The global rise of Afrobeats has propelled Nigerian artists like Davido, Burna Boy, Wizkid, and Rema to international fame and fortune. This is the story of the Nigerian music artist, a journey of dreams and sacrifices, where the pursuit of fame can come at a profound personal cost.
Nigeria’s musical landscape has evolved through distinct eras over the past few decades, each contributing to the current global Afrobeats phenomenon. However, this evolution also reveals a recurring theme: the sacrifices and challenges faced by Nigerian artists as they navigate the complexities of fame and fortune.
Whether from low income, middle class or upper class households the goal of these artists is to become famous and successful. This idea pushes them to seek funding to pay for recording sessions to create music for their portfolio.
According to Todalael Kafang, a Nigerian based Music Business Strategist, aspiring Afrobeats artists face substantial costs for song creation, which can range from N100,000 to N1,000,000, excluding fees for renowned producers who charge at a higher rate of $2000 -$10,000 per beat. Additional expenses include mixing and mastering, photoshoots, visualisers, and music videos, all of which can collectively amount to millions of Naira.
Kafang spoke on the financial struggles many artists face early in their careers, often relying on family and friends for support while working to establish their brand. She said that “fame comes before wealth,” with artists gaining recognition before achieving financial stability.
Rotimi Mustapha, professionally known as Swagzi a Nigerian music artist said that funding is a major challenge for artists in Nigeria “Music is expensive and it gets more expensive year after year. If you spend 10 million this year you have to spend 20 million next year. You have to put your music together, brand it, release it and promote it. Sometimes you don’t even make your money back. One of our biggest challenges is promoting our music.”
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The commercial pressures of the music industry
Different artists have their different ways of expressing themselves through their songs but the pressure to be commercial caves in on them and adds more pressure to the demands. The subjective nature of the industry means that artists’ success is constantly being evaluated and compared, which can be a source of anxiety and stress.
Joey Akan, founder of Afrobeats Intelligence, highlights the pressure of the music industry, where success is often measured by public “numbers” like streaming, concert tickets, and album sales. This pressure to achieve high numbers can lead to feelings of inadequacy and depression for artists who don’t meet these metrics.
Damilola Adeniyi, also known as DJ Damifresh said the decision to sacrifice the autistic vision for commercial success is awful made by the artist themselves when they’ve got to a certain stage of their career and they feel the need to change the strategy or experiment other sounds to make more revenue or by the label heads and investors who try to nudge the artist to a different direction for a better result in term of numbers.
The effects of fame
Swagzi shared his perspective on fame, noting that sometimes fame attracts fake friends who are only interested in his status. He finds it challenging to discern whether people, especially romantic interests, genuinely like him for who he is or are drawn to his fame and global recognition.
Although he said that when it comes to family, he feels they are generally supportive but not always readily available due to his busy schedule.
Kafang highlights the psychological and emotional effects of fame on artists of all ages. “Fame brings a lot of attention,” Kafang said. “People suddenly have access to you and want to know everything about your life. They want pictures, meetings, constant engagement on social media. This constant demand for content and information can impact an artist’s self-esteem and create a dependence on external validation.”
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Kafang also addressed the misconception that fame automatically leads to financial success. She said that many artists struggle to monetise their fame and manage their finances effectively. The pressure to maintain a successful image can lead to overspending and financial instability. As Kafang put it, “Nobody wants to look up to a struggling-looking artist.”
Swagzi backed the statement saying that when he became famous, he realised that he needed to live a certain type of way on social media, avoiding certain activities and only acquiring luxury clothes and accessories that fit the lifestyle of an artist.
Akan highlights the common pitfalls artists face on their journey to fame in Nigeria. He describes the lifestyle as fast-paced and extroverted, with high physical, mental, and psychological demands.
Success, according to Akan, requires artists to prioritise their craft, seize opportunities, honour commitments, and cultivate a strong community. However, he warns that fame can be a distraction, leading to a loss of focus, accountability, and creative drive. Ultimately, artists who succumb to these pitfalls risk their careers.
Kafang spoke on the importance of financial literacy and having a strong support system to navigate the complexities of the music industry, emphasising the need for artists to adapt and find unique strategies to manage their careers and finances.
Akan said that being an artist is inherently high-pressure because its success is subjective and depends solely on the number of people who engage with the artist’s work. “In this era, numbers have proven to be the definitive metric for judging the career of an artist. Artists without good numbers feel bad about it. They put pressure on themselves and then, you know, they might spiral and they go into very dark spaces. The music industry is a place where you have to constantly work for your mental health,” Akan said.
Adeniyi noted that artists who lack a strong sense of self often turn to drugs and other forms of addiction. This often leads to negative consequences for artists globally, not just in Nigeria. He emphasised the difficulty of catering to the entertainment needs of millions of fans, which leads many artists to isolate themselves to protect their mental health.
Kafang suggests several ways artists can safeguard their mental health. “Therapy is one option,” she acknowledges, “but a strong support network of friends, family, or a team who believe in you can also be invaluable.” This network can act as a buffer, shielding artists from negativity and misinformation.
Kafang acknowledges the vulnerability that comes with creating art and the emotional toll of negative criticism. “Artists pour their hearts and souls into their work, and harsh reviews can hurt deeply,” she says. “Without a strong support system to offer encouragement and perspective, it’s easy for artists to become discouraged and lose sight of their progress.”
She encouraged artists to develop the ability to discern between valuable feedback and mere clickbait. By focusing on their path and growth, artists can maintain their mental well-being amidst the pressures of fame.
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