In moves to tap into the thriving Afrobeats market, several prominent Nigerian music acts have inked lucrative deals with renowned foreign music labels. These strategic signings have not only cemented the global appeal of Afrobeats but also unveiled the insatiable hunger of international record labels to collaborate with the genre’s superstars.
With Pheelz joining forces with Warner Music, Davido and Wizkid teaming up with RCA Records a subsidiary of Sony Music publishing, Burna Boy and Tiwa Savage aligning themselves with Universal Records, Olamide and his nurturing talents like Fireboy DML and Asake securing deals with Empire, the alliance between Nigerian artists and foreign labels has sparked a new era of cross-cultural musical synergy.
Acclaimed musicians like Asa and Patoranking have found success by partnering with Sony BMG and VP Records, respectively, solidifying the growing influence of Afrobeats on a global scale.
BusinessDay takes a look at the strategies employed by foreign music companies when evaluating and signing Afrobeats artists, as well as the challenges associated with this emerging trend and how it affects the music industry locally.
Global market penetration
Foreign companies recognise the immense potential of the global market for Afrobeats music. By signing deals with established Afrobeats stars, they gain access to a vast audience base in Africa and the diaspora communities worldwide.
This allows them to tap into previously untapped markets, helping to generate substantial revenues and expand their brand reach.
Collaborations and cross-cultural blending
To strengthen their foothold in the Afrobeats industry, foreign labels publishing companies and distribution companies are increasingly promoting collaborations between Afrobeats artists and international stars.
Over the years, fans have witnessed the top acts like Tiwa Savage, Davido, Wizkid and Burna Boy feature artists like Drake, Nicki Minaj, Ed Sheeran, and most recently 21 Savage, who was featured in Burna Boy’s ‘Sitting On Top of the World’. These cross-cultural fusions not only increase the genre’s international appeal but also pave the way for artists to break into foreign markets with more ease.
Local partnerships
Understanding the significance of regional expertise, foreign labels often forge alliances with local African record labels and talent management companies. These partnerships provide valuable insights into the African music industry, assist in navigating cultural nuances, and facilitate effective artist promotion within the continent.
Digital and social media marketing
In the digital age, social media platforms play a pivotal role in promoting music and engaging with fans. Foreign labels invest heavily in digital marketing campaigns, leveraging the power of social media influencers, viral challenges, and user-generated content to create a buzz around their Afrobeats signings.
Investing in artist development
To ensure long-term success, foreign labels invest in the professional development of Afrobeats artists. This includes providing access to top-notch production facilities, songwriting assistance, vocal training, and international collaborations to nurture the artists’ talents and expand their creative horizons.
While the involvement of foreign music companies presents numerous opportunities for Afrobeats artists, it is not without challenges. One of the primary hurdles is striking a balance between preserving the authenticity of the Afrobeats sound and adapting it to appeal to global audiences.
Afrobeats artists often face pressure to conform to mainstream Western styles, potentially diluting the genre’s unique cultural essence. Furthermore, cultural barriers, language differences, and unfamiliar market dynamics can pose challenges for Afrobeats artists and their foreign partners.
While some may find it hard to manage, projects like Wizkid’s Fourth studio album ‘Essence’, which was a commercial success and critically acclaimed is a testament to finding that balance to suit both local and global audiences.
Additionally, securing airplay, media coverage, and favourable positioning on international music charts presents its own set of challenges.
One of the most important challenges involves the impact of ‘Afrobeats to the world’ on the local economy. Joey Akan, a prominent Nigerian music journalist, raised an important point regarding the local impact of Afrobeats going global. While the signing of Afrobeats artists with international music companies undoubtedly brings exposure and opportunities to these artists, it is essential to examine whether the financial benefits are reinvested in the local music industry.
Adeniyi Damilola, music enthusiast and Disc jockey professionally known as DJ Damifresh, cited an instance where a local artist signs a three-album deal with a foreign distributor (distro) over a space of five years and when the deal is not renewed, the artist goes back to being an independent artist with the financial benefits coming from the streaming sales of the song going back to the company.
Akan highlights that the money generated from streaming, tours, and other royalties often does not find its way back to Africa to contribute to the growth and development of the industry. This issue raises concerns about the sustainability and long-term impact of international partnerships on the local music ecosystem.
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“The problem is that we are not monetizing the business of music in Nigeria. They pay taxes to other countries because they are paid in dollars even for shows in Nigeria. The local economy is not benefiting from all these revenues made globally,” Damilola said.
Despite the global success of Afrobeats artists, there is a need for a more comprehensive structure that ensures the equitable distribution of revenue and resources within the African music industry.
Obi Asika, a Nigerian music executive and founder of Storm 360, an indigenous music label, spoke to BusinessDay on the need for the creative economy to grow locally by improved music touring and merchandising.
“We are blessed with incredible talent but we need to build domestic touring and merchandise. Nigerians must be able to experience these shows produced at a world-class level in Nigerian cities and be safe. Once we begin to deliver that experience at home this entertainment economy is already a billion-dollar domestic economy and can only grow bigger.” Asika said.
“We need to create structure and systems to meet the expectations of artists that are going global. We need locally bred lawyers who understand International practices; we need managers who can represent artists globally. We also need more investors and for sound companies to upskill and when this is achieved, the money made abroad is spent in Nigeria which will boost the economy,” Damilola said.
This could involve establishing stronger mechanisms for revenue repatriation, implementing fair royalty systems, and fostering collaborations between international companies and local stakeholders.
To maximise the local impact of Afrobeats artists signing with international music companies, it becomes crucial for these partnerships to not only focus on individual artist success but also prioritize the growth and sustainability of the broader music ecosystem.
While the international success of Afrobeats artists through partnerships with foreign music companies brings undeniable exposure and opportunities, it is crucial to address the concern raised by Joey Akan regarding the limited local impact in terms of financial reinvestment.
To create a more sustainable and inclusive music industry, efforts should be made to establish structures and collaborations that support the growth and development of the African music ecosystem, ensuring that the benefits of global success are shared equitably and contribute to the local industry’s long-term sustainability.
