Bonang Matheba calls out Gayton McKenzie over proposed Jay-Z concert export

by Rhaees Hanslo

A fiery public debate regarding state funding, local cultural preservation, and government priorities has erupted following media personality Bonang Matheba’s sharp public critique of Minister of Sports, Arts and Culture Gayton McKenzie.

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The controversy began after McKenzie took to social media to share details of his international engagement in France, where he attended the Lumiere Film Summit and met with executives from Roc Nation.

During the meeting, McKenzie claimed he insisted that Jay-Z’s highly anticipated “JAY-Z 30” concert event be brought to South African shores.

The proposal immediately drew the ire of Matheba, who publicly quote-tweeted the minister, challenging the rationale behind allocating attention and state resources toward importing costly international mega-productions when local creatives urgently need support.

The systemic crisis behind Mzansi’s creative economy

In her response, Matheba challenged the minister directly, asking why international artists were being prioritised over struggling local flagship institutions such as the South African Music Awards (SAMAs) and the South African Film and Television Awards (SAFTAs). Emphasising the financial plight of home-grown creatives, she urged the ministry to direct funding and structural support toward local talent first.

Matheba’s critique touches on a long-standing, deep-seated friction between South African artists and the Department of Sports, Arts and Culture (DSAC).

For years, local industry bodies and cultural workers have raised alarms over the severe underfunding, administrative delays, and logistical collapse plaguing domestic award shows and developmental bursaries. The SAMAs, once considered the pinnacle of the local music industry, have faced recurring financial instability, sponsor dropouts, and broadcast challenges that have severely tarnished their prestige.

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Cultural economists and industry analysts argue that while hosting high-profile international acts like Jay-Z can stimulate short-term tourism and venue revenue, it rarely translates into long-term infrastructure investment or sustainable income for local artists.

The broader creative sector continues to navigate precarious economic conditions, where many veteran actors, musicians, and crew members operate without formal social safety nets, royalties protection, or consistent state subsidies.

Public reaction and the call for domestic prioritisation

The online exchange quickly went viral across X and Instagram, dividing fans, industry insiders, and political commentators.

Supporters of Matheba applauded her for using her global platform to advocate for local creatives, reiterating that state funding should empower domestic artists who build Mzansi’s cultural footprint rather than lining the pockets of multi-million-dollar international tours.

Conversely, defenders of the minister argued that bringing international spectacles like the JAY-Z 30 concert to South Africa builds global cultural diplomacy, boosts the local hospitality economy, and puts South Africa back on the map as a premier destination for global arena tours.

However, the overwhelming consensus among local creatives remains focused on basic survival: until domestic platforms, funding pipelines, and national awards are institutionalised with financial security, state-backed international imports will continue to be viewed as a costly misdirection of public funds.

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