Abdullahi Sani’s Post

If you are interested in the music business in Africa, this insightful piece about the nature of African music will change your view of African music. It is time for music creatives and professionals to start to rethink how we percieve the African music business.

The Griot Problem in the African Music Industry I was recently reading up on the Malian musician and instrumentalist Ali Farka Toure and how he built his first monochord from a tin can in secret because, as a member of the noble caste in Malian society, he was not allowed to be a musician. Music was only permitted for the lower caste of griots When I shared that tidbit with an older friend, he informed me that Chief Sunday Adegeye, popularly known as King Sunny Adé, the iconic Nigerian jùjú singer, songwriter, and multi-instrumentalist, was also forbidden from performing music by his family early in his career for the same reason as Toure was. These two interesting facts gave me an interesting insight into how Africans still view music. To them, music is meant to be a pure form of art, to come pure and undiluted from the heart of the creative, and ostensibly to entertain the nobility who were their patrons. The creative musician, like the griots of pre-colonial Mali, must give his gift as a service to the community and is not allowed to enrich himself with it. One of the prevailing sentiments about the music industry in Africa is that since music is art, a musician should always prioritize the aesthetics of his music and the entertainment of his audience over financial compensation. Musicians who are perceived as having violated this tenet are derided as having “sold out” The other sentiment that unfortunately stems from the first is that since a musician is not likely to profit from his creativity, professional music is not a viable career for anyone who wants to be a respectable member of society, instead of being mired in grinding poverty and forever at the mercy of lovers of their music. What is even more unfortunate is that these two beliefs have negatively affected the music business in Africa. I have been in meetings with investors and businesspeople who say African musicians are hard to work with because, despite their prodigious talent, their lack of professionalism and attention to their craft make any investment in them very difficult. Africa is the next goldmine of the world in terms of entertainment, culture, and music, and the world is looking to tap that value out of the continent by all means. The African music industry either needs to have a network of educated and trained professionals who can take advantage of the tremendous opportunities from across the world and ensure African creative energies benefit Africans, or it can continue to take the “griot” approach to the music business and continue to chase “good vibes” while the rest of the world enjoys the continent’s resources low cost. This is the reason I agreed to the appointment with https://lnkd.in/dFV_erFN, ACA is a network of music professionals who are committed to resolving the griot problem by providing global networking opportunities, professional development programs, platforms for collaboration, for African Music & Culture Practitioners.

Afrobeats has steadily risen in popularity over the last decade to emerge as one of the world's most popular music genres. While it seems like the ascent of the West African music genre to the top was quick, its success actually lies in forebears that lay the groundwork like Fela Kuti and Sunny Ade. In this article for African Arguments, I trace the history of Afrobeats, its present and what's up next. read it now with the link below https://lnkd.in/d7Q24cVZ

UK Music has found that the country saw an all-time high in music in 2023. With a 20% increase, this growth has been attributed to iconic performances by Blur and Beyoncé. Not just this but their studies noted that - → There were 19.2M attendees which is a 33% spike from 14.4M in 2022. → Music tourism spending reached £8B, a 21% increase from £6.6B in 2022. This data shows the huge demand for the UK’s music scene and how both domestic and foreign tourists are making the most of this experience. With Taylor Swift's Eras Tour selling out 8 nights at London's Wembley Stadium, each with a 90,000 capacity, the music tourism industry shows no signs of slowing down. The 2024 figures are expected to reflect even more significant growth. This makes it even more important for the music ecosystem to be supported to ensure that everyone, no matter where they live can have access to music. It also makes it important for other countries to realise that the music industry is an important driver of economic growth that provides entertainment, employment and inspiration to millions. Are you working to ensure musicians receive the necessary backing to flourish? #musicindustry #musicecosystem

The music business in South Africa is a vibrant tapestry woven into several genres, from infectious amapiano rhythms to soulful kwaito compositions. This environment is teeming with brilliant artists that are passionate about their craft and want to make a difference. Underneath the dazzling lights and electrifying performances, however, is a hard reality: many South African musicians, whether contracted or independent, battle relentlessly for financial stability. According to a new report by the Music in Africa Foundation (MIAF), \"Revenue Streams for Music Creators in South Africa 2022,\" musicians there are having a hard time making ends meet. The report, which is based on a nationwide survey of 2,891 artists from all nine provinces, unveils an alarming truth: the average musician in South Africa earns just R9,890 per month. R141,548,500 is the total amount of money that all participants have brought in from their various sources.

Who Will Represent Nigeria at the 67th Grammy Awards? As the music industry gears up for the 67th Grammy Awards, all eyes will be on the upcoming unveiling of the 2025 Grammy nominations on November 8, 2024. Nigerian artists have steadily made their mark on the global music scene, with a growing presence in international categories. Top contenders expected to make waves include Burna Boy, who has become a Grammy favorite following his 2020 win and subsequent nominations. Wizkid, known for his global hits, is also likely to appear in the nomination list, especially after his success with his album Made in Lagos. Afrobeats star Tems, who has gained international acclaim for her collaborations with global artists like Drake and Future, is another strong candidate for nominations. Other names to watch include Olamide, Davido, and Joeboy, who have also seen global success in recent years. With Afrobeats continuing to gain prominence worldwide, the 67th Grammy Awards could see even more Nigerian artists recognized for their contributions to the music industry. The nominations will be closely watched as a reflection of the growing influence of Nigerian music on the global stage. WhatsApp Facebook Twitter Email LinkedIn Reddit The post Who Will Represent Nigeria at the 67th Grammy Awards? appeared first on Akelicious.

It's hard to make it in the music industry. Streaming platforms now account for 48.3% of global recorded music industry revenues, amounting to $17.5 billion in 2022. This has changed not just the way people listen to the music but the very economics of the industry, particularly in terms of revenue and contract negotiations. Artists face a hard choice: sacrifice their identity & artistic integrity for fame or risk obscurity. The idea of "selling one's soul" has been a repeated theme in the music industry. Many would argue that it’s just a metaphor for sacrificing artistic integrity for fame and money. But can it be more than just a figure of speech & is there a way to dance with the devil without losing your soul? Trying to figure out exactly that in our new piece 👇 #musicindustry #musicbusiness #music https://lnkd.in/d2v_q_ri

Whenever I look at LinkedIn, I am constantly confronted with posts written by marketing ‘consultants’, most of whom have no significant experience working in top-level jobs in top-level arts organisations, repeatedly spinning the line that classical music & opera is getting it all wrong. They say we should focus solely on relevance and not on artistic excellence, and that we need to pay them to fix all of our problems. Marketeers don’t want to hear my opinion because I am only a lowly performer, but here it is: my ‘hot take’ on opera & classical music is that we should FOCUS on artistic excellence, making great music & telling great stories no matter when written, and get music & the arts back into schools to inspire the next gen of pro musicians & create our audiences of the future. We do the artform a huge disservice by allowing marketeers to tell us that classical music will only survive if it’s ‘relevant’, that it only has any value if it’s for ‘relaxation’, and that we are doing a terrible job of appealing to and growing audiences. Great music and great art is for the benefit of humanity and not just about the bottom line or numbers of bums on seats. It’s why state subsidy exists for the arts across Europe, because producing great music and great art is expensive and by subsidising you reduce the need to commercialise. If we impose commercial considerations on classical music, like allowing audiences to behave however they like in any context incl. using phones and filming, you undermine the artistry of classical musicians on stage, who are performing mostly unamplified and need no distraction. Opera singers and classical musicians generally can’t be like Taylor Swift. She is performing her own compositions for over a year on tour with the same song list to stadiums that house up to 100,000 people. She HAS to be amplified, and it’s the same show every night of the tour. Opera singers conventionally perform b/w 4 & 12 shows in a production run. A classical pianist may do a 10-date tour of a concerto. Orchestras will perform programmes up to 3 times in a season and then not touch that rep for a few years. We have to learn vast amounts of music. Opera & classical music is almost a completely unrelated industry to pop music, and it cannot and should not be treated or judged or MARKETED in the same way. It does not belong in car parks or stadiums but in theatres and concert halls with optimised acoustics. Not everyone will like opera & classical music, but some will, if they’re exposed to it without the imposed narrative that it’s somehow not for them. Education matters, and we need to remove the barriers created by the media suggesting that opera and classical music is elitist. So the next time you read a marketing blog or social media post stating that classical music and opera needs fixing, query the author’s experience, level of self-promotion, motivation and if they’re trying to make money by acting as a ‘consultant’. Cynical, but true.

The origins of American country music and its significant influences from Black culture underscore how integral Black contributions are and have been to the development of all popular music genres in the USA. Country music, often perceived as quintessentially white, has its roots in Black culture, tracing back to the blues music and West African musical traditions brought to America by enslaved Africans. This rich heritage laid the foundational elements of country music, including the use of the banjo, an instrument of African origin, and musical styles like call and response and the bluing of notes, which are central to the blues genre and, by extension, to country music itself. https://lnkd.in/eX4zJqxk Notably, Black musicians have directly influenced the development of country music through their teachings and interactions with white artists who would become legends in the genre. Figures like Tee Tot Payne, Lesley Riddle, and Arnold Shultz played pivotal roles in shaping the music and careers of country icons such as Hank Williams and the Carter Family, demonstrating the profound impact of Black musical traditions on country music. This influence extends beyond individual artists, touching on the very sonic and thematic elements that define country music. https://lnkd.in/eX4zJqxk Moreover, the history of country music's whitewashing, where Black contributions were obscured as the genre was marketed to a white Southern audience, reveals a complex narrative of cultural appropriation and the sanitization of Black influences from mainstream recognition. Despite this, the indelible mark of Black artists on country music's evolution is undeniable, as is their continued influence and participation in the genre today. https://lnkd.in/eX4zJqxk Black musicians' contributions to other popular music genres are equally significant, with roots in African musical traditions evident in blues, jazz, rock and roll, R&B, hip-hop, and more. The fusion of country with soul and R&B by artists like Ray Charles and the success of Black artists in country music, such as Charley Pride and the Pointer Sisters, further illustrate the genre's diverse influences and its potential for inclusivity. https://lnkd.in/eDwtR4XY The current discourse around Beyoncé's album "Cowboy Carter" and the backlash it has received can be contextualized within this historical narrative, highlighting the ongoing relevance of discussing racial dynamics and the origins of musical genres. The contributions of Black artists to the tapestry of American music, including country, are not just footnotes but are central chapters in the story of music itself, showcasing a legacy of innovation, resilience, and profound influence that has shaped the sounds of modern popular culture.

Interested in learning more about music bands and partnerships? Read my colleague's article below that outlines the implications of not having a partnership agreement in place.                         https://lnkd.in/dafNj5Dj