Stadium acoustics or artistes’ skill? Inside the live music debate

But behind the glitz and glamour of stadium concerts lies a bitter truth: these venues have become a battlefield for artistes, organisers, and fans, with sound quality and performance standards constantly under scrutiny.

Tanzanian artistes have often been criticised for lacklustre live shows, while event organisers have been blamed for poor sound engineering that leaves even big-name performers looking unpolished.

The debate over stadium performances reignited after WCB signee Zuchu’s show at the CHAN finals in Kasarani Stadium, Kenya, where the “Amanda” hitmaker faced backlash for opting for a playback performance rather than a fully live show.

Fans and industry stakeholders flooded social media with opinions, sparking a heated discussion on whether East Africa’s music scene is keeping up with global standards.

Kenyan star Savara Mudigi, alias Savara, stepped in to defend the region’s progress, urging fans to focus on growth rather than harsh criticism.

“East Africa, we’ve just begun this journey. Let’s be patient. Pointing fingers and constantly complaining is not helpful,” he said in a video posted online.

“Yes, there were small sound issues, but nothing major. I’d really encourage those who criticise and complain without contributing to focus instead on encouraging growth. For the first time, we’ve done something of this scale in East Africa. Why not celebrate it?” he questioned.

The stadium sound dilemma

WCB’s Head of Digital Operations, Kim Kyando, argued that stadium architecture in East Africa is simply not designed for live music production.

“Football stadiums have no acoustic design. They lack proper line arrays and delay speakers to eliminate echoes. That’s why sound often feels off; it’s not intentional, it’s the environment,” Kim wrote in a post addressing the issue.

Kim went further, referencing global mega-events like the Super Bowl Halftime Show and FIFA ceremonies, revealing that even these high-profile productions do not rely entirely on live vocals.

“There’s a mix of playback and live elements. The reason is simple, these shows aren’t just for the audience in the stadium but for millions watching on TV,” he added.

According to him, playback safeguards the quality of broadcast, which is why performers often wear in-ear monitors to hear their music clearly instead of being drowned out by stadium noise.

“When we see Rayvanny or Zuchu on these big stages, we immediately compare them to Kendrick Lamar or Tems. But to truly match that level, we need heavy investment in venue infrastructure and sound systems,” stressed Kim.

Industry pushback

However, not everyone agrees. Hip-hop artiste Webiro Wassira, best known as Wakazi, challenged Kim’s argument in an Instagram post, insisting that stadiums worldwide host top-notch shows without such excuses.

“If every artiste had a bad show, then yes, it’s a sound engineer issue. But if some had great performances, then the problem is the artist,” Wakazi wrote.

He pointed out that sound challenges like echo and delay can be detected during rehearsals, allowing professionals to fix them ahead of time.

“Good engineers communicate these issues early to avoid embarrassment,” he added.

Renowned Bongoflava artiste Benjamin wa Mambo Jambo also weighed in, dismissing stadium infrastructure as an excuse and calling for technical precision instead.

“Music travels at a speed of about one second, so your calculations must factor in the exact distance from the stage to the audience, especially in stadiums. Then you set delay times on your mixing board to ensure sound hits all speakers, including stage monitors, at the same time,” Benjamin explained.

He urged organisers to learn from legendary East African sound experts like Mikka Mwamba and the late Mzee Njenje, who built their reputations mastering live sound in challenging venues.

The bigger picture

The fiery debate around Zuchu’s CHAN performance has exposed a larger question for East Africa’s music industry: is it time to invest heavily in stadium sound infrastructure, or should artistes take more responsibility for adapting to tough environments?

For fans, it is easy to demand perfection. For artistes, it is a balancing act between satisfying the live audience and delivering flawless television broadcasts. And for engineers, every stadium show is a test of technical mastery.

What is clear is that East Africa’s entertainment scene has grown rapidly, and the region’s stars are now sharing stages that rival international spectacles.

As Savara said, perhaps it is time to celebrate just how far the journey has come, while working harder to close the gap.