The “Igbo” Music Project: A Discursive Narrative & Storytelling
Igbo Rap? What’s that?
I’ll be discussing Igbo artistes making waves in the Nigerian music sector, and no, this is not Nollywood — albeit part of the entertainment ecosystem.
Reflecting on the mood of the past year (commencing from March 2020 in particular), I think I might have now tested positive for the “Igbo” virus. This means that I would continue to remain in the intensive care unit of this indigenous group until a vaccine can be “frazzled up” to flatten my curiosity curve.
This article profiles a selection of individuals of Igbo heritage in the Media and Entertainment sub-sector of the Nigerian creative economy. The discourse explores the “creative industries” from the lens of music & lyrics — of Igbo origin or extraction if you prefer.
Yes, it is no longer debateable that the “Igbo” are renowned for their entrepreneurial exploits. What is less clear, however, is their craft and creativity in the music space. In my musings, I hope to have moved the dial on the discourse beyond the entrepreneurship exploits of this indigenous group in ‘artisanal’ and ‘manufacturing’ activities (including fabrication) — to a sector that has only started being appreciated for its contribution to the economy of the country.
Building upon prior works on the Nigerian movie industry, this article, I hope, highlights both theoretical and practical/ policy implications by highlighting the additional exploits of the Igbo in the “creative industries” in Nigeria and further afield.
Consequently, and using the storytelling approach and discursive narrative, I showcase the exploits of this ethnic/ indigenous group in the entertainment industry.
My Motivation and Prior Works
Starting with my debut article on this group, “Cultural determinants of entrepreneurial emergence in a typical sub-Sahara African context,” I ventured into the back room by interrogating one of the most popular single address in Eastern Nigeria, and the acclaimed epicenter of everything Nollywood. In that article, “51 Iweka Road (Onitsha, Nigeria)”, I questioned whether, “this single African address (was capable of redefining) business cluster development?” I would leave that up to readers to decide.
Before I delve into my shortlist of Igbo Artistes, let me give you some insight into some brand associations.
Brand Associations — the Case of “Hero Beer”
Investment in the local beer industry remains attractive thanks to Nigeria’s growing population — about 200 million inhabitants and rising — coupled with an expanding middle class, rapid urbanization, and a currently low beer consumption per capita of 11 liters a year. Proving that it understands its market, and continues to stay regionally relevant — Hero’s brewery recently launched a campaign called “Echefula” — which roughly translates to “Never Forget Your Identity” — to promote cultural heritage and values, and to push for more appreciation of cultural traditions, a consideration that’s top of mind for many Nigerians. Recently, Igbo rappers Tobechukwu Ejiofor (aka IllBliss) and Owoh Chimaobi Chrismathner (Zoro) released an eponymous single extolling Igbo cultural traditions and exhorting listeners not to forget their cultural identity.
The campaign’s banners sprawled across pedestrian bridges on the expressway in “Onitsha” and on walls in “Enugu”, two of Nigeria’s largest political and commercial hubs in Igboland.
Billboards loomed large over streets in Onitsha, Enugu, Asaba, and on the outskirts of the Nigerian capital Abuja; a towering billboard with “NEVER FORGET YOUR IDENTITY” and #ECHEFULA written on it sits on the bank of the Niger River, adjacent to the brewery where Hero is made.
According to Tolulope Adedeji, marketing director at International Breweries Plc. (makers of Hero beer):
There’s no better time to start a campaign like this, especially with older generations lamenting that younger people are losing touch with Igbo traditional culture and its language. Hero’s brewer took the “Echefula” campaign a step further by introducing “The People’s Hero,” a 10-week reality TV show to celebrate the “richness and beauty” of the Igbo ethnic group…”
So where did these auditions take place?
Auditions were held in the southeastern cities of Owerri and Enugu to select some 20 contestants out of a pool of about 2,000 (engaged) in singing, acting, dancing, and (the) spoken-word poetry to help judges rate their understanding of Igbo culture.
The “Nwa Mama” phenomenon
The term “Nwa Mama” literally translates to mummy’s boy. Most Igbo artists and even non-Igbo Artists such as Wizkid and Tiwa Savage have made reference to the term.
The term Nwa Mama features in “Achikolo” (Zoro ft. Phyno) and “Eriwa” (Ruff Coin) — a favourite of both “old money” and the “nouveau riche”, among many others — but before I get ahead of myself, let’s have a look at my shortlist of Igbo artistes.
Welcome the Acts
Okechukwu Edwards Ukeje (aka Mr Raw, formerly Dat N.I.G.G.A. Raw), is a rapper from Abia State. He is a pioneer of Igbo rap, a genre that now appeals to a broad, mainstream audience. Born and raised in Enugu, he gained prominence during the early 2000s rapping in the Igbo language and Pidgin English.
Chinedu Okoli (aka Flavour N’abania), hails from “Umunze” in Orumba South LGA of Anambra State, but was born in Enugu (23 November 1983). He is the third child of a family of 12. Discovered by his pastor while playing drums at his church, he was introduced to a friend — owner of Soundcity Communications. Following that initial break, he started playing with different bands on his own — learning on the street, and learning studio recording. It was at this time that his path crossed with “Darkman” and “Nigga Raw” — and he started doing choruses for the latter. That confidence boost prompted him towards venturing out on his own — so he started recording and creating songs from scratch. He released his 8-track album titled N’abania in 2008 and ‘Uplifted’ in 2010 (featuring singles such as Nwa Baby, Oyi and Adanma). The album was successful and made waves on various media platforms, thereby creating a platform for Flavour to become one of Africa’s most sought after artist. Flavour’s other Albums include: N’abania — 2005 (2008?); Uplifted — 2010; Blessed -2012; Thankful — 2014; Ijele (The Traveller) — 2017.
Tobechukwu Ejiofor (aka iLLBLiSS), is a rapper/ hip-hop recording artist, stage performer, businessman and owner of the talent managing outfit, ‘The Goretti Company’, responsible for launching the careers of, among many others, both Chidinma and Phyno — coming up next. Popularly known as “Oga Boss”, iLLBLiSS has received many nominations and won awards, the most notable being the award for Best Hip-hop Video for the hit “U Go Wound O!!” at the 2008 maiden edition of the Soundcity Music Video Awards. His debut album, Dat Ibo Boy, was “dropped” in 2009.
Chidinma Ekile (aka Chidinma), is a singer and songwriter (born 2 May 1991). She rose to stardom after winning the third season of Project Fame West Africa in 2010. Following the release of the music video for her ‘Emi Ni Baller’ single, she became the first female musician to peak at number 1 on the MTV Base Official Naija Top 10 chart. Her “eponymous” debut album “Chidinma”, was released through the music platform Spinlet, supported by four singles: Jankoliko, Carry You Go, Kedike and Run Dia Mouth. Chidinma won Best Female West African Act at the 2012 “Kora Awards.”
Chibuzor Nelson Azubuike (aka Phyno), is a rapper, singer, songwriter, record producer and actor (born 9 October 1986). He started his musical career as a producer in 2003. He is renowned for rapping in the Igbo language.
His debut studio album, No Guts No Glory, was released in 2014 — featuring singles such as Ghost Mode, Man of the Year, and O Set. As a producer, he has worked with artists such as Flavour, Bracket, J. Martins and Mr Raw and others.
Bracket is an ‘Afropop’ and R&B music duo composed of Obumneme Ali (aka ‘Smash’) and Nwachukwu Ozioko (aka ‘Vast’). Bracket started out as a 3 man group before a member named ‘Bishop’ decided to quit, leaving “Vast & Smash” to continue the musical voyage. The duo are currently signed to Ape Planet and are best known for releasing hit singles like “Yori-Yori” and “Ada Owerri” among others.
The song “Ada Owerri” translates to “Owerri’s daughter” celebrating women of an Igbo capital (Owerri is the capital of Imo State). The song was recorded by Bracket alongside J. Martins — a final focus in this article. Vast & Smash grew up in Nsukka, Enugu State, where they used to attend campus shows while growing up. “Vast” has a diploma and a degree in Mass Communication from the Institute of Management Technology, Enugu and the University of Nigeria respectively while “Smash” has a diploma in Social Work and a degree in Psychology after graduating from the University of Nigeria, Nsukka. The history of how the group began has been mixed in several stories and allegations.
Martins Okechukwu Joshua Kalu Okwun (aka J. Martins), is a singer, songwriter and producer (born 29 September 1977). Although born in Onitsha, Anambra State, he has family roots in Ohafia, Abia State. He is best known for his song “Oyoyo” “Jupa” and “Good Or Bad” J. Martins is also known to have featured on the song by P-Square, “E No Easy”.
Augustine Miles Kelechi (aka Tekno), is also a singer and songwriter. He hails from Ivo Local Government Area, Ebonyi State. He was born 17 December 1990 in “Bauchi State” into a family of six — five boys and a girl. He was raised in several parts of the country (Nassarawa, Kaduna and Abuja) due to the fact that his father was a member of the Nigerian Army. At the young age of eight, Tekno Miles was enrolled in a music school where he learned and mastered the rudiments of playing the piano and guitar.
Last, but by far, not the least…
Emelogu Muruako Fortune (aka Ruffcoin — Nwa Aba, i.e., “child of Aba” in the Igbo language) was born into a family of eight. Although he has recently released songs including one in the pandemic entitled “Where una dey see this money,” calling out big spenders in a global health crisis, he has been described as underrated.
Indeed, a recent article sheds light on the glory days and subsequent journey into “insignificance” or “obsolescence” of “Nwa Aba” Ruffcoin. But first, let’s give him some credit.
Giving Credit
“It was Ruffcoin who took Igbo rap a notch higher than 2Shortz and Nigga Raw (now Mr. Raw), both pioneers of the sub-genre in the mid-2000s. Ruggedman would be worth a mention but he mostly rapped in Nigerian Pidgin. As Phyno does today, Ruffcoin infused proverbs and folkloric lines into his lyrics, making Igbo rap fancier, punchier.”
Missed opportunities and insignificance
Exploring the lyrics, ‘Nwa Aba’ begins with the line, “Aku fee fee fee ya dara m, nwanne aburo m Mango but a chala”. No better way to announce your arrival among your contemporaries: “When the locust is done flying (…) it’ll fall at my feet. I’m no mango fruit, but I’m more than ripe.”
According the critic, “Ruffcoin was right, only, when Phyno put out ‘Ghost Mode’ with Olamide, every other person, Igbo and non-Igbo, found a riper fruit on the tree. Their gazes would move away from Ruffcoin.”
Conclusions
From Aba (Ruffcoin) to Owerri zipping through Enugu (Flavour and Phyno), Nsukka (Bracket), Onitsha (J. Martins), and Owerri, Igbo artistes have made major strides in music and kept Nigerians — both at home and abroad — entertained.
Just thinking of “Achikolo” is nostalgic, especially for those that claim to know Enugu without having visited Abakpa — home of the famous Nike Grammar School.
But that is not the entire point of this article. Any keen observer would notice the “entrepreneurialism” at play, and especially in terms of what has now re-emerged as the “Igbo Apprenticeship Model” — mentorship, both formal (e.g., Flavour N’abania and Mr Raw) and informal (e.g., iLLBLiSS or ‘Oga Boss’ for Chidinma and Phyno), seem to have been enacted among this indigenous group — albeit just a selection of musical talents.
Resources
Eater.com (2019, November 26) How Nigeria’s Hero Lager savvily entangled itself with the ideals of a secessionist leader — and built a brand in the process.
Oghoghomena Ekowa (no date) Flavour N’bania — Biography Of A Multitalented Nigerian Singer.
Onyeji, Christian Uzoma (2015) Composing Art Music Based on African Indigenous Musical Paradigms.
