Climbing the Music Business Ladder - with Lanre Lawal

This is Climbing the Music Business Ladder, a weekly series where I speak to music business professionals who’ve carved a niche for themselves over the years. Here, we get a glimpse of their inspirations, experiences, philosophies, processes etc. As there are several other jobs to explore in the music business that is just as cool as being a manager or A&R. This series also spotlights other  career opportunities there are in the music business, many of which are unbeknownst to young music business players and enthusiasts in Nigeria and across Africa.

What did you want to be when growing up? 

First, I wanted to be a doctor but I never passed Physics during O’level. Later, I took a course in IT when I had interest in Information Technology while working at a cyber cafe when internet wasn’t this ubiquitous. Of course, I’d always loved music but I knew I don’t have the talent to make one. Upon realizing I was interested in anything within the music industry, I did Mass Communication at NIJ with the intention of becoming a Journalist. Basically, I’ve had different dreams while growing up from wanting to be a Doctor, IT professional, Journalist and here we are. 

How are these experiences relevant to what you do now?

It gives me an idea of how people reason which helps in planning marketing for my clients or anyone. My IT background helps me as everything today is basically tech - which wasn't a big deal at the time. My experience in journalism allowed me to make a lot of media friends that helped - especially with Banky W, who was my first major client when he recently returned to Nigeria. It feels to me like the universe was preparing me for what we have today and I’m happy about it. Our journey prepares us for the long run most of the time in life and some of these things, you can’t read from a book, it’s something you experience.

How did you build your way to this point?

Knowing I would love to do something music-related and going to do Mass Communication with the intention of being a Journalist, I met a friend who I helped do her Masters registration at the cyber-cafe I worked. I randomly informed her that I’d like to be an artist manager and she inquired what I understood about artist management. I didn't know so much but I’ve been reading online; I just wanted to be the guy who makes things happen from behind. Fortunately, she’s friends with Efe Omoregbe who she introduced me to and things kicked off afterwards. Omoregbe helmed Now Muzik which was the biggest management company in Nigeria at the time. It wasn’t a record label as people were used to the likes of Storm Records, X3M, Westside Records etc. Then, Now Muzik managed a good number of the leading Nigerian artists like Sunny Neji, 2baba, African China, Nigga Raw etc. When Now Muzik was stretching operations with departments like Events, Marketing, Management etc., I was assigned to head the Management department where I became exposed to many things which includes managing events, marketing/promotion, while I practically managed artists. That was where I met Brymo and we later connected after I’d left the company. I remember him reaching out to me with about N70,000 for promotion and we could barely achieve anything with it. I also remember EME wanted to sign him while Chocolate City wanted to sign Wizkid but somehow, it happened how it did. Basically, Now Muzik taught me so much and when I left, I would project-manage here and there. What I didn’t do was commit myself to anyone, I didn’t 100% manage anyone initially; all I did was consult.

Why though?

Having worked at Now Muzik, I understood the implications of crowding oneself with too many clients. In the absence of resources to hire, train or pay more hands to do the job, it’ll be a problem. People will assume you’re incompetent and its not that; its just that you don’t have enough hands as you can’t be in ten places simultaneously. In between, I also got hired to handle a project, package an event or consult for a label etc. 

What is a typical work day like for you?

Different days come with its tailored activities. As a consultant and also artist manager, most of time it involves sending and replying emails, writing pitches or proposals. I’m either planning a project where I sit in front of my computer and write everything out while identifying the different things I’ll need and the people to call for whatever. On some days, I step out for meetings or when I have to execute projects.

Do your parents/siblings understand what you do?

[Laughs] They don't - apart from my older brother. My mom just knows that I work with artists. Of course she knows Brymo personally, who is a bosom friend and the best man at my wedding. We spend a lot of time together, so everyone in my family knows him and they know me to be his manager but that's all they know. Every other thing, like my Consulting practices is vague to them.

Have you tried explaining to them?

Have I? [laughs]. I remember working with Banky W when he newly returned to Nigeria, I started earning good money and rented my first apartment. I did some consultation for late Goldie and made enough to move to a bigger apartment. When my mom visited, she’d been home for a week and after seeing I wasn’t going anywhere or dressing up in suits for the office, as the most I’ll do is carry my laptop and do some work or make phone calls, she asked with all precision if I’m a Yahoo boy. 

 What do you love most about your job?

I’ve had many dreams and seeing them come true is what I love most. You conceive an idea, discuss the plan with the artist or client and watch yourself execute it is a feeling I might never get used to. Another thing is, you still have your freedom even while the artist may not be able to just walk down the street anyhow; you can. 

…and the part you dislike?

The part I don’t like is taking the fall for other people’s shortcomings. When you execute a project for your client successfully, people hail the artist even though you put all these things together - the artist gets the glory. But when the artist makes a mistake, they scream management. You don't get credit for the things you did right but you get blamed for what the artist has done wrong. Many times, something you know absolutely nothing about.

What traits do you possess that has kept you going in this job?

Though natural, my temperament and ability to withstand people. You might be insulted for whatever, in that, talents are a kind of god in their minds. When they switch to the point where they complain about everything, I know how to stay calm and focus on results, where we’re going and not allowing any distraction. Being open to learning is another. I’m always learning or looking for something to read, watch to stimulate my thought process. I’ve managed to stay hungry. Another thing is my ability to work under whatever condition - pressure or not. I’m very result-oriented that I try to understand people well enough and adjust to ensure that we get results. I don't let any personal feelings come in the way of the job.

Do you have any future ambition you’d like to kick off?

I’m interested in knowledge, so I’d like to own a school. The only reason I don't have that yet is due to the level I’m aiming at. The way I imagine the school will be is quite expensive, which is why I’m taking all the time. I am already a co-founder at a music business school but I want one for general education.

If given a magic wand, what’s one thing you’d like to see change about the music industry?

Definitely a structure where every department is sorted, everyone earns well and people can have a distinct career just being in A&R, without having to double as a manager or music plugger just to make ends meet. A structure whereby one can be a manager or an A&R professional or songwriter and be comfortable being that. It’s really important to me.

What have you read and watched that you can recommend to help music business enthusiasts stay on course?

I recommend The Black Godfather on Netflix which is about a legendary music business dealmaker. For books, Funky Business by Jonas Ridderstråle and Kjell A. Nordström did it for me. 

Summing your decade-long run, what are you most proud of about the Nigerian music industry?

Now, we recognize artist managers - who were more like glorified PAs back then. Then, managers were presumably errand boys to the artist. There was no respect for the profession at the time. You can confidently call yourself an artist manager today and get your respect. 

Who would you like to read talk about Climbing the Music Business Ladder?

Osagie and Oyinkansola ‘Foza’ Fawehinmi, these ladies have a truckload of experiences and I’m eager to hear them.

This read will be available at 8:00am WAT every Wednesday. Please, DM me here or email [email protected] if there’s anyone you’d like to hear talk about this.