{"id":3450,"date":"2020-05-21T16:40:29","date_gmt":"2020-05-21T16:40:29","guid":{"rendered":"https:\/\/rededitmagazine.com\/?p=3450"},"modified":"2020-05-31T18:26:45","modified_gmt":"2020-05-31T18:26:45","slug":"africa-is-the-next-musical-revolution","status":"publish","type":"post","link":"https:\/\/rededitmagazine.com\/2020\/05\/21\/africa-is-the-next-musical-revolution\/","title":{"rendered":"Davido, Tiwa Savage And Mr Eazi Taking The Global Stage"},"content":{"rendered":"\n

As the industry buzzes with and profits from new languages and sounds from all over, the prospects for artists across the continent have never been brighter or more numerous. There have, of course, always been African superstars from Miriam Makeba to Hugh Masekela to Fela Kuti \u2014 as well as great respect for the continent\u2019s music, thanks to projects like Paul Simon\u2019s iconic 1986 album, Graceland, which famously put Ladysmith Black Mambazo and others on the international map. But despite major-label deals, chart successes and eye-popping sales figures, African artists have often been siloed from the popular music landscape, segregated under the \u201cworld music\u201d banner or viewed as Africans first, artists second.<\/p>\n\n\n\n

During a late afternoon in early May, the three artists joined Billboard for a video conference to speak candidly about the opportunities African artists have now, the stereotypes they still face and how they\u2019re staying true to their culture as they bring a slice of Africa to the rest of the world.<\/em><\/p>\n\n\n\n

\"\"<\/figure>\n\n\n\n

How have you been adjusting creatively and personally to life during the pandemic?<\/strong><\/p>\n\n\n\n

Davido<\/strong>: Man, it\u2019s been crazy because my fianc\u00e9e actually tested positive [for COVID-19 but has since recovered]. I was on tour in America, with six shows done and 19 sold-out shows left. We were in Denver sitting in my hotel room listening to the news. We looked at each other and said, \u201cYo, let\u2019s just tell ourselves the truth: It\u2019s about to be a wrap.\u201d New York had put a cap on shows at 500 [people], then 200 the next day and down again the next. So we all came back home and did the test. My fianc\u00e9e was in London with the baby. She\u2019s the only one that came out positive. She had to isolate; I had to isolate. I did two tests after that, and they came out negative. I just got back home [to Lagos] a week ago. Since then I\u2019ve been recording.<\/p>\n\n\n\n

Savage<\/strong>: At first it was kind of difficult for me to get my head around. I had a tour planned, a bunch of festivals lined up. When it finally dawned on me that those weren\u2019t going to happen this year, it made me wake up and realize how fragile life is and how we take it for granted. So I\u2019ve been spending time with my son and speaking on the phone more with my family. More importantly, I\u2019ve been giving out food to people around my neighborhood. I can quarantine for a month or couple of months, but some of these people don\u2019t even have food for tomorrow.<\/p>\n\n\n\n

Eazi<\/strong>: I\u2019m 19 minutes out of London, living in a small community and finally getting back to jogging. But musically, it\u2019s been an eye-opener for me. During this lockdown, I\u2019ve not recorded any new music. But I\u2019m on Zoom calls almost the whole day working on my business or [talking] with one of my new artists, listening to records and setting up release plans. I thought I would have been frustrated by not being able to go out of the farm. But I\u2019ve always been an entrepreneur, so this has been a next-level step for me in terms of investing more of my time and resources toward my business.<\/p>\n\n\n\n

What factors have been driving the industry\u2019s investment in Africa in the past few years?<\/strong><\/span><\/p>\n\n\n\n

\"\"<\/figure>\n\n\n\n

Savage<\/strong>: One of the main reasons is that social media and tech have made it a lot easier for people to access our music. When I lived in London [she moved there with her family at age 11], African music and culture weren\u2019t cool. In fact, it wasn\u2019t cool to be African. When music came out in Africa, it would sometimes take a year for people to get the mixtapes. So by the time we were hearing the music abroad, it was already old back there. With social media, we\u2019re able to connect instantly with fans. That has made the music travel a lot faster and a lot wider. And it\u2019s great music.<\/p>\n\n\n\n

Davido<\/strong>: That\u2019s the most important thing: The music is amazing. The feeling you get from Afrobeats and African music is just different. When I was in school in America and would play African music, people would say, \u201cYo, what\u2019s that? That shit\u2019s hard.\u201d They didn\u2019t understand what the artists were saying, but the feeling they got [from the music] was just crazy. People have always loved African music, but we didn\u2019t have the avenues to go worldwide. Back then, you actually had to have an African friend or come to Africa to experience it.<\/p>\n\n\n\n

Eazi<\/strong>: There\u2019s also a general wind of appreciation now for what being African is about: \u201cHey, I\u2019m African, it\u2019s great to be African, and we\u2019re flaunting it.\u201d When Davido is singing, he\u2019s talking about things that are very particular to his culture. It\u2019s also the same when Tiwa sings. Back in the day, even in the villages you\u2019d hear people singing. C\u00e9line Dion. But now people are playing 99% Nigerian music because that\u2019s what\u2019s hip.<\/p>\n\n\n\n

Everyone is waking up because of what\u2019s happening. One of the biggest music streaming platforms in Africa is [owned by Chinese company] Tencent. Last year, loads of people from across the world went to Ghana for the Year of Return [the country\u2019s 2018 initiative to encourage African diasporans to move to Ghana and invest in the continent]. It\u2019s not politics that\u2019s bringing people here. It\u2019s art and young business people.<\/p>\n\n\n\n

Do you still encounter stereotypes about Africa abroad?<\/strong><\/p>\n\n\n\n

Davido<\/strong>: Some people are still not fully educated about how life is here. I did an interview in Los Angeles a couple of months back and the dude was just so ignorant, basically asking if Afrobeats is a phase. The only way to understand is to come and see for yourself. When most people come down here, they\u2019re both surprised and disappointed because for their whole lives they\u2019ve had a different idea of what it\u2019s like. Like everywhere else, there are good parts and bad parts in Africa. There are places even in America that look worse.<\/p>\n\n\n\n

Savage<\/strong>: It was a lot worse before, when people literally thought we lived in trees. That was a big misconception. But it\u2019s changing as people see pictures via social media when people visit places like Ghana, Tanzania, South Africa and Zimbabwe. Nothing beats that experience when somebody actually lands in Africa. And it depends where in Africa, because it\u2019s a continent and not a country.<\/p>\n\n\n\n

Others think that maybe Africans don\u2019t speak English or it\u2019s not our first language. So they\u2019re surprised when they hear us singing along to J. Cole, Future or whoever. They\u2019re also surprised at how up to date we are with the rest of the world \u2014 in music, fashion, everything. When you come to Nigeria, you\u2019ll experience the beauty of Africa, but you\u2019ll still feel like you\u2019re somewhere in New York. We\u2019re still maintaining our identity and culture.<\/p>\n\n\n\n

Eazi<\/strong>: The misperception I always run into is one of general ignorance: people classifying all music coming out of Africa as Afrobeats. To drive from Lagos to Accra is a nine-hour drive. In that journey, you pass through Benin and Togo. Even within those two countries there are a lot of different tribes, the language and culture are as different as the rhythms and BPMs of the music. You can have a hit song in Nigeria, but it won\u2019t be a hit in Ghana.<\/p>\n\n\n\n

I didn\u2019t go to America until I was 20-something. What I\u2019d known of America was what I\u2019d seen in music videos and movies. To see homeless people in places where it was cold and freezing \u2014 it was the first time I experienced that.<\/p>\n\n\n\n

Eazi, you\u2019ve been independent since the start of your career, while Davido and Tiwa are signed to major labels. Why go that route?<\/strong><\/p>\n\n\n\n

\"\"<\/figure>\n\n\n\n

Eazi:<\/strong> I began doing music full time on July 22, 2016, here in London. I feel like I was lucky because people like Davido, Tiwa and Wizkid had laid the foundation for the Afropop renaissance. But at every point along the way, I\u2019ve asked myself: Do I stay independent, or do I sign to a bigger label with a bigger team? Do I plug into that machinery to solve my financial goals, or do I keep investing in myself, which is obviously riskier? I remember dropping my last project and having to take from my personal savings to do a global campaign and tour. When I look back, I have no regrets. I\u2019m a junkie in the sense that the risk is thrilling to me. And now for the first time, I can see an ecosystem building that\u2019s also giving a chance for other artists.<\/p>\n\n\n\n

Davido and Tiwa, what drew you to the major-label path?<\/strong><\/p>\n\n\n\n

\"\"<\/figure>\n\n\n\n

Davido:<\/strong> When I got my deal, it was very, very early in the transition of Afrobeats to the U.K. and then to the U.S. Before signing the deal in 2015, I was perfectly fine. It wasn\u2019t something that I needed, as I\u2019d been successful prior to that. But then I was like, \u201cFuck it, let\u2019s take the risk! I basically have nothing to lose, as I\u2019ll still be able to do my thing in Africa.\u201d But a year after signing, the vision I\u2019d had then didn\u2019t come into play. I felt like I had dropped the ball because people were trying to make me sound different.<\/p>\n\n\n\n

I really had to put it in [the label\u2019s] head that the sound I was talking about was the sound that was going to pop, not the sound the guys there were trying to make us do. So me being stubborn, I came back to Nigeria from L.A. and started making the music I wanted to make. \u201cIf\u201d was my first record that really blew up. At the same time, other artists began dropping [Afrobeats] music as well. Then Wakanda [the futuristic, fictional country featured in the 2018 film Black Panther] came and everyone wanted to be African. The process for making people believe in this culture wasn\u2019t easy. I\u2019m just happy that everything paid off in the end. All the labels are out here now in Nigeria, Ghana and South Africa looking for talent.<\/p>\n\n\n\n

Savage:<\/strong> I still act like an independent artist even though I\u2019m signed to a major label. I think all of us [signed to a major] do. I think labels still don\u2019t quite understand how to sell Afrobeats. And they haven\u2019t really put their machinery behind the genre yet.<\/p>\n\n\n\n

A lot of times when we drop a record, it\u2019s put on playlists like [Spotify\u2019s] African Heat. We already come with huge followings. I look forward to when we\u2019ll be on the same playlists as Billie Eilish or Justin Bieber. Give us that kind of global campaign \u2014 treat Afrobeats like a pop record and not a tastemaker record or something that cool urban kids in the diaspora listen to. How often do you see an American artist get signed and he or she already has 5 million followers on their own? Even 1 million? And you don\u2019t want to give them the same push as Bieber? If [African artists] even had 25% of that push, Davido and Eazi would be billionaires. That\u2019s the vision I want for Afrobeats. They haven\u2019t even begun to scratch the surface. But when they do, it\u2019s going to explode. What we\u2019re enjoying now is the blood, sweat and tears that we\u2019ve been putting up as individual artists.<\/p>\n\n\n\n

With the scene heating up, are African artists commanding equitable respect dollarwise?<\/span><\/strong><\/p>\n\n\n\n

Davido:<\/strong> I\u2019m getting my fair share now. (Laughs.)<\/p>\n\n\n\n

Eazi:<\/strong> The amount of respect has grown. I remember my first deal in 2016 was 400,000 pounds [$522,068, adjusted for inflation] for three albums. It\u2019s becoming more evident that the numbers are rising. I was about to sign a huge label imprint deal in 2018 for about $6 million but didn\u2019t. Now I\u2019m having a different conversation with the same people.<\/p>\n\n\n\n

Once the Internet becomes cheap in Africa, then you\u2019ll see. That\u2019s when we\u2019ll be able to get our fair share in terms of recognition and revenue. Africa has a population of over 1.2 billion. When you see a Davido song with 100 million views, just know that the real view count is like 900 million because there are a lot of people who don\u2019t have the money to pay for the internet, so they\u2019re watching via untrackable means.<\/p>\n\n\n\n

Tiwa, have you encountered additional challenges as a female artist?<\/strong><\/p>\n\n\n\n

\"\"<\/figure>\n\n\n\n

Savage:<\/strong> A lot of people in Africa still have the idea that a woman has to be submissive, stay at home and be the wife and mother. Don\u2019t get me wrong. Those are great morals to keep. But I think the modern African woman, the modern black woman is being limited. We can do both. You can have a successful full-time job, you can be strong and vulnerable at the same time. That\u2019s the message I\u2019m trying to put across. So when you see my videos or see me on the red carpet, don\u2019t think I\u2019m not at home cooking for my son or helping him with homework when I\u2019m not doing shows.<\/p>\n\n\n\n

Beyond Afrobeats, what other styles and artists should the industry be looking at in Africa?<\/strong><\/p>\n\n\n\n

Savage:<\/strong> Don\u2019t tell them, Eazi! (Laughs.) I\u2019m kidding. Because Africa is so big, I think everyone is still trying to figure it out. Even in Nigeria, you have artists like [alt-folk songwriter] Johnny Drille, Flavour [who fuses highlife, R&B and hip-hop] and [Afropop singer] Rema, as well as the three of us. It\u2019s just weird how everything is being categorized as Afrobeats.<\/p>\n\n\n\n

Eazi:<\/strong> Between Tiwa, Davido and myself, we don\u2019t make the same kind of African music. But beyond that, there\u2019s so much to know. I just jumped on a record by George Kalukusha, a new artist I signed from Malawi. There\u2019s something traditional to his music, but it also sounds like folk. I didn\u2019t know people in Malawi are listening to this kind of music.<\/p>\n\n\n\n

Davido<\/strong> Eazi, the ones you cannot sign, send to me! (Laughs.)<\/p>\n\n\n\n

Eazi:<\/strong> I\u2019ll send to you, no worry! But this just shows that music is different everywhere in Africa. I don\u2019t think there has been a proper profile yet of what\u2019s happening on the continent. But it\u2019s all good. Maybe like Tiwa said, we want to keep our Wakanda secret.<\/p>\n\n\n\n

Savage:<\/strong> People just need to get on the train. This isn\u2019t a fad. With 1.2 billion people, we\u2019re not going anywhere anytime soon. We\u2019re here to stay.<\/p>\n","protected":false},"excerpt":{"rendered":"As the industry buzzes with and profits from new languages and sounds from all over, the prospects for…\n","protected":false},"author":2,"featured_media":3453,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":"","_jetpack_memberships_contains_paid_content":false,"csco_singular_sidebar":"","csco_page_header_type":"","csco_page_load_nextpost":"","csco_post_video_location":[],"csco_post_video_url":"","csco_post_video_bg_start_time":0,"csco_post_video_bg_end_time":0},"categories":[48,832],"tags":[3087,3084,3086,141,586,3085],"yoast_head":"\nDavido, Tiwa Savage And Mr Eazi Taking The Global Stage – Rededit Magazine<\/title>\n<meta name=\"description\" content=\"Get the latest gist on fashoin, lifestyle and beauty.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link 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