By Victoria Ige
There was a time, long ago, in the diary of Juju music, when the in-thing was to dine with international labels with the hope of getting that international big break. Segun Adewale worked several deals with his Yo-Pop sub-genre. King Sunny Ade had a priority contract with Island Records, touring extensively and releasing at least two albums. Ebenezer Obey went to bed with Virgin. For a minute, Juju was the bride of international promoters and A&R execs. If the marriage ever happened, then it was short-lived; ending in bitter divorces and settlement brouhahas.
Same can be said for Nigerian-made Reggae music. But that is story for another day.
The story today, or the fad, as it were, is for Nigerian-made pop music to attempt at all costs, to break into Europe, into America and maybe Asia. Everyone is trying it: from 2face Idibia to D’banj and P Square. News of D’banj reportedly signing to Kanye West’s label is still fresh in our memories. 2face Idibia, since his Kennis Music days, has been longing to penetrate mainstream America (and maybe impregnate her!). Now, the African pop icon is warming up for another try, with talks of a planned collaboration with Akon. Darey Art Alade, the Nigerian R&B giant has just returned from a trip to the UK where he premiered his first international single on June 19. P Square? They’re crossing the T’s, dotting the I’s and getting set for global invasion.
Our guys have conquered Africa, or so it seems. From Kenya to Accra, Cape Town and Freetown, it’s music of Nigerian origin ruling the airwaves from AM to PM. We’re packing huge concert venues and selling out tickets to stadium gigs. With such success, it would only make sense to try and replicate the formula in other territories.
Problem is: Just like KSA, Obey and their likes got their fingers burnt, I see many of today’s pop stars running back home with little to show for their America adventure. Language for one, is a big issue. Lyric/music theme is another. Age is yet another. At 35, it’s unlikely many A&R execs would be willing to commit huge budgets to pushing 2face in Europe or America. Even if they love the sound of his music and believe in his star power, how would they convince the big bosses to commit the kind of funds required?
As D’banj himself told our reporter last week, he’s putting his money where his mouth is; willing to use his own resources to build the structures that he’ll ride on in the US system. I’m aware P Square is also considering that format. Not a bad idea.
I’ve said it times without number that it’ll be easier for a camel to pass through the eye of a needle, than for a home-grown Nigerian act to get signed as a priority act on a major record label in the US. It’s not a question of talentor ability. It’s a matter of cultural differences and market dynamics. It’s not likely there’ll be millions of white kids willing to consume music from D’banj, P Square or 2face Idibia. It’s not likely there’ll be many labels willing to commit the right funds and strategy into building the right machinery to make an ‘Idibia fever’ for example, take over America. If it happens, it’ll be a break from the norm, and I’ll be more than happy for my homeboys.
Yes I’d like to see Nigerian music reign globally and occupy every pop space available. But at what cost? If D’banj really has $3M to commit to an international project, then it’s a shame on all of us that no one can convince the young man to invest such into building an effective distribution system in our country. This will benefit a generation of creative artists while creating employment to millions and increasing D’banj’s financial standing. And such distribution chain will ultimately make D’banj and his colleagues’ music available to more fans in Nigeria and neighbouring states, than they can ever muster in Europe. Such distribution network will lure the foreign labels here again; and make them invest in local talents like we had in the ’50s and ’60s.
In consumer business, numbers are important. And we have the numbers. What’s left is the will to create the machinery to reach them. Solve this first, and other markets in Europe, America and Asia will come calling; cap in hand; willing to give an arm and a leg – not because anything has changed in terms of culture and theme and lifestyle. But because they’ve seen the numbers. And they want a share of the pie.
6 comments
This is spot on. I have similar fears and I have seen too many great Niggerian artistes lose it all this way, the likes of Alex Zitto, Alex O, even Majek.
Good job.
You spoke my mind to a great extent. I have an unpublished similar opinion on this which I might not even publish because the persons in question will never agree with you. On a short note, I’ll say – artists should remain kings in Nigeria’s jungle rather than go chasing the American dream…JayZ in America is an indigenous artist…simply put – Local artists. We call them international artists and that’s what our artists are to them. I don’t even space to analyze this here but I totally agree with you.
Nice piece but aren’t we over-simplifying a few things here?
For example, the suggestion that D’Banj should have invested N500m in a distribution network and created jobs in a system where it seems impossible to get the relevant authorities to enforce copyright protection laws isn’t in my opinion, better business direction than taking a shot at establishing his brand on a global scale.
And talking about figures, they don’t mean much with the right structures. A few people have devoted invaluable time and resources over the last couple of years to help build the structures that would make the numbers count – rights protection, enforcement and serious prosecution of offenders, effective collective management system, progressive unionism – the whole nine but the bandits and bad guys still thrive. It has been HARD. I’m in a position to know guys.
I fear for the industry. If we have performed so poorly with regulating physical distribution, what chance do we have as all things go digital?
Anything that stops growing starts dying. These guys have done well at home and you can’t knock them for having global aspirations. For what it is worth, Nigerians should back their push or at least, get off their backs. The fact that some attempts decades ago were less than successful isn’t enough reason for homeboys to slim-fit their dreams. The dynamics aren’t quite the same and this may just be the TIME!
Finally, I appeal one more time, let’s us roll up our sleeves and do a whole lot more – everyone who means well- to fix the local industry for Darey, P- Square, 2face, D’Banj, Banky, Timi Dakolo, Bez, MI and every Naija world-class talent to have a solid primary platform that makes the international market just a little less ATTRACTIVE.
@Efe Omorogbe you just spoke my thoughts exactly!!!
@Efe omorogbe,u are right.if we really loves our nigeria artists we should support them and pray 4 them as well.
My only concern about this whole D’banj- G.O.O.D Music thing is this- I hope they have good advisers (professionals in the music business), good legal backing and all that to help them out. These guys( Kanye, Jay Z, LA Reid) are not their friends. They wanna make money. Since LA Reid can “assist” in bankrupting Toni Braxton, who is D’banj? Good representation is essential. This is business not friendship; so they should be carried away with the euphoria and cry “I wish I knew” later. I have said my piece.