From Stage Rituals to Studio Shake-ups: Entertainment Industry Embraces Transformation
Afrobeat sensation Rema reveals his unconventional pre-performance routine while South Africa's Power FM debuts a revamped programming line-up, signalling evolution across the entertainment spectrum.
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The entertainment industry is witnessing a period of reinvention, from the intimate backstage rituals of global performers to the strategic repositioning of legacy media brands. Two distinct stories emerging from opposite ends of the continent illustrate how artists and broadcasters are adapting their approaches to connect with audiences in an increasingly competitive cultural marketplace.
Nigerian Afrobeat star Rema has drawn attention by discussing the unusual preparation methods he employs before taking the stage. According to Legit.ng, the artist has opened up about his pre-show rituals, offering fans a glimpse into the psychological and physical routines that precede his high-energy performances. While the specific details of Rema's ritual remain closely guarded, the revelation underscores a broader truth about performance artistry: what happens offstage often determines what audiences experience under the lights.
Rema's willingness to discuss his preparation routine reflects a generation of artists who understand that authenticity extends beyond the music itself. The 'Calm Down' hitmaker, who has achieved crossover success in international markets, joins a lineage of performers who have spoken candidly about the mental preparation required for live shows. His approach suggests that even at the peak of commercial success, artists continue to rely on personal rituals to maintain consistency and manage the psychological demands of performance.
The discussion around performance preparation comes at a time when live entertainment has regained prominence following pandemic-era disruptions. Artists who can deliver compelling stage experiences command premium ticket prices and festival headline slots, making the craft of live performance more valuable than ever. Rema's transparency about his methods may serve to demystify the process for aspiring performers while reinforcing his reputation as a dedicated craftsman rather than simply a recording artist.
Meanwhile, in South Africa's broadcasting sector, Power FM has announced a comprehensive overhaul of its programming structure. Timeslive reports that the station has unveiled a "star-studded new line-up" featuring prominent figures from media, politics, and business. The repositioning represents a strategic bet that audiences are seeking more substantive content delivered by voices with credibility beyond traditional radio backgrounds.
The move by Power FM reflects broader trends in African broadcasting, where stations are increasingly blending entertainment with current affairs and business programming. By recruiting personalities from diverse professional backgrounds, the station appears to be targeting a sophisticated urban audience that consumes media across multiple platforms. This approach acknowledges that radio must compete not only with other audio content but with podcasts, streaming services, and digital news platforms.
The timing of Power FM's relaunch is significant. Radio stations across the continent face mounting pressure to demonstrate relevance in an era when younger audiences default to digital-first content. By assembling a line-up that bridges traditional media credibility with contemporary appeal, Power FM is attempting to position itself as essential listening rather than background noise. The inclusion of figures from politics and business suggests programming that will address economic and governance issues alongside entertainment content.
These parallel developments—an artist refining his craft through ritual and a broadcaster reimagining its identity—illustrate the dual nature of entertainment industry evolution. Success requires both the preservation of artistic discipline and the courage to reinvent institutional structures. Rema's focus on pre-performance preparation and Power FM's programming gambit represent different expressions of the same imperative: staying relevant requires constant attention to process and presentation.
As African entertainment continues its global ascent, the stories behind the headlines reveal an industry that is maturing rapidly. Artists are professionalising their approaches to performance, while media institutions are recalibrating to meet changing audience expectations. The result is an entertainment ecosystem that is simultaneously more competitive and more sophisticated than at any previous moment in the continent's cultural history.