Quite recently, news broke that K9 reportedly blamed his former label, Eldee’s Trybe Records imprint for the stalling of his musical career.

It is only right and ideal that we spare a thought on the tasks, responsibilities and dedication music labels are to embark on in ensuring the progress and success of artistes signed under them. The big question however, is, what length can these labels go without the actual effort of the said artistes in ensuring his own brand is unique and marketable?

Over the years, we have had massive label owners vs artistes face-off, most of which were in extreme unsavory circumstances, due to dissatisfaction of one part or another.

In saner climates, artistes grow and team up with other rival labels solely because of more teasing and tantalizing offers but it seems most of our artistes leave their parent label due to one grouse or the other.

What ever happened to an artiste being so good and having so much prospect that a giant label seek to lure/woo him/her away from his/her parent label?….that surely, will make for a healthy and welcomed competition as it’ll make the parent label know and appreciate the talent of the said artiste. Not the sad case of artistes seeing their labels as semi-gods as they feel they’re indebted to them in some way.

Not all artistes(thousands/millions we have) can be signed by giant, popular labels. Hell, even labels are biased as they sign, promote sub-par musical talents rather than embrace real prospects….’Leg’ also plays an important part too.Few are like Don Jazzy who scooped on Godwyn on instagram, and it’s left to be seen what the emerging talent makes of the little publicity he has got.

Tuface Idibia as a good case in point, had a pretty successful run on Kennis Music until rumours of the African Queen hit maker getting ripped off by his label bosses started making the rounds. Shortly after, the rancour was confirmed in some capacity as Tubaba launched his own imprint and pitched tent with Hypertek. In actual fact, Kennis Music is highly infamous for having the most disgruntled set of artistes under their roster.

The shocking end of Dbanj and Don Jazzy‘s Mohits glory days was well documented in terms of the drama and bitter tantrums that ensued.

There was also the Vector tha viper’s contract and legal issue with his former label, YSG, as V-E-C felt he wasn’t being promoted appropriately by the label.

Then in reference is also the Chocolate City vs Brymo uproar over contract brouhaha that went unexpectedly bitter and unsavoury to say the least.

Banky W’s EME was not left out and have also had their fair share as Skales became somewhat disgruntled about the extent of unfavourable label decisions he got, before there was a rumour of a rift between the power label’s former golden boy, Wizkid and the EME boss, which was quickly played down.

Wande Coal then had to square up to Don Jazzy in a bitter war of words to ensure he embarks on his journey as his own boss.

‘Based On Believe’ pioneer, Black Magic wasn’t satisfied with just being a minor on Lynxxx’s Syndic8 Records and had to severe ties with the fledgling label, while Burna Boy also had to part ways with Aristokrat.

Storm Records can be fairly blamed in the less than stellar promotional push GT The Guitarman‘s ‘The Truth’ album got, as the exceptional album could have been one of the most celebrated albums this country has produced.

In truth, we can’t possibly know all that is agreed and signed between these two parties, except where well documented, but the artistes feel their success is totally dependent on the label they’re signed to. The labels then feel the artistes are indebted to them in return.

We think not, as we feel the artistes need to find a way to step out and take their future by the scruff of the neck. Confidence however, is key and so is the true capability of the artistes in making substantial music. Won’t be easy no doubt, but the success the likes of Tuface, Black Magic, Burna Boy, Vector and more recently, Skales have been able to attain or maintain after severing ties with their former labels has been proven to be mainly based on sheer believe and hard work. Although not much can be said of Dbanj’s relevance in the industry music-wise, and Wande’s progress is left to be seen, it is safe to say the artistes can actually make things work for themselves.

The late Dagrin had made a massive name of his Missofunyin Entertainment imprint after he had been turned down by many labels, thereby making them scamper for his signature before his untimely death.

Surely, the importance of label backing can’t be downplayed as a huge determining factor in the promotion and recognition an artiste gets, as there are countless artistes who have been pushed to enormous success by their labels, but it is also safe to say artistes can build their own brands with a good, dedicated team around them.

It can surely be achieved, Psquare did it!

http://nexthop.com.ng/the-role-record-labels-play-in-the-success-and-progress-of-an-artiste/

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