Music and Nigeria at 50

Today 1st October 2010, Nigeria celebrates its Golden Jubilee as an independent nation following the concession of the administration of the nation to Nigerians by the British colonial government in 1960. At fifty, there is the need to take stock and see if there is anything to party about.

The immediate challenges before an independent Nigeria in 1960 was how to sustain the economic growth, foster unity and sustain our leadership role in Africa. These issues thus serve as benchmarks for appraising the progress or otherwise of the Nigerian nation.

On the morning of our fiftieth anniversary, I listened to a BBC journalists asking Gen. Yakubu Gowon, former military leader, to list what he feels are the successes of the nation after fifty years of independence. The general was more emphatic on the unity of the nation. According to him, the ability of the leaders to ensure the continued unity of a country with a complex ethnic and religious diversity should be seen as the greatest success recorded and for which Nigerians should have something to cheer about. He talked about the civil war his administration fought to keep the nation as one between 1967 and 1970 as one demonstration of the ability of the government live up to expectation. Yes, it is true. The war succeeded in keeping the nation as one. The point of concern however, is that while the people were united, they did so with grudges. It is not that the Ibos or Biafrans never wanted to be part of Nigeria. They wanted it under circumstances that ensured their happiness. The leaders never gave Nigerians generally, this desire up till this point when we are celebrating fifty years of nationhood.

Music despite its amazing influence on people is often taken for granted. Without any iota of contradiction, the music era of the Tufaces, D’banjs, Ashas and the rest has played a remarkable role in uniting the nation. The industry has given Nigerians reasons to be proud of their nation. This young men and women have exported the beautiful Nigerian spirit to all nooks and crannies of the world through their act. Suddenly, Nigerians realized that their country has something that is appealing to the rest of the world after all. The realization is that there is something in this nation after all and many from north, south, east and west are opting to be part of the nation.” People should want to be part of a nation by will and not by coercion. Music has given people reasons to be part of the nation by will.

While I listened to BBC Africa Have Your Say on the BBC on the eve of Nigeria’s Golden Jubilee, listeners from different parts of the continent where asks to say how the Nigerian culture has influenced them. Nearly all of the youths from the Uganda, Tanzania, Kenya and Ghana listed Nigerian music of the era of Dbanj, Tuface and P-Square and the humour in the parlance of Nigerian cultural English (Pidgin English) as the greatest things that have made Nigeria the apple of their eyes. I noticed that these persons never wanted to mention the negative parts our nation. When somebody loves you, you notice that he doesn’t want to talk about your weaknesses. 

Along this line, the music has also become the greatest weapon of rebranding for the Nigerian nation. We must effectively rebrand to preserve our integrity and remain the leader of Africa. The artists are doing it at no cost to the federal government that has committed billions of naira to rebranding the image of the nation since the time of Gen. Sani Abacha.

Critics have often complained that the current music industry in Nigeria has forgotten the Nigerian culture as compared to the era of Haruna Ishola, Fela, Sunny Ade and the rest of them. These old generations of musicians are most cherished by people around the world who are more interested in the study of the cultural diversity of the world. While they are there doing their cultural studies, we are here experiencing the pains of suffering as caused by poverty. The contemporary music industry, besides working on the Nigerian image abroad, is also generating money to the artists, their families and communities and healing the economic wounds of the nation. That is what matters for now. But I believe that the music is merely a reflection of contemporary Nigerian culture which is gradually succumbing to the West as is the case anywhere else.

At the age of fifty, this is the contribution the new era of the Nigerian music industry has made. Only a few politicians have done this much. The industry has achieved this against all odds such as piracy and the non-challance of the authorities to the ills of the industry despite this obvious capacity to make a remarkable contribution. In view of this, the government should work towards ending piracy and other challenges of the Nigerian music industry that has demonstrated what it can do for the nation. According to the Holy Bible, “the greatest thing about the youths is their strength.” The leaders must know this.

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The Rise and Prominence of J-Martins

If you think say na only you sabi, na lie. Plenty people dey wey sabi!

When next you see someone carrying a guitar, making a move to learn music production in a music studio or making noise about doing a music album, just leave him as you see him. Something within must have prompted him. Jamaican Eric Donaldson sang in one of his famous songs that one should not judge a book by its cover but to just turn the pages and read. I agree with him one hundred and ten per cent.

When J-Martins came out with that song of his that features Timaya and P-Square, I dismissed him. The makossa flair in that song turned me off. It is not that I have something against makossa but I was of the view that at a time like this when the Nigerian music industry is re-emerging, any peace of project must take into consideration the Nigerian flair first and any artist that fails to realize that, is lacking in knowledge of how the industry works and is likely not to do any good to himself and the industry at large. Martins eventually made me to understand through his most recent projects, that he was only passing through his music adolescence. Every body grows from somewhere. Like most other Nigerian acts be they D’banj, P-Square or Asha, Martins grew up in the eyes of the fans and should not be judged by his beginnings. The growth of Martins is however one of the most phenomenal.

Each time a big one comes out, he makes the fans proud. To them he is an assurance that the industry has come to stay and the local music industry will thus continue to represent the nation at the regional and world stage. There is no shying away from the fact that the Nigerian music industry is about the most prominent in Africa and is already making an impression around the world. The most recent project of J-Martins sends a message to Nigerians that the industry is more determined than ever to ensure that its prominence will never be floppy.

To me,” Cool Temper” is the song that drives me crazy the most. I used to hold my head between my hands whenever the radio plays it. It meets all standards and Nigerians who are yet to understand the man J-Martins need to listen to that song once again. Apart from the general bliss in the song, it has succeeded in re-enforcing the fact that as long as we remain Nigerians, we cannot run away from Highlife music. Anybody hearing this including J-Martins may be surprised that I am referring to the music as Highlife. I will come to that. All those lines of the song that talks about biscuits, moi moi and mineral, reflect the comic nature of Nigeria. The professionalism of the maker of the song is reflected in the modest nature of the song that seems to re-enforce the saying that you don’t get noticed by necessarily making the loudest noise; it simply takes making just the right noise.

There is the need to discuss what is Highlife to enable us understand if J-Martins music can be classified as Highlife. Good music is expected to reflect the culture of the people. Music, as part of art is also a mirror to the society, meaning that if reflects the society. The old Highlife music of Nigerian reflected the culture of Nigeria. In it, one could hear Pidgin English, Nigerian languages such as Ibo, Kalabari, Ibibio, Efik, the sound of the gong and other Nigerian native instruments. In J-Martins’ music the Pidgin English, the comic nature of Nigeria and the mention of words like moi moi, kulu kulu temper, mineral, etc is a reflection of the Nigerian culture. Though the native instruments of Highlife are not there, one could not pin the instrumentation to a particular genre of music. That represents the originality of the artist. Thus the music is a modern form of Highlife music just as I see D’banj’s and Bracket’s music.

From all indications, the Nigerian music industry is set to keep growing and J-Martins is currently one of the most brilliant colours of the industry.

Nigga Raw, Hip hop Artist?

With Hip hop being the reigning genre of music across the globe, it is now fashionable for music artists to brand their music as Hip hop even in circumstances where the music is apparently not. Here in Nigeria and Africa at large, the artist will refer to their music as Afro Hip hop.

A pertinent question here is ‘what is hip-hop?’ Hip hop is a culture and hip hop music is one that has been influenced by hip hop culture or way of life. That is to say that the music is reflective of that culture and anybody who lives that culture can relate to it.

The bits that make up a culture include dressing style, manner of greeting, language style, most favored sport, most favored music and so on.

When Hip hop music rose, from the late seventies to the mid eighties, to become very relevant attracting followership, the next thing hip hop artists started looking at was how to propagate the music culture until it becomes a global phenomenon. If the music must spread successfully, it has to incorporate local cultures in order to gain acceptance easily. However, the local artist must preserve the Hip hop framework so that it can be recognized as Hip hop by everybody including Americans, without been told.

The obvious impression when one listens to Nigga Raw is that he is listening music that is largely Highlife whose original home is the South Eastern part of Nigeria where Raw comes from. Furthermore, there is an element of clowning in Raw’s music, something that is abhorrent in Hip hop. As if that is not enough, Raw has developed the habit of remaking the records of renowned Highlife musicians, implying that he sees them as his idols.

Timaya and Bracket Embarrassed in New York

According to a gist monitored on Peace FM Jos on Wednesday 21, 2010, Timaya and Bracket, Nigerian music artists were refused the chance to perform by New York music fans that prefer live performance as against miming which the Nigerians planned to doll out. This is a practice that is not only common in Nigeria but acceptable.

A live show is so called as it is performed live with all vocalists and instrumentalists on stage. There is a difference between playing from a CD and watching a live show. When music is played from a CD, there is nothing to suggest that it was produced live or via computer instrumentation especially if the software used is sophisticated. All that matters to the fan is the sound. If however the fan paid for a live show he will not accept a CD playing from somewhere in the background while somebody moves his lip behind a mic in the foreground. The fans must have interpreted this to mean cheating and an insult not only to them but even the city of New York, the Mecca of showbiz in the world. The implication is that we have been cheated so many times, here in Nigeria.

Here at home, Timaya and Bracket are big names that have sold millions of CDs across the continent. When it comes to live shows however, it has to be the real thing. That is how it is done elsewhere and the Nigerian fans also deserve the best. While in Port-Harcourt, I watched American Usher and Shaggy at different times. The shows were all live in the actual sense of it. Even when Shaun Paul came to Nigeria I monitored his show on the NTA and it was live with guitarists, drummers and back vocalists playing live. It was the real thing.

Despite the disappointment, there is however, a silver lining to the whole incident. It is a challenge urging the Nigerians to live up to global standards which, in my opinion, is in the interest of the Nigerian industry. Furthermore, Timaya and Bracket have been challenged to use their money to put up live bands and go back to New York to clean up the mess. Anything contrary will amount to a total defeat.

Should the Nigerian music fans learn about the New York embarrassment, only God knows how they will feel when next a big name in Nigeria appears on stage without a live band. It will however be good for upcoming artists who are financially weak to be allowed to perform shows without live bands as is the only way the growth of the industry can be sustained.

Bank-W Makes Up for J-Town

Following the Jos crisis of January 17, 2010 we learnt that one of the boys that have made us proud in Jos by successfully taking his music efforts to the national level, M-I, was to come to Jos to donate relief material to victims of the Jos crisis. But he wasn’t coming alone. It was said that he was going to come with some other big names from the Nigerian music industry, one of the world’s most dynamic music industries. Among these artists, we were told, was Bank-W. We were delighted that one of Nigeria’s biggest was coming to Jos. At the end of it we were however disappointed as M-I’s delegation did not include Banky-W. The feeling was that the artist failed to identify with us. My personal feeling at the end of the day was that the artist was on his own.

Today however, I woke up to hear a music presenter with Rhythm FM Jos talking about a record Banky has made and it is titled ‘why.’ The artist explained that it was a question regarding the fighting in Jos. He then played the record. I listened to it and concluded that Banky has made up for his failure to come to J-town at long last.

The record makes reference to the regions of Nigeria and the blessings God has deposited in each of them and wonders why we choose to fight all the time rather than take full advantage of the resources to make the nation a better one. The record conveys some sad emotion and reflects the subject at hand. It also was replete with the Nigerian parlance ensuring that the Nigerian identity is not ignored.

I enjoyed it and accepted it as a compensation for the failure of Banky to come to J-town. We look forward to a Banky show in J-town and hope it will happen anytime soon.

Plateau Music Artists and Subcultures

Native Plateau State people are the real Nigerians. Real Nigerians are people who combined the qualities of both northerners and southerners. Yes, we combine these qualities. The northern quality in us is seen in our ability to speak Hausa language in addition to our native languages for which there are more than thirty of them. The southern quality is seen in our liberal lifestyles, something that is rare up here.

When one takes music artists from Plateau State into consideration, one sees that they represent three subcultures.

The first category is seen in native Plateau boys. The languages they use to express themselves when they sing are Hausa, English and their native tongues. Examples are Jeremiah Gyanga and Dach-mo. Artists like P-Square whose parents are of southern Nigerian origin are seen to perform in Pidgin English and their native tongue. While artists like M-I who seem to come from educated parents are strict in their of use English exclusively.

These behaviors are merely an expression of the type of upbringing they had while growing up from boys to men. One thing about native Plateau people is that they find themselves in circumstance where Hausa is the major language of communication. It is generally the situation in this part of Nigeria. Their children thus grow up speaking Hausa which they learnt by virtue of the environment and English which they learn in the classroom. The situation is however changing albeit gradually as most people are beginning to understand that compelling their children to speak English strictly is a way of giving the kids some class. I personally don’t think so. Children should learn the English but also the native languages.

Other Nigerians who came to Plateau from the south are also compelled to speak Hausa language since it is the lingua franca up here. They however speak this outside of their homes. Under a normal situation, this Nigerians don’t speak Hausa to their kids at home however. Instead they speak to them in their own tongues as the children must know where they are coming from.

Education gives people some class. This class is accentuated by the use of English in the home. The children grow up knowing that their parents are different and grow up upholding this class. As a matter of fact the kids are trained that way.

Dachmo: The Next Superstar to Blow the Nation from Jos

Good music must have that feel that keeps music fans coming back. By this, the artist remains relevant in the lives of music fans. If that is true, then the next superstar to come out of Plateau State Central Nigeria, would be Dach-mo, real name Solomon Dachomo. This was the revelation at the Azi Nyako Youth Centre, Dadin Kowa in Jos when his long awaited album, titled the Love Song was dedicated today.

Those charming feels that will keep people coming back to his music are the amazing power in his voice, creativity and his general professionalism. The album is a general embodiment of all these. His style is similar to that of Jeremiah Gyang, a lyrical mix of Hausa and English. This stands the two artists out from others from Jos like, P-square and M-I whose lyrics are either pure or Pidgin English.

Novices are of the opinion that the biggest challenge of making music is just having the talent and being able to write relevant songs. But the additional challenges are also in publicity and distribution. Even the great Bob Marley had this difficulty and had to team up with Tosh and O’Rilley to form the Wailers after his first album could not make it. When he eventually saw the limelight, the first album suddenly started receiving massive airplay. Dachmo says he never had challenges in area of airplay. The biggest challenge he says, is actually in distribution. Right now, he hasn’t got a marketer. Going by the multitude that turned out at the dedication however, there is a good chance that even that seeming obstacle will fizzle out soon.

Dachmo said his music talent was revealed as a kid when he became fond of playing improvised drums in the form of empty Jerry cans, powdered milk containers etc. Eventually he went to stay with one of his close relatives who led a flock at a church, the COCIN, Sarkin Mangu Street in Jos Township, where he had full access to the real drums and mixed with singing groups within church. These events helped him to fully realize how to put his talent to use. Besides being a singer/song writer, he is also a full-fledge drummer now.

He is Berom from Barkin Ladi but who was born and bread within the city of Jos. He was educated at two secondary schools, Tempest Secondary School and GSS Jos, now Sardauna Memorial Secondary School. He later had a diploma in Business Administration at the Plateau State Polytechnic. Not wanting to be left out of the golden bowl of the computer age, he went to ECWA Computers to study Micro Computer Engineering, bagging another diploma. He says he is done with education yet.

He is without any shadow of doubt, the present music maestro in Plateau State and a promise that the state will continue to make its impression felt in the fastest-growing music industry in the world. Take note!