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Writes Tsitsi Ndabambi
Diaspora-based Promoter Shanyai Events faced an unexpected downfall, leaving audiences bewildered and raising suspicions of sabotage.
Despite meticulous organisation, top-tier venues, and a groundbreaking marketing strategy, the turnout for the events fell drastically short of expectations.
Shanyai Events had left no stone unturned in ensuring flawless execution, securing prime venues well in advance, and obtaining artistes’ visas with precision timing.
Their marketing campaign, touted as the most comprehensive in the UK, boasted involvement from esteemed figures in the music industry, DJs, and influencers, engaging fans across multiple platforms.
The headline included the following: Lady Bee, Ma9nine, Ndunge Yut, Mbida D, Pumacol, Dhadza D, Lindough Thuphaki & Kingshort, Zizwe, Toyjey, Blox and Various Dj’s on Rotation.
Word in the UK circles claims that they are, lurking behind the scenes, a shadowy conspiracy appears to have tarnished the ambitious endeavor.
Blame is shifted away from the Shanyai Events team, with allegations of sabotage surfacing.
Spiked Online Media is reliably informed that there is an elusive group known as the “Old Guards,” purportedly revelling in successful show interference and utilising media platforms to perpetrate attacks on new promoters, casting a sinister shadow over the events.
Venues remained eerily empty, prompting speculation about the clandestine forces at play.
“The Shanyai Events team, seemingly caught off guard by a jungle mafia of industry insiders, may have underestimated the ruthless tactics employed to ensure the project’s failure,” they told this publication.
“As Shanyai Events aims to revolutionize the entertainment scene and elevate service quality in the UK, they now find themselves embroiled in a jungle battlefield where ethical responsibilities collide with hidden agendas.
The promoters, driven by a genuine desire to uplift artists and communities, now grapple with the aftermath of an unforeseen battle.”
As accusations fly, one must question the absence of followers from listed DJs, the non-appearance of artists’ families, and the sudden influx of free-entry or cheap £5 entry fee competing shows in nearby areas.
The intricate web of deception raises fundamental queries about the responsibility for sabotage and the enduring struggle of audiences to experience quality entertainment.
