A simmering financial dispute involving some of South Africa’s most respected musical talents has burst into the public sphere, casting a spotlight on the often-opaque world of artist management and payments. At the centre of the storm is Thikho Events founder Richard Ramudzuli, who has publicly responded to allegations made by renowned guitarist and composer Selaelo Selota that he is owed R90,000 for a performance.
The controversy began when Selota, a veteran whose guitar work has been a staple of the Afrosoul and jazz scene for decades, claimed that the outstanding payment was for a booking made with veteran Afro-soul artist Ringo Madlingozi. According to the claim, the debt fell under the purview of Thikho Events, which was managing Ringo at the time.
After days of mounting speculation on social media and within industry circles, Richard Ramudzuli has broken his silence in an exclusive and detailed interview with TshisaLIVE, vehemently denying any wrongdoing and providing a timeline of his company’s involvement.
A Defined Management Period
Ramudzuli was keen to establish clear parameters around his company’s responsibilities. He stated that Thikho Events’ management of Ringo Madlingozi was for a specific, and relatively brief, period.
“We started managing Ringo from October 2024 until the mutual termination of our agreement in May 2025,” Ramudzuli clarified, emphasising the finite nature of the contract.
He painted a picture of an orderly and transparent transition, facilitated not by the artists themselves, but by their financial representatives. “The handover to his new management, who happen to be family members and also accountants, was facilitated by his relatives. All books regarding Ringo’s affairs were opened, explained, and accepted by them during this handover process,” he explained, suggesting that any financial queries should have been resolved at that point.
The Crux of the Defence: Allocation of Funds
Addressing the specific allegation from Selaelo Selota, Ramudzuli’s defence hinges on the fundamental role of a management company. He did not dispute that a performance took place or that Selota was due payment. Instead, he argued that the financial mechanics were misunderstood.
“As Ringo’s management at the time, the money received from bookings minus our management fee was used to run Ringo’s day-to-day affairs, which included [Selaelo’s] payment,” Ramudzuli stated.
This statement reframes the narrative from a simple debt to a more complex issue of cash flow and prioritisation within an artist’s business ecosystem. He implied that the funds from the booking in question were absorbed into the broader operational budget for Ringo’s career—covering everything from band payments and travel to marketing and production costs—and that Selota’s invoice was part of that cycle.
A Direct Contract and Repeated Explanations
Further complicating the matter, Ramudzuli highlighted the chain of contractual responsibility. “We’ve explained this to [Selaelo] several times, personally and through our legal representatives,” he said, expressing a note of frustration that the private communications had now escalated into a public issue.
He also pointed out that the performance contract was signed directly between Selaelo Selota and Ringo Madlingozi, and that the booking itself was “facilitated directly by Ringo.” This detail subtly positions Thikho Events as the administrative arm executing an agreement between the two artists, rather than the primary debtor.
The Industry Waits for a Response
The music industry is now watching closely for the next move. Selaelo Selota, known for his quiet dignity and immense contribution to the arts, has yet to issue a follow-up statement following Ramudzuli’s detailed rebuttal. His silence leaves a crucial side of the story untold. Does he dispute the timeline? Does he reject the explanation of how the funds were allocated? The answers to these questions will determine the next chapter of this dispute.
Meanwhile, the ripple effects are being felt elsewhere. TshisaLIVE has also reached out to Ringo Madlingozi himself, whose perspective as the principal artist in the booking is critical. Additionally, queries have been sent to Sony Music, Ringo’s record label, to ascertain if they have any involvement or oversight in the management of his live performances.
This dispute goes beyond a single unpaid invoice. It addresses the perennial tensions in the entertainment industry between artistic collaboration and business realities, the responsibilities of management, and the transparency required when large sums of money and esteemed reputations are at stake. For now, Richard Ramudzuli and Thikho Events have laid down their marker, and the ball rests firmly in the court of Selaelo Selota and the other parties involved.
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