In 2019, Wisdom left S.A to join his partner in Nigeria. A year later he heads the A and R department at Aristokrat Records and things got interesting.
“I think you might have to double the vocals here,” Wiz (as he is popularly called) tells his artist, Aristokrat/ Universal Music signee, Juju boy. It’s 2.45 p.m., and Wiz has kept me waiting all day. It’s an eventful day at the label though, one embedded with clients’ meetings, listening sessions—getting him to finish up a statement without interference has been the next mission impossible movie.
Have you always worked with artists?
Yep, I’ve been doing this for a bit. I started working with artists far back in my university days.
A and R or management?
At that time, I didn’t label the role as anything, it was simply driven by passion. I just knew I wanted to get my people’s music out there and I was really excited about facilitating sessions, getting artists into the studio and other promotional motives. It was a whole lot really. Looking back now, I did mostly A and R and management.
Why did you end up in Artist Management?
I am the kind of person eager to understand the 360 of any venture I dive into. I wanted to fully grasp what happens at the back end of the industry. My time in Ghana gave me certain insights to what goes on behind the scenes and I needed to understand more.
Ghana?
Yep, I went to Ghana for university. I studied information technology there. It was also there I met my business partner, Shay, who was also a student.
So you both managed artists?
Not initially. In fact, I managed him as an artist at first.
For real?
Yep. He (Shay) started this movement back in school, called Jones movement. We started off throwing the maddest parties in the university. Then, music came along because he is a talented rapper, and later on fashion.
What year did you decide to delve into management professionally?
So, it’s more like growing into a more music business environment. It was always done professionally, I just didn’t have as much knowledge as I do now. It was in 2018 I decided to do it with a well-structured label. As at 2014, we already had a management/creative company registered. It’s growing into a more structured environment.
And the journey, what was it like?
We started as a proper business venture in 2013. It was that year my partner and I knew it was music, clothing and brand lifestyle. Then, we were doing it from the scratch so we were the managers, the designers, the graphic guys. We moved to styling artists, aided brand management and creatively managed their look. We then agreed to leverage on our relationship with Aristokrat. We had had a pre-existing relationship with the record label, where we had creatively worked with some of their acts. In 2018, we made a decision to be in the system and join this body, to see what results could come out of it.
Why Aristokrat?
Besides the fact that we had a relationship and had done business together, it was also the fact that the organization was one we could relate with on different aspects and they understood what we were trying to do. It aligned with our vision.
So, you joined them?
Yeah. But firstly, I needed to go South Africa to further my knowledge in cinematography and video direction. This aided our motives. So, it was just a thing of coming back and joining my partner who started before I did.
What has been the most exciting project you have worked on?
Okay, before 2018, it would be Jones lifestyle. This was the first project we released under our thing. It was exciting because the production and promotion was done between Ghana and Nigeria. The producer of the project, Greg Jones, a crazy talented guy, started working on the project with Shay in Lagos. There was a lot going on between school and recording—the support around us was magnificent. I mean, everybody wanted to be called a Jones. They wanted to be part of what we were building. We had gotten so much attention from the parties we threw at the university, now we were building a lifestyle and creating a project around it. It was a vibe and a lot of creativity from hungry people. I mean, we could set up a studio session for recording and end up creating designs for merch. In fact, we got the name for the EP while we were designing merch. It was a memorable one.
Nice, Memories don’t die. After 2018?
That would be Diamond in the Rough by Ceeza Milli.
Why? What was that like?
I mean, Ceeza is a super talented artist.
Do you think people know that?
I believe people know that. There is still a lot of strategy that needs to be done. He is an awesome songwriter and singer. I didn’t bring him into the label though, he was assigned to me. Although, I knew him and we had met on cordial basis; and already loved his music before then. I also was interested in getting to know him personally and as an artist. So, it was more of what can I really do for this person kind of thing.
In terms of relationship, how was it?
Being the middle man, I spent most the time trying to make the relationship between the label and the artists okay. His songs were music I related to and that made me happy. They were a lot. Trust me, Ceeza has a lot of dope songs, enough for albums in years. In the process of creating diamonds in the rough playlist, we created other albums. One interesting thing was that, I got to understand the different sides of an artist. There were times where Ceeza was the most understandable, there were also times he was quite difficult. One exciting memory I can’t forget is the process of shooting the album cover in Shitta, Surulere and using elements of the hood to create that piece of art. Everything around that project was beautiful.
How was the process of curating the project?
First of all, being an A and R, you need to have good ears for music. You need to understand what the artist is heading for, and also what he doesn’t hear. For instance, he had lot of songs with different themes; the club bangers, the romantic ones, the social awareness ones, so I mean, you cannot have five songs talking about the situation in your country when you are not the revolutionary brand of artist. So, it was more like “this is what I am about to give you but I also want to touch on some topics.”
Why Diamond in the Rough?
For me, it was the experiences he had faced as a person. If you know Ceeza, you’ll know that he has hopped different labels, looking for the best deals and has written for a lot of artists in the industry. So, he really is a gem. Having an artist like Ceeza is like a jackpot. But the reality of the state we are in, the country we are in, the industry, the market has a role to play. So, yeah, that direction was like, this is the diamond we have amongst our reality which is the rough. So, Diamond in the Rough.
Wow, makes a lot of sense.
Yeah, it wasn’t coined by me, but I was able to interpret and reflect that on the body of work. I used that as an umbrella to create the project.
Do you lead the A and R team at Aristokrat? What is it like working and overseeing the A and R of over 12 artists? What challenges do you face?
Like I said, it’s a process. For me, it’s a growing thing. I would not be given the opportunity to spearhead this, if they thought I couldn’t. When I started, I just A and R’d for Ceeza, but at that time, the label had only two artists, Ceeza and Tneeya. It was a gradual process. But now, I have a team built around me, so it’s a matter of sharing ideas because we have a knack for idea generation in our department.
What is it like working with Seyi Shay?
Haha. Even Seyi knows she can be a lot. But, that is expected from artists on her level. Seyi is up there, she is an amazing artist and has been consistent over the years. She, being the CEO of her label, also has experience in the business part of the label, so you are not just talking to an artist, but you a business person. You are not just projecting ideas you think would work for her, but you need convince them business-wise that this is a good one.
When do you know a song is good?
Bro, I have to feel it. It needs to do something to me.
How challenging is it to get different artists to make music together?
Mehn, Nigeria is a different market entirely. A lot of people are proud. A lot of people are pompous. People have one hit song and feel like they are there. But, this is a business and consistency is key. I see it as if I am in real estate and I have to sell houses. Even though I sold one that gave me 50 million last week, I still need to sell more. We need such mentality in this game. Don’t drop one song and relax. That hunger should always be there and make whatever you are selling have a standard. It should not go below that standard. You always need to hunt producers. I mean, I manage a producer, and even Wizkid as big as he is, still messages him and comes to where he is to get stuff done.
What is it like working with Kel P?
I am part of the team working with Kel, but I’m not his direct manager. Although, since I head the department, his stuff crosses my table. Kel is one of my favorites, he knows what he wants, and so he allows everyone to play their part.
What is the most important ingredient you think an artiste should have?
Consistency. I am certain you had passion before you went into the music. Consistency can lead you to finding a good record. That, and having a good team.
How can A and R protect themselves from ungrateful artists?
As an A and R, it is important to take your credit and build your catalogue. Also, contracts are important. Here is thing, being dropped may not necessary be a bad thing. Maybe the artist wants a new direction or next level exposure. Also, as an A and R, you should not be tied to one artist. The point of being an A and R is creating music from as many people as possible.
Written by
Joseph Dike Abiagom.
