Nobody owes you anything, not even the music industry irrespective of how much you have supported or contributed to it.
That is one mantra that I have come
to live my life by over the years, no thanks to the Twitter community
that constantly pummels it into my subconscious state, but maybe the
Nigerian music industry does in some form owe me, at least for my
dedication and support for what it has supplied over the years.
Having zero expectations provides the perfect
foil to avoid disappointments but the way I am wired, the thrill of what
is to come or what may, finds me constantly expectant, ultimately
demanding for more and hoping that someday, somehow, I will get that
which I seek even when it is not entirely within my control to make
happen.
Wizkid is expected to release his ‘Made in Lagos’ project this year [Tribune]
It is with this mindset that I cast a glance
on all that the music industry offered in 2018 on the eve of the new
year. Smiling over the success story of the likes of Teni and Burna Boy [whose ‘Ye’ was playing coincidentally in the background as I drafted my first thoughts for this piece].
Recognizing Davido’s
exploits in what in many ways was one of his most influential years
especially with his DMW label and the body of works they produced, Wizkid‘s feats, the emergence of the ‘Zanku’
dance that swept through the streets faster than a virus and the
abundance of the new wave of young talents that left their mark in 2018,
the year was indeed a swell one but yet I demand for more.
My expectations
One of 2018’s biggest sensation was Teni, call her the Makanaki or the entertainer and it fits, because in the year just ended, she dazzled and her last single, ‘Uyo Meyo’ released a few days to the end of the year provided the right soundtrack to close the curtains on the year.
Teni is one of the standout acts from the past year [Instagram/Teni]
It was heartwarming to see a female artist
steal the headlines once again, but we need more women to not just
infiltrate the mainstream but to consistently do so.
How does she plan to better this year? What
surprises does this exuberant talent have in store to sustain the party
she started in 2018?
2017 saw Niniola and Simi make a huge splash but their impact the following year didn’t do justice compared to the follow-up that the likes of Wizkid and Davido enjoyed from the same year.
While every male artist with a decent number
of following were headlining their concerts, providing platforms for
their friends to perform and shutting down stages across town, the
female artists were largely missing, save for Niniola and Simi who had headline events with even Tiwa Savage failing to have one, though she alongside Teni were the eternal female names at every major concerts, but we need more.
A Tekno album maybe?
Are we finally getting the Tekno album in 2019? [Instagram/Tekno]
I waited in vain for this last year, but he
failed to deliver. Not like it is anything too much to ask for but it is
quite painful to see a genuinely talented individual continue without a
clear path or direction towards building a brand or taking his name
beyond the realms of being ‘promising.’
Barely two years ago, armed with singles like, ‘Pana’ and ‘Rara’, Tekno was the leader of the third force that threatened to break the duopoly of Davido and Wizkid on the pop throne.
The multi talented singer and producer has the
boyish looks, the charming voice well complemented with the dance
skills, a solid number of hit anthems that already earned him a large
following of female fans and a picture with Drake had further placed some ‘validation’ that he was headed for great things on the global stage.
Drake in the studio with Tekno [Capitalxtra]
But as 2018 came to a close, the biggest news
attached to his name was that he had lost his voice, one he was actually
yet to fully discover on the scene.
Seven years after his debut single, ‘Holiday’, six years after signing his first major deal with Made Men Music Group,
Tekno has no solo body of work to his name (despite initially
announcing one in 2016 with an album title even released) and the hits
are not exactly as banging as before with his last mainstream record ‘Jogodo’ enmeshed in a copyright theft controversy.
I still believe in Tekno but there is a limit
to how much that faith would hold especially with a younger generation
of talents taking up the space where he once reigned supreme. Only a
truly brilliant album can change things for him this year.
More attention to Streams, less to downloads
Mr Eazi’s second studio project ”Lagos to London” has pulled
some impressive numbers on streaming sites [Instagram/MrEazi]
Mr Eazi has shown us all in
2018 that with a clear strategy and purposeful moves, Nigerian artists
can achieve impressive streaming numbers that will provide an
alternative source of income outside seeking brand endorsement or
concert performances.
I always try [with very little success] to
convince upcoming artists who want their music not just on Pulse but for
it to be made available for download, that ‘downloads’ are no longer
the way to go.
Despite how digitally people now consume
music, a lot of Nigerian acts wallow in its obscurity and are failing to
tap into the market that streaming platforms provide.
Streaming has apparently overtaken physical
and digital album sales and hopefully more Nigerian artists will play
the streaming game better, which will in the long run translate to
increased royalty payouts.
The Hip-hop scene continuing its good run
MI Abaga [Instagram/MIAbaga]
Off the back of MI‘s scathing ‘YRSFUYL’ single in the latter stages of 2017, Nigerian rappers put in the work last year with a number of them delivering standout projects. Show Dem Camp have again kick-started things the right way with the release of ”Clone Wars IV.”
There is, however, still plenty more work to be done, especially in terms of supporting each other. Nobody plays the ‘We support ourselves when we actually don’t’ gimmick better than the Nigerian rapper and that was evident at the end of the year concerts.
Rappers also need to stay consistent with the music supply and influencing the culture with their message.
Our biggest rappers from Eedris Abdulkareem, Ruggedman, Da Grin, Naeto C, Olamide and with the latter part of 2018, Zlatan, shaped pop culture more with their music, when we again connect with that void, rap would be better for it.
Finally…
I will be on the look out for the ‘Alte’
movement, if what they achieved in 2018 is anything to judge with, then
one needs to pay attention to their progress this year and;
Come February 10, 2019, at the ‘fifth’ time of the Anikulapo clan trying, I do hope Seun Kuti brings home that Grammy, the Nigerian music industry is long overdue one.
Happy new year.