Can songwriters thrive in Nigeria?

By Akinyemi Ayinoluwa

When is it best to ask if songwriting will ever be lucrative in the Nigerian music ecosystem? I am prodded to ask on the heels of the verdict delivered last week, by which the estate of the late music maestro – Marvin Gaye, got $7.3m richer. Shouldn’t that trigger introspection? Why should a Marvin Gaye earn so much money even when he is no longer here with us?

By the said verdict, it is obvious the legal system in the United States of America thinks highly of songwriters and by extension the Copyright Law. The victory won by the estate of the deceased songwriter, composer and performer is a resounding testimonial of the immense value inherent in an evergreen hit song. The jury sided with the argument that a 2013 hit song by Robin Thicke, Pharell Williams and T.I titled ‘Blurred Lines’ plagiarized Marvin Gaye’s 1977 hit song ‘Got To Give It Up’.

Since the verdict became public knowledge, I have read and listened to all kinds of arguments – for and against the verdict. I am yet to pitch my tent on the reasoning that grounded the verdict; rather I am burdened with the viability of songwriting as a profession in Nigeria.

I acknowledge that their record producer counterparts have better chances at making a living off their talents. Record producers are more prominent for the value they bring to the songwriting process. You have such notable figures as Laolu Akins, Nelson Brown, Don Jazzy, Cobhams Asuquo, OJB Jezreel, and a host of other new creative individuals who have helped define the Nigerian music landscape in the last decade.

Record producers get pecuniary benefits and the accolades that come with birthing a hit record, as opposed to songwriters who often times are robbed of due credits and royalties.

While most record producers double as songwriters by virtue of the composition they provide to musical works, some questions still linger, such as these:

What is the lot of a songwriter who is only adept in the art form of providing the lyrics to a song?

How can he earn decent remuneration off his songs?

How can he thrive in a burgeoning music industry?

How can he position himself for a fulfilling career?

In countries with a viable music publishing industry and a well established collective management organization of copyrights and related rights, these questions have been answered. In those climes, songwriters license music and earn revenue such as print income, mechanical income, performance income and synchronization income.

The importance and use of musical works cannot be undermined globally. However, in a country like Nigeria it is still a sad reality that very few people pride themselves as songwriters, and very few individuals consider songwriting as a career path or vehicle to impact the music industry. A lot of hitherto enthusiastic individuals have given up on the prospects of being successful lyricists; they cite the lack of patronage as a debacle to their prosperity as songwriters.

However, there are examples of Nigerian musicians who embrace the idea of co-collaboration on songwriting such as Timi Dakolo, Don Jazzy, Simi, Bez, Davido, KCEE, Harrysong, Password, Dare Art Alade, Omolara, Cobhams and Sound Sultan. These few individuals understand the importance of the art form and have incorporated same to their creative enterprise.

While the record production of the music in Nigeria has grown, there is the need to elevate the art of songwriting. This will enrich the music churned out and the listening experience. Without a doubt the busy schedule of the Nigerian elite musicians warrants this intervention. It is only logical that they get help from songwriters who can think up new hit records and help mould classic albums. Only a formidable songwriter and record producer tag-team can guarantee an offering that is timeless and impactful.

Individuals who think they have been gifted with the genius of penmanship must know they have a huge rubicon to cross. They must be ready to seize their destiny and walk an uncharted course, get better at writing great tunes, master the art of self promotion, read music business literatures, affiliate with a record production company or music studio, and network relentlessly within the industry. The opportunity to be great will present itself sooner than later.

Dear songwriter, somebody needs your help, someone needs you to rescue his or her career with that life-changing song. As you inch towards that goal, ensure your interests are well protected and you will prosper, and when you do, an industry might just spring up. Remember, two good heads are better than one. Be useful and thrive.