INSIGHTFUL REVIEWS AND COMMENTARIES... Culled from "thenetng"

I came across a very interesting read off http://www.thenetng.com/, one of the many sites i regularly follow in my career as a Publicist, and pretty much because I, like many people want to be like the maestro who runs it. A very interesting read sampling Nigerian music and alligning it in the manner that we industry background peoplke tend  to do mostly. The most interesting thing about this piece is, I read it right after having a discussion with Djinee - one of Nigerians brilliant alternative/ breakthrough artistes - and one who I think the writer should have also made reference to... He shared some great insight with me and seemed to understand my plight as far as "promotions" and 'publicity" on the Nigerian Music scene is concerned; especially with reference to alternative music*

Will Ibiyemi, Bez, CON.Tra.diction, Ese Peters, Eben And Others Ever Really Blow?

...When we talk about new Nigerian music nowadays, we tend to focus largely on the success of Hip Hop, Pop, Rap and R&B. Outside these genres however; many Nigerian artistes are doing great works that deserve our attention. Their stories do not often make major headlines; they do not headline major concerts and they don’t get signed as ambassadors of major brands, yet the difference and divergence they provide is perhaps more indicative of the true growth of new music in Nigeria. Guys like Age Beeka, Bez, Etcetera, Fadabasi, Ese Peters, Threadstone, Sista Soul, Ibiyemi, Nikki Laoye, GT the Guitarman, Jeremiah Gyang, Con.Tra.Diction, Christine, Eben etc defeat easy classifications but we may agree that their different sounds provide an alternative to popular brands of new Nigerian music listed above. To be clear; while the kinds of music these guys make appeal to me, I do not subscribe to the notion that there’s something called ‘real’ music, therefore, I do not think that these artistes are doing ‘better’ music compared with their Hip-Hop and Rap counterparts. I am fascinated by the difference they bring to the music scene in Nigeria and I’m equally afraid that we may not have a big enough audience for their kinds of music in Nigeria at the moment.
While thinking about this some days ago, it occurred to me that the way marketing and distribution of music works in this country at the moment, these guys are a hard sell. What Alaba Market distributor wants to pick up an album without owanbe-like dance tracks, weddings songs or club-bangers? What brand wants to hold a concert of soft rock or artistes or soul singers? While I know that there’s an audience for every type of music, I wonder if these audiences are of a commercially viable quantity. Since record labels are dead and we do not have concert venues that generate their own programmes, to whom does the ‘alternative’ artiste turn to for the much needed collaboration that will  get the music to its audience, even if it is a niche one, and bring forth success? Those who are quick to point fingers at some artistes and accuse them of selling out need to consider that fact that the options are cruelly limited due to an abject lack of structures that may guarantee even minimal success. Truth is; if you are doing new Nigerian music, the farther you move away from the mainstream, the closer you move to poverty and starvation.
It is of course easy to whip up Asa as the exception to the rule, and she truly is. I mean, who can explain this amazing young woman’s success? Yes, we all probably knew as early as 2004 that there was something special about her but how do we explain her commercial success, both at home and abroad? Who ever thought that her brand of music could go this far in Nigeria? Till date, no one has successfully explained to me why Asa is as successful as she is. Some have called it a freak occurrence, which is a safe assumption. Others have said hard work but I know too many hardworking yet ‘unsuccessful’ artistes. Yet, others have said talent; take a look at the list of artistes above and tell me who amongst them is untalented. Some others have even said luck, but I do not believe in luck. We probably will never know but I have loved her since that faithful evening in 2004 when I watched her perform with a travelling French band at the Arts Theatre of the University of Ibadan.
It certainly would be preposterous of anyone to think that commercial viability is the hallmark of every artiste’s musical journey. Material desires are not the raison d’être of a career in music for many artistes, contrary to what many of us may think. I just wish that these new Nigerian artistes would be in a position of power to make that choice and not have to make it because the situation in this country has forced them to do so.
*Ihidero is a Lagos-based writer and filmmaker

Read full article - http://www.thenetng.com/2011/06/14/will-ibiyemi-bez-con-tra-diction-ese-peters-eben-and-others-ever-really-blow/