A record label is supposed to be a fortress for an artiste. It is an organization that is supposed to be in charge of an artiste’s career including production, promotion, publicity, management and other necessary things. It requires high level of managerial skills, simply because, ambitions and the tendencies for excessive lifestyles of artistes have to be constantly put in check.
But, in a nascent music industry like ours, sadly, reverse is the case. Record labels have exchanged their traditional roles for frivolities, while ignoring the artiste’s welfare and development. As they have constantly engaged their artistes in public immature and unreasonable pettifogging.
This write up was prompted by the trending bizarre relationships between artistes and their so-called record labels or promoters. As at the last count, over ten known artistes have left their labels in controversial circumstances, arising from flimsy, and sometimes sincere or counterfeit excuses. And the next step is for them to set up another record label, thereby causing the proliferation of middling labels.
Save for some genuine ones, most record labels are set up to swindle and callously delay the career of ‘unsuspecting’ young musicians, who obliviously, entrust their career in the hands of perceived ‘musical lobbyists’, with incoherent ideas of the music business. After getting fame and some cash, some artistes often fall under the illusion of having the capabilities to sign and sponsor artistes. Although, some have good intents, relationships often deteriorate due to selfish and unharmonious excuses from both parties.
Lately, rumours were rife about Brymo leaving his record label, Chocolate City Entertainment. Initially the Label doused the rumours and denied the story in its entirety, but the lid was later lifted off the case, with Choc City getting a court injunction restraining Brymo from using his musical works, pending the execution of a law suit instituted by them. Then came the statement released by Brymo’s management. They accused Choc City of “devising strategies to ensure that the artiste remains unproductive”. One begins to ponder why; an industry that brings joy to people will be grappling with self inflicted anguish.
A keen follower of the Nigeria music industry must have foreseen the current situation at Choc City, but nobody had the inkling that Jesse Jaggz would be the one to lead the exodus, considering his blood relationship with the Label’s vice President, MI Abaga.
Here we are, Jesse Jaggz left polemically, to set up ‘Jaggz Nation’. Peradventure, Brymo leaves, then we should expect him to hurriedly float his Label which could be named ‘Brymo Nation or better still ‘ Kapinta Entertainment’. But that would come to life only if Audu Maikori hands off his matter.
Alas! This is an embarrassment for an industry that prides itself as the best in Africa; In fact it is a bad omen that is portraying the industry in a bad light. It also sends the wrong signal that, in the music industry, two or more people cannot honour gentleman agreements that existed between them. I hope, the corporate industry will not renege on their support for the music industry owing to the prevalence of indecency among practitioners.
The most annoying thing about this break ups, is that, it is often characterized by accusations and counter accusations. Hitherto secret dealings are always revealed in the public glare. And while this scenario is prevalent in the global music industry practice, the case of Nigerian artistes has become rampant to the extent that when a union is going smoothly and fun filled, it becomes a prediction that in no time, things will go sour.
Or what can be said of the recent unexpected, caustic and surprising outburst on twitter between Wande Coal and his erstwhile boss, Don Jazzy, over who owns the right to the song ‘baby face’, which both parties lay claim to. While not trying to put blame on any one of them, but one begins to wonder about the level of animosity that exists between them that will prompt Don Jazzy to resort to twitter for expression of his feelings. Or does he think Nigerians have forgotten how he broke the news of his separation with D’banj on the same social network? Simply ridiculous!
The antecedent of artiste/ record label conflict could be traced to Soul E baba’s roforofo fight with the Label that brought him to prominence, Collosal Records; court cases and series of press releases ensued and the axiomatic breakup was inevitable, and Soul E’s career has gone south ever since. Another separation that got me japed was when Seriki, Kayefi, Wise and Snow left 9ice’s Alapomeji Records. These guys had to endure four years of career stagnation, wallowing in the shadow of 9ice, who had no distinct plan for them except for handful of singles. When asked why they left, all they could mutter was that “9ice never had time for them”, but how come they only realized this after four years?
Thank God Seriki and co realized on time and took to their heels; some acts are still dwelling ignorantly in captivity, wasting their time servicing someone else’s career.
It is imperative to know that 80% of the so-called Record Labels only exist on pages of Newspapers, social media and their CD jackets. Only a handful can lay claim to an office apartment, where Label activities are carried out.
However, out of careful observation, I realized that the causal agent of this recurring conflict falls in many places. To start with, on the front burner is the issue of record labels, who see themselves as the benefactor of a musician, all simply because they picked him up when no one was there for him, and decided to sponsor him. So, they see themselves as demi-gods, whom the artiste needed to worship every morning for the rest of his life. For God’s sake, record labels have to erase this mentality off their brains. Being a benefactor, doesn’t mean you own the career of an artiste. This is pure business, if a label doesn’t identify the potentials in an artiste, will they expend money on his career? They simply took a business step by offering to sponsor the musician with the hope of recouping their investments in fold. It is a matter of – use what you have to get what you want. And just like every other businesses there are risks inherent.
Therefore, it has to be seen from the angle that, both parties brought materials to the table, the musician brings his talent while the label brings finance and operations in order to achieve their goal. It is symbiotic.
Another significant cause of rift between label/musicians is the ignorance on the part of musicians. In many instances, artistes, out of ignorance and desperation put pen to paper, without recourse to legal advice, on vicious contracts that will eventually enslave them. And by the time they realize, it will now dawn on them that they have been shortchanged all the while, and it becomes too late to regain lost assets. Maybe that is the cause of Brymo and Choc City tangle, who knows.
And also, since we barely have a record label that has solid structure, strong financial base and distribution network, Artistes sometimes become bigger than the label that brings them to limelight, then the centre cannot hold anymore. Wizkid’s short-lived rupture with EME could be linked to this; Apparently, Wizkid grew wings and became more popular than his record label. This will naturally make an artiste seek higher grounds.
Moreover, envy also plays a key role in deteriorating relationships of artistes and their pay masters. I can categorically say that both parties usually envy themselves. This happens when the spotlight is on the artiste, while the pay masters are being ignored in social settings like concerts. I have seen a case where a label chief forces his artiste to shout his and his brother’s name on every track he records, all because they want equal attention.
By the way, another thing I observed is the selfish interest showed by some artistes, whilst, this is a natural feature of all mankind, Nigerian artistes sometimes appear over ambitious and can do anything to achieve their dreams. There are times where an artiste under a contract with, a label will openly hobnob with another, breaching contractual agreements in the process. But could this be linked to the prevalent poverty in Nigeria?
For a better working environment in the industry, the prevalence of the aforementioned observations should be discountenanced in the entertainment industry. Since there is no coherent body to checkmate the industry players, stakeholders must rise up to the occasion and save the industry of further ridicule. Because the bodies saddled with such responsibility, PMAN and MUSON are lying prostrate and have become redundant – what a sorry case!
There is also the need to sensitize record labels on management of artistes and also to protect both established and upcoming artistes from falling prey to leech-like artiste managers, who are all out to enrich themselves from another man’s sweat – gold digger.
I believe all hands must be on deck to ensure that Nigeria’s entertainment industry and the music industry in particular doesn’t derail and jeopardize the leadership position it holds in African music, bestowed upon it by the abundance of talents in her shores.
God bless Nigerian music!
Lanre Etti Jr is a music producer and CEO of Soundhouse Ent
lanreettijr@gmail.com
08173089306
Follow me on twitter: @EttiJr
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