Over the decades, the “Ghanaian sound” has had a huge influence on Nigerian music but its artists have often struggled to gain mainstream clout there.
In August 2018 during their performances in Nigeria, two of Ghana’s biggest artists – Stonebwoy and Shatta Wale were left licking sore wounds on their return to Ghana after, what fans observed to be, a “cold” reception.
Some are of the opinion that the concert, powered by Zylofon Media, was a necessary step in the quest by Ghanaian artists to become household names in the Nigeria music industry – a difficult terrain as shown by records over the years.
But is the quest necessary?
“It is not necessary for Ghanaian artists to become mainstream in Nigeria before they can be seen as successful,” says Osagie Alonge, head of editorial and editor-in-chief of Pulse Africa.
“Focusing on Nigeria alone is detrimental to your career as you should focus on growing your home base first – Conquer Your Territory.”
Alonge adds that for artists “working on your craft to gain recognition from anywhere in the world” is one of the things that would be of great benefit to them.”
Celebrity blogger Ameyaw Debrah, founder of Ameyaw Debrah Media would rather artists consider a natural progression of their songs into the country like Patapaa's ‘One Corner.’
A number of factors have been attributed to the poor success rate of Ghanaian artists permeating the Nigerian music market compared to how easy it is for Nigerian artists to gain national acclaim in the music market of their West African neighbours.
Some stakeholders argue that having legislation in place to dictate that music by Ghanaian artists gets majority airplay on Ghanaian airwaves will help the quest to reach people beyond the country’s borders.
Others are of the opinion that the large number of Nigerian musicians makes it nearly impossible for their Ghanaian contemporaries to make the desired impact.
Sadiq Abdulai Abu, managing director of 3 Music show and executive producer of 3 Music Awards reveals that the Nigerian music industry once faced issues with expansion beyond their borders and took steps to remedy it. Stakeholders in the Nigerian music industry initiated processes including legislation which helped their artists to extend their craft to other countries.
“They recognised and realised that they needed to chiefly activate their brand to the extent that people in Nigeria, which is their primary market, would develop a taste for their music enough to want to spend money on it,” he explains. These guys begin to get some more money, which helps them to want to expand.”
“And obviously for us here, because we don’t have such policies in place and we have an open door policy, it is easier for them [Nigerians] to come here, get some few people working for them, and soon start seeing the benefits of it.”
Alonge mentions the likes of 2Face and M.I consistently harnessing “their power” to “lobby or advocate” for legislations that effectively helped make the Nigerian music industry what it is now.
He also argues the current situation is all about “demand and supply” in the context of “content and appeal. Nigerian artists appeal to Ghanaians at the moment.
The Nigerian music industry being “big enough to sustain itself” and also new local acts trying to come up in that same space makes it difficult for non-Nigerian artists to make the desired impact, says Debrah.
Legend has it that Nigerians have had a long history to the present of enjoying and appreciating Ghanaian music and artists. What is now known as ‘Afrobeat’ made popular by Nigerian legend Fela Kuti is said to be influenced of the Ghanaian traditional sound, highlife. Kuti is known to have collaborated on projects with at least one Ghanaian record label during his sojourns here.
Considering the challenges Ghanaian artists face trying to export their music over the borders, does it mean the love Nigerians had for Ghanaian music and artists has changed?
“I don’t think it has changed. Nigerians love good music and wherever it comes from – in the past, it was Tic Tac and VIP. Right now it’s R2Bees, Sarkodie and Stonebwoy,” states Alonge.
“It all boils down to the sound of the time. Nigerians still appreciate Ghanaian music as they continue to sample Ghanaian highlife, use Ghanaian sounding beats and even adopt their dance moves. Ghana has a huge influence on Nigerian music – even if they don’t admit it.”
Abu cites the late Fela Kuti ‘sampling’ Ghanaian highlife and calling it ‘Afrobeats’ and currently Nigerian artists using Ghanaian words like ‘banku,’ Maame,’ and ‘Odo’ as evidence of how the Ghanaian sound and culture has“always been the base of the Nigerian music industry” and “that hasn’t changed till now.”
Considering the speedy growth of the Nigerian music industry in the past decade and its contributions on the world music stage, there are certain things the stakeholders of the Ghanaian music industry and artists can learn and adopt which would likely lead to the desired change.
“The Nigerian music industry is built on passion. Nothing has come to anyone easy. It takes a lot of work and determination of an artist to get to their desired success level or for a record label to build an artiste properly,” shares Alonge.
“For an industry to be successful, you have to focus on what is right in front of you before looking outside of it.”
He also stresses on the need for artists to take “branding” seriously. “It’s more than the music. The music is the soundtrack to the brand. Ghana acts need to understand this.”
Originally published onnewdawnonline.org in October 2018
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