Close proximity to audiences, organizer requests, and steady income: cabarets maintain an important place in Malagasy artists' schedules. Iraimbilanja, Rija Ramanantoanina, and Mbola Talenta—three artists sharing their cabaret experience.
When the stage becomes more intimate, the public draws closer and artists find another way to share their music. In Madagascar, cabarets continue to attract performers, both in the capital and major regional cities. While this format appeals through its audience proximity, profitability depends on several factors, including artist recognition, venue choice, and performance regularity.
For emblematic rock group Iraimbilanja, cabarets primarily offer a chance to reconnect with fans in a friendlier atmosphere. "Cabarets bring us closer to our audience. There are moments of exchange, we can discuss with spectators and meet friends we haven't seen in years," explains Niry, the group's member.
The format also allows freedom in repertoire selection. "We can also perform songs by other artists, particularly older titles that remind us of childhood and past moments," he continues. Technically, the setup is simpler than large concerts, with performances lasting around two and a half hours for Iraimbilanja.
This proximity distinguishes cabarets from large concerts. "In big shows, artists and audiences are usually more distant," Niry notes. The group performs in various locations including Antananarivo, Majunga, Toamasina, and Antsirabe.
For some artists, cabarets aren't merely artistic choices—they directly respond to demand. Rija Ramanantoanina, an emblematic figure in Malagasy music often called the "crooner" or "gentleman" of song, has practiced this format since 1999. His early experiences at Eldorado in Soavinimerana, performing one to two times monthly, gradually created audience habit.
"Initially, I simply performed cabarets, then the audience enjoyed the concept and kept requesting them. So I tried to respond to this public affection," he recounts. For him, cabarets stem more from demand than personal choice: "It's mainly public requests that lead me to perform cabarets."
The singer subsequently multiplied performances across various capital venues suitable for such events.
Profitable, but not necessarily more than concerts
Financial considerations remain crucial. Iraimbilanja considers cabarets profitable, while Rija Ramanantoanina adds nuance: "It depends. Shows and concerts generate more, but cabarets provide steady income and, when organized regularly, can become genuine revenue sources."
For Mbola Talenta, guitarist and composer recognized as among his generation's best, each artist follows their own path. "Everyone has their own way. Some are creators, others are performers," he explains. In his case, his performer activity particularly orients him toward cabarets, as this repertoire suits the format better. He also notes that performances involve copyright procedures with OMDA.
According to his assessment, cabarets can be more lucrative and worthwhile when regularly organized across different venues. Performance frequency and venue diversification play important roles.
Venue choice: a strategic decision
Venue selection isn't random. For Rija Ramanantoanina, it depends on potential clientele and the site's capacity to accommodate audiences comfortably. "It depends on potential customers, the number of people likely to attend, and venue comfort," he explains.
Organizers also consider dates and geographic proximity of different events. Mbola Talenta emphasizes varying venues and carefully choosing dates to prevent competing events.
For organizers, success also relies on balancing artist popularity with event expenses. At Espace Nambinintsoa Talatamaty, Razafindratsimba Rado explains that the team handles artist research, catering, ticketing, and promotion. "We first conduct surveys to learn which artists the public wants to see before designing an event," he specifies.