botswana’s music scene grows, it will be interesting to see how these discussions shape the future of artist compensation and career development.
