Nigerian Artist and Record Producer, Evaluate The State of The Nigerian Music Industry.
While many have familiarized themselves with the tribal icons that have musically personified Nigerian culture, the trickle of artists that maintain the genre can often slip through the cracks of recognition.
Nigerian pop music is a sound all its own. The combination of contemporary West African rhythms and tempos, altered to a lighter more cultural sound, gives way to a fresh and invigorating wave that is Afrobeats. Lately, Nigerian pop culture has been infiltrating American mainstream pop at an exponential rate. Artists such as Davido and Wizkid, once hidden gems of the Naija world, have made their way into the mainstream limelight as an introduction to West African music. It is a sound all its own, it is an experience that allows even the novice of pop to partake in the homage to West African culture. Unbeknownst to many, the process required to penetrate a super-culture such as American pop culture, is rigorous, and at times, unrewarding due to the lack of resources for ground-breaking new artists. While many have familiarized themselves with the tribal icons that have musically personified Nigerian culture, the trickle of artists that maintain the genre can often slip through the cracks of recognition.
Recently I had a chance to interview two icons in the Nigerian music industry that have each contributed their own legacy to the growing genre. Throughout this time, they explain the trials and rewards that adorn the position of being either a production label or an artist in the Nigerian music industry.
Dr. Whyte is a music producer, and founder of Southnice Records, a successful record company in Nigeria. In this interview he goes on to highlight the trials production companies face, as well as touch on the demands for the emerging genre. Growing up in Delta State, Nigeria, the 31-year-old spills his legacy in the creation of his record label after 10 years in the music industry.
Kay Jay Ogbonna is a groundbreaking new artist on the Nigerian pop scene. Hailing from Abia State, Nigeria, the 29-year-old singer is already leaving his mark on the culture of pop music. Starting off as a song writer and later transitioning his talent into artistry, Kay Jay is already leaving a lasting impression on Nigerian music industry. Best known for his record-hit, “Love Again”, Kay Jay’s career is showing no signs of slowing down. In this interview Kay Jay takes the time to give his perception on the direction of Nigerian pop music, while also highlighting issues that Nigerian artists face today.
What led you to the creation of Southnice Records?
My passion and love for music, and the music industry, led me to create my own production label. I recognized that at this time, it is difficult to find labels who are interested in curing raw talents and nurturing them from scratch until they reach “Super Star” acclamations. This is what we want to do with Southnice Records…we want to produce exceptional artistes that are musically inclined to take on any stage in the world through music.
What do you feel Nigerian artists add to pop culture?
Nigerian pop music is currently a trend that we Nigerians created out of our love for pop music. This is a genre of music that is currently being accepted by the world which originated from Africa and continues to be exported throughout the world. The sound is unique, the beat is fresh and it’s something the expresses our culture and who we are as Nigerians.
Where do you feel like the direction of Nigerian music is headed in relationship to American pop culture?
Nigerian music is, globally, in high-demand! Afrobeats has already become one of the largest productions of music world-wide. The likes of Wizkid and Davido have put Nigerian music on the map and what’s coming next is global dominance. We are set to take the world by storm.
What do you feel is a common issue Nigerian artists face?
I think the common issue Nigerian artistes face has always been the lack of funds and resources to push to promote their music on a global scale. We don’t have the right distribution channels for the contents that allow artistes a space to create and may way for a place for them in the industry.
What types of resources would you like to see more of, for both record labels and producers in Nigeria?
Funding has always been a major issue regarding the music business and entertainment generally in Nigeria. With the right funding, record producers will be able to buy production equipment that will allow us to compete with the American standard of music. Without money it’s hard to break an artiste now where streaming is the deciding factor on who leads the music industry.
Whyte also touches on the loyalty of contract between the record labels in Nigeria and its artist, alluding to the gap in the industry between negotiation and the completing of record label contracts.
Obviously, a lot of people are scared to put money into record deals because they have heard stories of how labels invest millions into the growth of their contracted artistes, who neglect their current contracts for a larger label; contracts are often severed without the artiste serving the duration of the agreement. I do believe that at some point, every label needs to have a talk with their artistes as their brand grows to renegotiate the contract terms, which means either having the artiste walk away peacefully or have an equal shares and rights to their music. I believe this is a necessary measure every record company needs to put in place in order to keep their artistes from walking away before the contract ends.
What do you feel Nigerian artists add to pop culture?
As Afrobeats is making its way to the global front, Nigerian artistes and Nigerian music adds a certain unique flavour to the overall world of music and pop culture, a flavour that isn’t easily found in other countries or regions. The accents, the slangs, the rhythm, the dances, the lifestyle, the mentality — Nigerians have a flair that is hard to emulate.
What do you feel is a common issue Nigerian artists face?
The most common issue that Nigerian artistes face, especially emerging artistes, is a lack of resources, or a limited and inconsistent amount of funds. As we all know, the music business, especially in Nigeria, is unfavourably and capitally intensive, and if you are not supported by a record label or some type of benefactor, it can be difficult to put your music out there, or to even create music in the first place. Still, Nigerians are so passionate about music, we keep going, we are hardcore hustlers- music is in our blood. It’s our life line, especially with the state of things in our country.
What types of resources would you like to see more of for record labels and producers in Nigeria?
First, we need more actual record labels in Nigeria, there are only a handful of legit, full-fledged and fully structured record labels in Nigeria. We need more structure in the Nigerian music industry, that is one thing that is holding the Nigerian music industry from where it could be and should be today. We need better facilities such as fully serviced, professional, and fully equipped recording studios, as not all producers have their own equipment or studios. There are so many amazing (young) music producers in Nigeria who are unable to produce due to lack of resources. Overall, we just need structure and better facilities… it’s sad for me to say that things are really disorganised and poorly managed in my country, within the music industry and outside the music industry. In Nigeria, financial resources aren’t always the issue, it’s disorder that is the problem.
Nigerian music continues to pioneer the advancement of Afrobeats, and to moderate the path of mainstream pop culture. While it may not always be a journey of ease, the productions that pass through this talent-driven country, have revamped the genre of present-day pop culture, and foreshadowed the projection of Afrobeats.
