Dear Upcoming Artist: Pandemic, Protest Crunch & Gliding One's Way Through

The year 2020 challenged the status quo, charging the music industry to brace new norms unheralded. The event of COVID, #EndSARS stresses on the importance of contingency in our MO as an industry. It is a no-brainer that the approach to navigating disruptions is not a one-size-fit all, rather case by case. The purpose of this writing is to highlight certain parallels, differences, and cutting one’s way through per time, zeroing in on our experiences this year.

As the COVID-induced lockdown/curfew eased a bit, music industry activities [in Nigeria] crept back to normal. While some countries are undergoing a second-wave lockdown, where typical activities have been disrupted again; in Nigeria, a second-wave disruption in normalcy was courtesy of a concern more lethal and dreaded than coronavirus. Nigerians have been engrossed with the #EndSARS movement, a [long overdue] protest against police brutality, calling for the disbandment of the Special Anti-Robbery Squad (SARS), a rogue police unit notorious for extrajudicial killings, kidnap, harassment, extortion, oppression, and all the wrong things they were created and recruited to fight against. These officers have become a threat to the lives and safety of young people especially digital natives in the country. The proximity between the pandemic and protest disrupting normalcy is interesting, and affects the music industry in similar yet distinct ways.

If the year is anything to go by, it is how it stretches artists as brands to maintain momentum atypically.

Let’s cite instances and their relative effect to artists:

The COVID-induced shelter-in-place which halted major artist dealings like performing, touring, physical promo had varying effects per artist. For artists like Joeboy, “...being unable to step out hit me with some creative block” and for artists like Fireboy, “my creative process hinges on me being in my personal space. It helped me be more productive”.

Some artists pushed back release of their music for certain reasons while some tried experimenting with releasing music in a world where people were home, seemingly bored and craving all forms of entertainment. CD Baby saw album submissions skyrocket by over 100%, Tunecore estimated submission volume increased by 20-40% that period. However, people reportedly moved towards consuming more visual than audio content. This saw a surge in Netflix signups while platforms like Spotify recorded notable decline in daily active users & consumption in markets hardest hit by the pandemic, as activities like morning commute was reduced to some meagre pacing from the bedroom to the sitting room. Artists doubled down on marketing both old and new records using visual content on platforms like TikTok, IG etc. Another obvious effect was how most records released that period maintained relative tempo [probably] aimed at soothing the atmosphere. As the COVID crunch wound down and normalcy crept in, then came protest.

Protest was a similar yet different playing field. Similar, in that the protest dampened [re: Joeboy] as much as it inspired [re: Fireboy] artists to create, whilst disrupting normalcy. The difference is, unlike the pandemic, there wasn’t going to be an influx of music releases. During protest, releasing music or going about it the typical way is not the best. The case of music releases/promotion during the pandemic doesn’t tally with protest’s and if an artist must release music during the latter era, such music must resonate with the times. When artists create music, I believe having people give that music all the attention is part of what’s envisaged. In that [latter] instance, it’s relatively void if the intended release does not bear certain elements - regardless whether you’ve waited all your life for that release. For artists looking to however maintain momentum during protest, the material should mirror the weariness, anger, frustration, melancholy, hope of the populace.

In the thick of Black Lives Matter, artists who are not known for addressing social issues in their music however rose to the occasion. DaBaby released a “Black Lives Matter remix” of his Roddy Ricch collaboration, Rockstar. Juicy J released “Hella Fuckin Trauma” which reflects on systemic racism. Trey Songz released “2020 Riots: How Many Times”, T.I & Nasty C teamed up for “They Dont” which sends love to “innocent mothers whose children were taken away in police killings; a message about demanding justice for the families of the slain and accountability for the officers in the communities.” Lil Baby released “The Bigger Picture” where he empathizes with protestors and demands prolonged action to achieve progress; a politically-charged song that [fortunately] peaked at No 3 on Billboard 100. MonoNeon who after watching the video of George Floyd’s murder ‘soundtracked’ his anguish with “Breathing While Black”. The list goes on.

As only a handful of releases [in Nigeria] reflected the times in the thick of COVID (re: Stuck With You), thinking that makes for a pass at the crest of protest could be you setting yourself up for derision. Wizkid, Davido, Joeboy postponed release of their very much-anticipated albums. Olamide, Niniola, Simi whose albums dropped right before had to put promotions on the back burner.

Basically, your offering during protest must reflect the times and if the song doesn't speak to the situation - bad governance, police brutality, its best to hold on. I read about an artist who wrote a song years ago about Black Lives, she shared with people who at the time didn’t understand and felt it was out of line. She was going to release a song then BLM activity happened, and she resorted to releasing that one.

Be it in the spontaneity of Soro Soke, serendipity of Ajebo Hustler’s Barawo, or ‘evergreenery’ of African China’s Mr President, Idris Abdul Kareem Jagajaga, I reckon that this period can be wielded to show your range, depth, as you’re at liberty to express your art in a way that doesn’t pander to mainstream, commerciality or whatever concerns there were.

Another thing during protest is that, if you must do a release, the tone/direction of your marketing/promo should be tailored to suit the times. This could be through reflecting on supporting civil rights by donation, or releasing the song/EP and pledge [some] proceeds to non-profit coalitions, support victims and/or families of police brutality or protesters whose rights were violated during the cause etc.

You can also maintain momentum by subtle cross-promotion where you collaborate with passionate voices of the cause like Elsa Majimbo, who has been hands-on with the movement and has a sizable audience who might be interested in first-hand rundown/update about the situation. There’s something about it coming from a person on the ground. Basically, without any music release, you’re still working, navigating your career, maintaining momentum - just in an atypical way. This might also introduce you and in turn the music to more people or a diverse audience.

Sustaining the Movement Post-Protest

One thing is sure, standing up, protesting, calling for change is not a trend intrinsic to just this moment. We’ve seen releases from Jahblend [Black on Black visuals] Tiwa Savage [who pushed back the release of Park Well featuring Davido, for protest and returned to releasing Ole visuals instead, which is more resonating with the times], Falz [Johnny visuals] in a bid to further the message. I admire how the movement is being sustained in multiple ways, including sensitizing the public about public offices, elections, voting [Big ups, Fawehinmi ‘Foza’ Oyinkansola and Anto Lecky]. Artists, influencers, tastemakers can also collaborate to create [protest] playlists that’ll see us relish in those moments and keep the cause, lives lost close to heart. This is a marathon, artists can choose to maintain the momentum via music and their everyday life. As our clamour for accountability persists, artists can look to supplying soundtracks for the movement, incorporating moments or phrases that speak to the movement at large; memorable lines of victims like “I Can't Breathe” which were the last words uttered by Eric Garner before he was killed by a policeman in 2014. The phrase has since become a rallying cry used in protests and has been etched on face masks, T-shirts and signs. 

Disney Music Group recently partnered with ESPN to produce a four-track EP titled “I Can't Breathe/Music for the Movement”, which is both an ode to the social justice movement and a call to action ahead of Election Day. There are phrases like “Peace and Unity” uttered by one of the victims of the Lekki massacre that could be integrated in staying the cause. Huge shout out to 49th Street for their doings with #IfNigeriaEndsMe, culled from the last words tweeted by Oke, a victim of the unrest aftermath of the Lekki Massacre.

Why Is This Necessary?

As an artist, your concern shouldn’t revolve around just flaunting the music; your values, interests in humanity et al is relatively important. Being human, conversing with people in a way that stimulates their emotions is one of your biggest assets. This also encompasses knowing well to read the room before anything - per time.

Disclaimer: While some artists do well in finding the “funk” in whatever, here’s noting that some artists undergo possible challenges having to respond to the urgency of such moment. Some rightly take time to absorb and adapt to these changes especially during protest where we’re inundated sad updates each [protest] day. In truth, not all artists do well with finding the funk in chaos - and it’s very OKAY!