How artistes are searching for relevance in the music industry

Nigerians are slowly taking over the Kenyan music scene. At this rate, their next target will be the East African region. Already, Nigerian music is filling the Kenyan airwaves and more artistes have started trickling into the country to tap into the rich Kenyan music market. One of such artistes is Nigerian artiste Agudosi Obum.

“I came to set base in Kenya because I realised that one cannot depend solely on their country to sell their music. That is why most of us are moving to other parts of Africa,’’ says Obum.

The artiste who records under the brand Direct Effect, has been in the Nairobi for several months recording his album Cheza Kidogo.

His strategy is to familiarise himself with the Kenyan market as much as possible and do music that has a fusion of Nigeria but with an East African element.

To fit perfectly into the Kenyan culture, Obum has had to enrol for a short course in Kiswahili, which he plans to inject into his songs.

“Learning Kiswahili will enrich my music and also bring me closer to the people of Kenya,’’ says Obum.

He is following in the footsteps of Congolese musicians of the 60s who penetrated the East African market by singing in Kiswahili.

Obum depicts a new wave where the African music is under pressure globally to redefine itself in order to survive and attract global appeal. Admittedly, the continent has never viewed music as an economic venture instead being used as a political tool. That is why musicians always dominate political scenes.

Indeed even in the DRC, the dominance in political arenas by Makiadi and TP OK Jazz was partly to do with the patronage by President Mobutu Sese Seko.

In Benin, it was the same script as the state supported and protected musicians who praised the regime in power.

Renowned Benin artiste Angelique Kidjo, shares her sentiments: “I was forced to sing pro-government songs. I had to flee the country in order to attain artistic freedom.’’

That aside, the way forward is that if the artistes from Africa are to survive the global wave, they will have to develop a sound that has a global appeal without losing its local touch.

Kenya established its name with ballads like Fadhili William’s classic ‘Malaika’, which had wide global appeal. Even with these successes, there is more that needs to be done on the part of artistes from Africa. So far, other than South Africa, the big success from the continent has been by musicians with European producers who tailored the music to their taste.

There is also need for investment in audio production equipment and services for a strong product.

Several years ago, Franco voiced the need to harness the capacity for African music promoters, producers and event organisers to provide good quality productions and spearhead the marketing of its music product globally. He was referring to the high dependence on outsiders, which compromised the quality and growth of African music.

With musicians from the continent showing willingness to collaborate, producers will also need to research on a sound that can cut across the region and appeal to the millions of potential buyers. In the meantime, artistes from Africa will have to find their own groove or be declared irrelevant.

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