Nigerian Artists & Music Labels: A Love-Hate Relationship
Bound by music & emotions
Although art is its primary commodity, the music industry is intrinsically a business. It is a marketplace where both the producers and the distributors of the art hope to make an income from the interest of the consumers—whether they are paying attention through the TV or the radio, through their smartphones, or in a physical space in a gathering of like-minded people. The situation is no different in any place around the world, much in Nigeria.
Nigerian music, as it is today, is no small fry. The artists have become renowned superstars across the world, recognised for their sounds—collectively termed Afrobeats—of joy, pain, excitement and frustration. From the earlier times of Fela Kuti to King Sunny Adé to Oliver De Coque to William Onyeabor to Onyeka Onwenu to Ras Kimono to Trybesmen to 2Baba to D’banj to present times of Wizkid, Davido, Burna Boy, Flavour, Tiwa Savage, Rema, Fireboy DML, Tems, Ayra Starr and Omah Lay, Nigerian music has taken on different complexions but what is constant is that the music has crossed the country’s borders into other parts of the world.
In this conveyor belt of art-consumer, artists and music labels are two peas in a pod. The Times of India notes that “labels have a major role in terms of funding; they assist budding and young artists, and singers by facilitating funds at the time of creation, distribution, and marketing of the releases. This gives a strong hold to artists and those who want to go ahead in their music careers.” In the Nigerian music scene, whether the labels are based in Nigeria or outside the country, they are a fundamental part of the careers of many artists. Think King Sunny Adé and Island Records, or Afrodisia and The Lijadu Sisters and Christy Essien-Igbokwe, or Kennis Music and The Remedies and 2Baba, or Chocolate City and M.I Abaga and Ice Prince, or YBNL and Fireboy DML and Asake, or Mavin Records and Rema and Ayra Starr.
In 2004, the three-man group of 2Baba, Faze and Blackface (Plantashun Boiz) disbanded with 2Baba choosing the solo route. In an interview, he spoke about why he joined Kennis Music, the Nigerian music label led by Kehinde “Kenny” Ogungbe and Dayo “D1” Adeneye. “There were a couple of labels then, but I went with Kennis Music. Because Kennis Music was the biggest in terms of everything,” he said. “So I went with Kennis music and I spoke with Mr Kenny Ogungbe, we came to an agreement and you know, the album came out and it was a huge success…” 2Baba’s two albums under Kennis Music—2004’s ‘Face 2 Face’ and 2006’s ‘Grace 2 Grace’—transformed him into a sensation, and he lent credit to the label, saying, “…Kennis Music had done the work of promoting the music properly, like taking it across the whole corners of Nigeria and Ghana and South Africa.”
M.I Abaga’s 13-year stay in Chocolate City Music is also an example of the impact that a record label has on the career of an artist. From his studio albums to his mixtapes and collaborative projects, Chocolate City Music had been the home of M.I, guiding his entrance into the music scene with 2008’s ‘Talk About It,’ firing up Nigerian Hip-Hop with his ‘Illegal Music’ series and signposting his evolution as an entertainer. So woven was M.I into Chocolate City Music that he, Ice Prince and Jesse Jagz were fondly known as Choc Boiz. M.I also served as the label’s CEO between 2015 and 2019, overseeing a joint partnership deal with Warner Music Group. After leaving Chocolate City Music in 2020, M.I still respects his time at the label, saying, “We are family for life.”
While Nigerian artists and record labels have mostly mutually beneficial relationships, there is a part of the conversation that spills anguish and courtroom drama. In 1974, King Sunny Adé was sued by Chief Bolarinwa Abioro, owner of African Songs Limited and Take Your Choice Records Stores Limited. Adé had signed a five-year contract with Abioro and trouble began when the former demanded improved royalties for his music, which the latter firmly turned down. Adé went on to release new music under his outfit Sigma Disc Records and it annoyed Abioro who considered it a breach of contract. In 1975, a court ruled in Adé’s favour, stating that his contract with Abioro expired and ordered Abioro to return Adé’s master tapes but that didn’t happen. In 1997, one year after Abioro’s death, Adé sued both companies for his master tapes in a federal high court in Lagos; it wasn’t until 2015 that he won the case—with 500 million naira as damages.
The cases have tripled since then—from Kiss Daniel (now Kizz Daniel) and G-Worldwide Entertainment to Runtown and Eric Manny Entertainment to Cynthia Morgan (now Madrina) and Northside Music to Iyanya and Made Men Music Group. These situations, in most cases, wrought life out of the artists, damaging their enthusiasm to make music; for the labels, it gave them a bad reputation, ultimately tainting their credibility. In a three-part special investigation for the NATIVE, Nigerian journalist Joey Akan reported the situations that sullied the relationships between Made Men Music Group’s CEO Ubi Franklin and the label’s artists, including Iyanya and Emma Nyra. The report offered the perspectives of Iyanya and Ubi Franklin, on a case of contractual violations. See ehn, instead make I work with Ubi again ehn, I’d go and start farming. That one na suicide wey you just go carry,” Iyanya had said. In 2021, Iyanya and Ubi Franklin reconciled, trashing their differences, with Iyanya releasing his latest projects under Made Men Music Group.
The matter of artist-label feuds is not a Nigerian phenomenon. In South Africa, there’s the Kgosi Mahumapelo-owned Ambitiouz Entertainment whose disputes with several acts are public knowledge. The exits of Amanda Black, A-Reece, Fifi Cooper, B3nchMarQ, Emtee and Priddy Ugly from the label sparked controversy in the SA music scene over disagreements over finance and other contractual obligations. In June, Ambitiouz Entertainment was barred from taking down Blaq Diamond’s YouTube channel and music from all other digital streaming platforms over copyright/ownership disputes. In 2018, rapper Gigi Lamayne left Ambitiouz Entertainment, and in an interview, she cited financial disparities as one of the reasons she left.
“So, 50% went to the label and 50% went to me. And I only found out that it wasn’t even 50 afterwards when I was talking to promoters,” she said. “It was like, ‘Oh, you got paid [this much]?’ ‘How much did you get paid?’ [and I’m like,] ‘I got [that much].’ That means they kind of chopped the rest. So, it wasn’t really even a 50. But, you know, those are questions you can’t even really ask now when you’re in the record label and you’re stuck.”
In the US alone, countless stories abound of artists and their music labels being at loggerheads over the contracts, sometimes going to court or settling for out-of-court settlements. There’s the story of Prince who, due to his contractual dispute with Warner Bros. Records, wrote ‘SLAVE’ on the side of his face during performances and changed his name to a symbol and often went by The Artist Formerly Known as Prince. There’s Dr. Dre whose legal battle against Death Row Records for the rights to his 1992 debut album ‘The Chronic’ ended in 2015 when the court ruled in his favour. Most recently, Taylor Swift, after failing to secure the rights to her music from Scooter Braun’s Big Machine Records, has vowed to re-record all her old songs dating back to her 2006 self-titled debut album.
In recent weeks, the death of MohBad has engulfed the media in Nigeria, with tributes pouring in and calls being made to unravel the circumstances of his death. MohBad signed to the Naira Marley-owned Marlian Music in 2019 alongside Zinoleesky, C Blvck and Fabian Blu. MohBad’s time with the label birthed the well-received tracks “KPK (Ko Por Ke)” with Rexxie, “Feel Good,” “Peace” and the 2020 EP ‘Light.’ In October 2022, MohBad took to social media to call out the victimisation he suffered at the hands of his label boss Naira Marley and his associates. MohBad went on to sever ties with Marlian Music and float his outfit Imolenization. After the passing of MohBad on September 12, stories have emerged—with video evidence—of MohBad being physically assaulted and bullied by entities associated with Naira Marley. The Lagos State Police Command has also set up a 13-man committee to investigate the circumstances surrounding the death of MohBad.
MohBad’s situation is an extreme case that highlights the tensions that arise between artists and their labels. Many Nigerian artists have countered unpleasant situations of this kind by launching their labels as independent artists or signing distribution deals with other outfits. EMPIRE, an American distribution corporation and record label, has been pivotal in assisting artists like BNXN, Wande Coal and Kizz Daniel with the wherewithal to play major roles in steering their careers in their preferred directions. Beyond artists, EMPIRE also ensured that other professionals in the industry get proper representation, with Titilope Adesanya, Director Of Operations EMPIRE Africa, saying, “We’re in a place where people understand the importance of producers and instrumentalists for the studio session. You have producers being listed—not only for split sheets or somebody’s computer, but they’re also been listed on the DSPs [digital service providers]. There is a similar thing happening with photographers.”
Nigerian Hip-Hop duo Show Dem Camp is also another example of independent artists who have curated their music themselves and built an organic following, resulting in their annual Palmwine Festival. “We started the Palmwine Festival. I think that has been the quickest thing to help us get our brand global,” Tec, one-half of the duo explained. The festival takes the duo to Lagos, Abuja, Accra, London and New York, where they connect directly with their fans as well as boost their financial earnings. “We were able to activate our followers and have them pay money and support what we were doing. They bought into the music and us as artists. Your core following holds you to the standards you have set. I always say it is more important to have fans than followers,” Tec added.
A marriage of artists and record labels, in whatever form, will remain a constant. Artists will always seek the outfits that can empower them with the right opportunities to create and amplify their music, and labels will always be on the lookout for musical talents to spotlight and invest in with the hope that the support yields financial dividends. What must change is for the parties involved to ensure that they play their roles adequately for the marriage to not turn sour. In the Nigerian music scene, as in every other music industry in the world, artists and music labels owe it to themselves not to ruin a good thing.
[Featured image credits/NATIVE]
FOR THE GIRLS: XENIA MANASSEH IS A POLISHED CREATOR ON ‘LOVE / HATE PT. 1’
Luwa.Mp4 Releases Riotous Debut Album, ‘punKstA*’
Across the album’s 12 tracks, Luwa.Mp4 continues his fiery exploration and fusion of genres like Punk Rock,...
Rising singer and rapper Luwa.Mp4 has released his debut album titled ‘punKstA*.’ The underground star who has been on a release spree all year long, announced the imminent arrival of his debut only a couple of days ago with a cryptic trailer video and an Instagram caption that simply read ‘PUNKSTA* MONDAY.’
Before the arrival of ‘punKstA*,’ the rising fusion star had been showcasing his diligence and talent with a consistent output that has seen him put out over a dozen songs since the start of the year. A string of singles led to a 6-pack titled ‘lore skooL,’ while a deluxe version that housed 5 new songs came just a month later.
His debut album’s lead single, “pUNK FANTASY,” arrived in late July, setting the stage for what could prove to be a pivotal moment in the underground star’s burgeoning career.
Across the album’s 12 tracks, the eclectic singer continues his fiery exploration and fusion of genres like Punk Rock, Afropop, Hyperpop, and Rap into something uniquely different. Tracks like “Pure Water,” which was previously teased on Cruel Santino’s Subaru Live Stream, the abrasive, Tecno-influenced “pROMISED NEVERLAND,” and the more laidback “pEEp MY RIDE” put on display the sort of varied, autotune-soaked approach that has set him apart and helped carve a growing niche.
While Luwa decided to go solo on his debut, credited as the only recording artist, the album was brought to life by a cast of talented producers like frequent collaborator TOPSY, Emyboi, JTRN, 3CB, FVKK.ANDI and Jeremy Cartier.
Listen to ‘punKstA*,’ here.
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Shekhinah Returns With Surprise Album, ‘Less Trouble’
The South African R&B star is at her most assertive on her first album in four years.
South African R&B and Pop singer Shekhinah has released a new surprise album titled ‘Less Trouble.’ The Durban star, who had been quiet for most of the year, took to social media shortly before midnight to share the new album’s cover, synopsis, and tracklist, simply stating, ‘If you’re seeing this my album LESS TROUBLE is out now at Midnight,’ in an Instagram caption.
The soulful singer first began teasing ‘Less Trouble,’ her first album in over four years, about a year ago when she released its lead single “Risk,” a bouncy Afropop-inspired collab with Ghanaian star MOLIY. A few months after the release of “Risk,” she put out “Steady,” a dreamy pop number that suggested that something bigger was on the horizon. But then it was largely radio silence about a project until its surprise arrival at midnight.
If 2021’s ‘Trouble In Paradise’ represented a coming-of-age for Shekhinah, subsisting some of the dreamy, youthful exuberance of her debut album for more measured musings on themes like heartbreak and grief, ‘Less Trouble’ finds her at her most assertive, writing and singing with the acuity of someone who is grown, decisive and discerning. The delicate opener “Break Up Season” sets the tone for the rest of the album as she shows little tolerance for shady behaviour and toxic patterns.
Other standout cuts on the album like “Bare Minimum,” a sombre collab with fellow South African award-winning singer lordkez, the ethereal, in-your-face interlude “New Casanova,” and the percussive “What Are We,” where Shekhinah contemplates the nature of a relationship but ultimately demands all or nothing, all drive home a part of the album’s synopsis, which reads ‘A BOOK ON MORE HEARTBREAK BUT LESS HEARTACHE.’
Shekhinah invites a couple of new collaborators on ‘Less Trouble,’ featuring the aforementioned MOLIY and lordkez as well as multi-instrumentalist Mars Baby and Young Stunna across the album’s 11 tracks. Mpilo Shabangu handled the majority of the album’s production, while other producers like Michael Morare, her longtime collaborator, Mthintheki Mzizi, and Vuyo also contributed to the album.
Listen to ‘Less Trouble’ here.
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The NATIVE’s First Impressions Of Amaarae’s ‘Black Star’
‘Black Star’ marks another evolutionary arc for Amaarae, and The NATIVE team offer our thoughts after a...
Change has always been a constant theme in any discussion about the career of Ghanaian-American star, Amaarae. Since she emerged as a singular voice in the late 2010s, she has evolved from a sirenic Afropop-adjacent singer into a Punk-Pop firestarter with minimal fuss. ‘Fountain Baby,’ her 2023 sophomore album, was a sweeping departure from the lilting melodies and shapeshifing cadences of the hypnotic ‘The Angel You Don’t Know,’ emphasizing her commitment to charting new courses with her music.
In the lead-up to her new album, ‘Black Star,’ she has wholly embraced a Pop aesthetic and sheen that was reflected on the album’s promotional singles, “S.M.O.” and “Girlie-Pop!.” Now that the album has arrived, the singer has advised listeners not to go in expecting a continuation of the soundscape on ‘Fountain Baby.’ As keen followers of Amaarae’s career from its start, we are sure that ‘Black Star’ marks another evolutionary arc for her, and we offer our thoughts after a few listens.
WHAT WERE YOUR EXPECTATIONS OF AMAARAE GOING INTO THIS ALBUM?
Kemnachi: I had zero doubts that she would impress me again. Amaarae always comes correct. She is audacious with her choices, taking creative risks most artists would not dare to imagine, and somehow rendering them seamless, deliberate, and effortless. Her music has a way of enveloping me: it’s fluid, slightly dangerous, and yet irresistibly sensual. Every project feels like an immersive world she has curated down to the finest detail. With ‘Black Star,’ I knew it was not going to be a mere collection of songs but another meticulously constructed realm.
Bamise: I expected something fun, genre-bending, and sonically diverse in the fashion that Amaarae’s music typically is. I may have taken the album title a bit too literally, though, because listening made me realise I had an eye out for some Pan-African statements or something to spark discourse on African identity, but I didn’t quite catch any of that.
Boluwatife: Amaarae has largely delivered throughout her career, so I knew she was going to come correct again. She’s one of those forward-thinking artists who take the kind of risks most others wouldn’t, but she always manages to make it work. She’s proven to be a musical omnivore who constantly meshes her wide-ranging influences into something new, fluid, icy, and more often than not, sensual. I knew ‘Black Star’ wasn’t going to be any different.
WHAT SONGS STOOD OUT ON THE FIRST LISTEN?
Wale: I liked “Girlie-Pop!.” I feel like it captures Amaarae’s vision of pushing Afropop into the future. She’s also really grown comfortable with music and lyricism and will not dumb down her message for anybody. The instrumental for “Girlie-Pop!” is also a wonder; it’s so dense, but there are pockets for Amaarae to be emotive about her feelings. Top song!
Daniel Akins: I need to hear “B2B” at the next rave I’m at. Amaarae is in her Dance era, and I’m here for it. Kiss Me Thru The Phone pt 2” with PinkPantheress is the collaboration I knew I needed, and I’m glad they finally linked up. It’s a clear standout on the project; their ethereal style complements each other.
Shina: “B2B” was the one that did it for me. That is my favourite track on the project. The number of times I ran it back was unhealthy for a first listen. It was also really fun to catch the Don Toliver “Best You Had” sample. I need to hear this outside!
HOW WELL YOU THINK THE GUEST APPEARANCES ENHANCED THE LISTENING EXPERIENCE?
Israel: The guest features on Black Star aren’t mere flexes. They’re strategic, theatrical, and sometimes emotionally resonant. They enhance, yes, but they do so on Amaarae’s terms. A standout for me was PinkPantheress on “Kiss Me Thru The Phone pt 2.” The tradeoff is that a few songs feel like dazzling cameos rather than an integrated conversation, yet overall they enhance the album’s drama, texture, and bravado with precision.
Daniel Banjoko: Everyone showed up and delivered, no weak links here. Instead of just guest spots, they felt like vital pieces of a bigger puzzle. Charlie Wilson on “Dream Scenario” nailed his part especially, making the track sound exactly like its name promises.
Moore: The guest appearances on ‘Black Star’ feel very intentional; each one enhances the album’s world without overshadowing Amaarae’s vision. PinkPantheress’s signature airy delivery meshes with Amaarae’s experimental pop sound. Naomi Campbell’s commanding voice on “ms60” is an unexpected but powerful addition, adding drama to the track. Each feature feels carefully chosen.
WHAT SONG IS THE BIGGEST SKIP?
Bamise: Not to be a party pooper, but I don’t get the PinkPantheress collab, “Kiss Me Thru The Phone pt 2.” It feels like a PinkPantheress song with less pop in it, and just borrows the title of the iconic Soulja Boy song but has no other similarities. It’s between that and “ms60.” For me, the chorus of that sounds like something I’ve heard from Amaarae before, and I doubt its absence would have diminished the album.
Shina: I feel like biggest skip is a strong word for a solid project, but if I have to pick a song to skip, it’ll be “ms60.” I think it’s easily forgettable.
Wale: It’s hard to single out a song that stuck out to me, but hearing Naomi Campbell on “ms60” threw me off. It’s just too contrived to bear for me.
WHAT SONG HAS THE BIGGEST HIT POTENTIAL?
Boluwatife: My gut answer would probably be “She Is My Drug,” just because of how she beautifully reworks the melodies from Cher’s “Believe.” DJ remixes of this song could go crazy. But if I were to think a bit more logically, TikTok would probably lap up “Kiss Me Thru The Phone pt 2.”
Daniel Banjoko: “Kiss Me Thru the Phone pt 2” goes crazy. Amaarae and PinkPantheress are the perfect match. This collab feels like it was destined to happen, and it delivers in full. Honestly, I can’t believe it took this long, and now I just need more tracks from these two, ASAP.
Moore: “Kiss Me Thru The Phone pt 2” has the biggest hit potential on the album. The song has a nostalgic, sad party girl vibe that makes it appealing, and it’s also catchy and well-produced. PinkPantheress consistently performs well on platforms like TikTok, and her fanbase overlaps in a really interesting way with Amaarae’s. The collaboration feels organic and exciting, and will likely create a lot of buzz.
OVERALL FIRST IMPRESSIONS
Wale: There is a very visceral quality to how Amaarae expresses desire that I don’t hear very often in a lot of music. It’s abstracted and warped in futuristic textures, but it’s very profoundly human, and it’s always great to hear that even as she advances the sonics of her delivery. I do, however, have an issue with the thematic scope of ‘Black Star.’ I thought there would be overt references to her experiences of navigating her Ghanaian identity, but those references are limited to samples and interpolations. It’s still an incisive listen and a triumph for finding ways to advance music from Africa.
Bamise: It’s Amaarae; she can never go wrong. But for me, this is the album that excites me the least from her catalogue. Other than how bass-heavy some songs on the album are, like “S.M.O.” and “She Is My Drug” among others, it feels similar to other projects I’ve heard from her in a way that’s not exactly refreshing or mind-bending. I may have gotten spoiled by how diverse and eclectic Amaarae’s music tends to be, but I wanted more from her. I expected more gangster, Hip-Hop Amaarae. Thematically, I didn’t get anything that gives the Black Star of Ghana, or black stars are ruling the world. Will I listen again and enjoy every bit of it still, though? Yes, I will.
Shina: So first off, this is a solid body of work. I love the fact that Amaarae stuck with the Dance, Electro-Pop route she was going with throughout the album. The features also played their part, adding their unique touches to each record. I would say, though, a feature I would’ve loved to hear on this project is 070Shake. I think she would have been perfect on “100DRUM,” but we don’t always get what we want, do we? Thematically, I think Amaarae could’ve leaned heavily on her Ghanaian heritage, seeing as the title and cover of the album are a nod to that. Maybe Amaarae just wants us to dance, and that’s what I’m just gonna do, and you should too.
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