Why Jidenna, Wale & Tinie Tempah Should Leave The Nigerian Audience Alone


Why Jidenna, Wale & Tinie Tempah Should Leave The Nigerian Audience Alone

In case you’re a music significant other and you’re tuned in to what’s hip and drifting, then there’s positively no chance you didn’t knock to Classic Man by Jidenna. You ought to know Jidenna na, the light-cleaned naija kid with the facial hair and clever hair-do doing music abroad?


In any case the Nigerian-American vocalist is set to visit Nigeria come September as a component of the advancement for his prospective introduction collection, Long Live The Chief. I am a major supporter of the Nigerian brand and anybody unfaltering cutting a specialty for himself with his or her innovativeness and expertise, so I’m certainly trusting Jidenna’s collection does extremely well and gives him the star status he merits. However, hold up o… imagine a scenario where “homeboy” chooses to migrate to Nigeria and do music from here. Will Jidenna’s style and sort of music truly fly here? Remember that Jidenna is by all account not the only Nigerian artiste doing music abroad who has toyed with moving back here. Nigerian rapper, Olubowale Akintimehin, also called Wale (or wah-lay like he normally claims it) has spoken severally about returning to Nigeria to do music.

Olubowale Victor Akintimehin came into the spotlight with his hit single, Chillin’ highlighting Lady Gaga. Two or three other hit singles have seen the Maybach Music Group-marked artiste increase monstrous adoration both locally and universally. Taking a gander at his musical style and conveyance, particularly his capacity to stream on Nigerian beats as found in his front of Naeto C’s Kini Big Deal, P-square’s No One Like You and different fronts of Nigerian tunes he has done, I think Wale could do great if he choose to do music from here.

Seal Henry Olusegun Olumide Adeola Samuel, otherwise called Seal, is an English vocalist and lyricist known for hits like Crazy and Kiss From A Rose, among numerous other outline topping tunes amazingly. I’m contemplating what a musical joint effort amongst Seal and Brymo would seem like; or a coordinated effort amongst Seal and Adekunle Gold… mouth-watering would it say it isn’t? Past all the musical dreams that I could invoke in my little head, there is the glaring reality that the odds of these remote based acts doing it pretty much as large inside the Nigerian shores is almost zero in my estimation, and here’s a couple reasons why:

Local Dialect

I can’t envision a Tinie Tempah, for instance, (whose genuine name is Patrick Chukwuemeka Okogwu) attempting to mix his local Igbo dialect in his verses. It would be more comi. It would be more clever than expressive. During a period when we have moved from the worldview of scoring to remote music to the time where in the event that it’s not naija, then it’s not hip, the normal Nigerian music beau needs to hear a touch of Yoruba, Igbo, Hausa or if nothing else some pidgin in their music.

Story Line

Not to say that our remote based acts don’t recount stories in their music, I simply think their stories would likely not reverberate inside the brains of Nigerians, not to mention we having the capacity to identify with it. Nigerians cherish their grass-to-beauty stories. Those stories that educate you concerning how somebody moved from not having the capacity to bear the cost of a solitary dinner to owning a house in Banana Island or Lekki et cetera. I truly question that somebody who has spent the better some portion of their life abroad would have the capacity to recount such stories with their music, not as a matter of course since it’s outlandish, it’s basically in light of the fact that they just can’t.


The Americans and Europeans call it Afrobeats, we back here have named it Afropop. Whatever it is that you call it, one thing is without a doubt – it has that Nigerian feel and is effectively observed by local people. Wonderful as the sounds from past our shores may be, I set out say that they have nothing on a naija beat bound by Masterkraft, Maleek Berry, Cobhams, Don Jazzy, Young John or any of the “devilish” makers we have around. That substantial slamming sound blended with delightfully masterminded percussion and horns, not overlooking the sweet drums that we are known for thus beyond all doubt love.

Also, they don’t need to manage the pointless bother of battling or appears, out and out awful remarks from Nigerian music fans and every one of the negatives that regardless we need to endure in these parts as a consequence of our developing music industry.

Obviously they can return home once in a while for limited time and even individual purposes, yet I believe it’s best for them to have their hotshot status in consideration by jejely staying where they are and doing music where, when and how it falls into place without a hitch for them, since trust me, these naija music roads don’t play one piece!