UDC: 78.036(669.1)
COBISS.SR-ID 139212041 CIP - 11

Received: Nov 23, 2023
Reviewed: Dec 05, 2023
Accepted: Dec 15, 2023

#4 Repositioning Afro-pop in the Global Music Space: The Contributions of Davido Music Worldwide (DMW)'s 30 Billion Gang

Vincent Bamidele Omolayebomolaye@oauife.edu.ng

Citation: Omolaye, Bamidele V. "Repositioning Afro-pop in the Global Music Space: The Contributions of Davido Music Worldwide (DMW)'s 30 Billion Gang." Accelerando: Belgrade Journal of Music and Dance 9:4

Abstract

The harmonious collaboration of inventiveness among Afro-pop artistes has instigated intense modification in todays Afro-pop music scene, and, as well, repositioned its tentacles in the global music space. This is evident among today's artistes across the shore of Africa, in which Davido Music Worldwide (DMW)'s 30 billion Gang belong. Precisely, the strive of this artist has continued to awaken artistic consciousness among Nigerian youths, particularly, and Afro-pop music lovers in general. This paper, however, examines the contributions of Davido Music Worldwide (DMW)'s 30 billion gang, one of the top-sorted Nigerian artists, towards repositioning the Afro-pop genre in the global music space. The goal is to reveal essential aesthetics that give Afro-pop music vibrancy and attraction among youths worldwide. Primary research process of survey and descriptive method were supported with document observation technique for the study. Findings showed that 30 billion Gang Music Group, within the ambience of its music productions, has been able not only to fuse some elements of traditional sound, which influenced different artistes across the world, but also to instill African identity in the global music space. This effort was noticed to have contributed to what is now termed "African sound" in the global music scene. Furthermore, the study also revealed the upsurge in collaborations between African and foreign artistes on singles, electronic plays (EP), or albums, which has become a norm among foreign artists. The study concludes that while some musical groups create menace and disrupt the socio-economic wellbeing of the society, others, such as Davido Music Worldwide (DMW)'s 30 billion gang, were noticed to have been promoting the richness of African musical identity across the globe, through their artistic ideology.

Keywords:

hip-hop, afro-pop, global music space, davido music worldwide (dmw), 30 billion gang (30bg), african sound, african identity, david adedeji adeleke

Introduction

Since time immemorial, music performance has continued to play a vital role in the day-to-day activity of the African people. One peculiar thing about African music, regardless of the genre, is that it gives room for social interactions in which almost everyone participates. As a medium of expression in African society, music highlights African values in various traditions, which are accompanied by melody, rhythm and harmony. Hence, events of importance are celebrated with musical performances at various social occasions, such as marriage, naming, birthday, rite of passage, funeral ceremony or any other entertainment. This further re-emphasizes the socio-cultural imports that Africans attach to musical performances, as it is not done in isolation. One of such socio-cultural imports could be seen in work songs rendered during farming, harvesting, digging, chopping, weaving, just to mention a few.

In addition, there are other songs, such as praise song, criticism, fights, war, as well as songs which recount the historical background of the people. Thus, African music, in which Afro-pop is one of its stems, and, moreover, being a hybridized genre dominated by youths, is entertainment, which echoes the musical diversity of the African people. In view of the above, Onwuegbuna (2010) affirms that a number of the African-American invented styles that have received some African touches are today found in the international music markets, often with the prefix "Afro". These include Afro-funk, Afro-reggae, Afro-jazz, Afro-pop, Afro-rock, Afro-calypso, Afro-disco, Afro-soul, etc. All these hybridized genres are blends of two musical traditions. This is why Omolaye (2019) affirms that musical performances in Nigeria, in particular, comprised a plethora of diverse genres, as well as unique styles on which an individual or societal contextual framework is premised.

This study, therefore, examines Afro-pop music as performed by Davido Music Worldwide (DMW)'s 30 Billion Gang, with a goal to unravel noticeable efforts played by the artists in repositioning Afro-pop music in the global music space. It is important to emphasize that Afro-pop is a coinage, an abbreviation of both African and pop music, which is being fused together in its performance practice. As a matter of fact, the traits of both musical cultures are creatively blended, especially in the instruments and instrumentation, as well as vocal delivery, to further promote both the indigenous languages and musical traditions of the African people. This gives the notion that African music could be assessed from two main viewpoints: first, as music that has its root in the soil, and second, as music that has evolved under Western influences. Meanwhile, Afro-pop is one of such foreign influenced musical genres, which gained the attraction of the youths.

Consequently, it is important to note that several genres and styles emanated from various societies across Africa, while they represent the people of where such music is domiciled. The performances of such musical genre further serve as the identity of such society. In view of the above, Afro-pop is a genre practiced across the entire African continent, as well as in the Diaspora.

For instance, among the Yoruba of the Southwestern Nigeria, Juju, Fuji and Apala music are popular music genres which showcase and promote the culture of the Yoruba people. Consequently, Ghanaian's Highlife is the bedrock for other genres in the region. As a matter of fact, the Afro-pop genre is an essential part of modern culture in today's African music enclave, which condenses linguistic, cultural intricacies, regions and the continent. Hence, Afro-pop, being a hybridised genre which gives room for cross-fertilisation of ideas and modification in its performances, is the genre which African youths of today identify with and enjoy. The structural traits in which the performance is based can never be deterred from the fusion of Western oriented traits of up-beat instrumentation, which is synchronised with the indigenous musical tradition of the African people. However, the traditional elements embedded in the performance make it different and unique in the global music sphere.

It was in the early 1990s that the term 'Afro-pop' music first emerged in the Nigerian music artistes' circle. Some prominent Afro-pop artistes during the early stage include, but are not limited to, Idris Abdulkareem, Ruggedman, Eddy Remedy (Eddy Montana) Tony Tetuila, Faze, Black faze and 2face of the then Plantation Boys, Dbanj, Azadus, Olu maintain, Styl-plus, African China, Zule Zoo, Sound Sultan, just to mention a few. These music artists mentioned above represent few of the pioneering artistes of the genre, whose aspiration created a unique sound that could compete with the music of the Hip-pop of the West and K-pop of the Asia. More so, one of the record labels at the time was noticed to have promoted Afro-pop artistes was Kenny's Music. The artistes mentioned earlier, as well as those not mentioned, but belong in that circle, laid the foundation in the Afro-pop music enclave, while other recent artistes built on it. One of such artists, however, is Davido Music Worldwide (DMW)'s 30 billion gang.

Undoubtedly, several Afro-pop artists across Africa are making waves in the global music scene, while promoting African musical sound worldwide. This study, therefore, examines the efforts of one of such artists that worked his way to stardom, as well as noticed to have contributed to the repositioning of Afro-pop music in the global music space by name; Davido Music Worldwide (DMW)'s 30 billion gang. There is no doubt that Afro-pop music has continued to penetrate the global music space, judging from the unwavering demand of Afro-pop artistes in the global music scene. The musical expression of African artistes and the popularity of the genre, especially among young people across the world, is linked to Onwuegbuna's view, (2010) when he asserts:

The response of Africans to this novel brand of Afro-pop music is worthy of note. They responded favourably because of the undercurrents of the musical contents and styles that were purely African, and in that response, the African musicians became participatory in creating unique sound that characterise African traits in their performances.

The resultant effect of the above assertion further explains the harmonious collaboration of inventiveness among Afro-pop artists, which has instigated intense modification in todays Afro-pop music scene. This is evident among today's artistes across the shore of Africa, as demonstrated by Davido Music Worldwide (DMW)'s 30 billion gang, which this study used as a case study. Precisely, the strive of Davido's (DMW) 30 billion gang has continued to awaken artistic consciousness among the Nigerian youths. Efforts made by this indefatigable Nigerian artist, among others, in repositioning the Afro-pop genre in the global music scene, is what this study intends to unravel.

Statement of the Problem

Several scholars have contributed extensively to the growth and developments of popular music, while existing studies on life and works of some notable Afro-pop music artistes have been dealt with. Also, various events which occurred in the celebration of notable early Afro-pop artistes across African continent have been recorded and honoured during Afro-pop Hall of Fame celebration. Some of the artistes honoured since the inception of Afro-pop Hall of Fame celebration include, but are not limited to: Angelique Kidjo (Republic of Benin), Oliver "Tuku" Mtukudzi (Zimbabwe), King Sunny Ade (Nigeria), Youssou N'Dour (Senegal), Dorothy Masuka (South Africa), Habib Koite (Mali), to mention a few. They were among notable Afro-pop artists, who were inducted into Afro-pop Hall of Fame, specifically from over thirty years of its existence, bringing popular music of Africa and the diaspora to American audiences via public radio and live performances.

This paper, however, examines the contributions of Davido Music Worldwide (DMW)'s 30 billion gang, being one of the top-sorted Nigerian artists of today, towards repositioning Afro-pop genre in the global music space. Engaging in this area will reveal essential aesthetics that gives Afro-pop music vibrancy and attraction, especially among youths across the world. In addition, it will broaden the understanding on the concept behind the word 'African sound', which is what is currently trending in the global music scene.

Specific Objectives of the Study

• discuss Afro-pop in the global music space;
• provide historical background of Davido Music Worldwide (DMW)'s 30 Billion gang;
• examine contributions of Davido Music Worldwide (DMW)'S 30 Billion gang.

Theoretical Framework

Creativity theory of Guilford (1950) as used by Amabile (1996) is employed in this study. Amabile describes creativity as something new and original, as well as something which is task-appropriate. In other words, it is the basic requirements of whatever one is attempting to do, which in this study is the efforts of Davido Music Worldwide (DMW)'s 30 Billion gang towards repositioning Afro-pop music. Hence, creativity cannot emerge in itself alone, except that qualities, skills, and tenacity are imbibed by individual. These are the ingredients which Amabile (1996) referred to as componential approaches. Meanwhile, in the original model, Amabile identifies three inter-connected variables, which were the key to individual creativity. The first was domain-relevant skills, which are technical skills, talents and specific knowledge. In view of this statement, Davido is one of such Afro-pop artists whose creative ingenuity is seen and exhibited in his musical performances, as evident from his debut singles, which were noticed to have penetrated the global music scene.

Amabile further explains creativity-relevant processes to a broader sphere, such as being tolerant of ambiguity and willing to take appropriate risks. Although talent is something that someone may be born with, it takes commitment, constant practice, resilient spirit, persistent and conscious effort to be creative, especially in the performative arts. These attributes were noticed to have been embedded in Davido during his musical career. Therefore, the application of this theory will help unveil the creative consciousness of which Davido Music Worldwide (DMW) 30 Billion Gang is known.

Afro-pop Genre in the Global Music Space

Adedeji (2000) in Olusola & Oyesiku (2019), observes that in Nigeria, a distinct sound has been cultivated, and the country has finally arrived at its own variant of hip-hop known as Afro-pop or Hip-pop, which is a unique blend of African beat and contemporary rap and melodic movements that has a distinct feature of multilingualism characterised by 'code-switching' or 'code-mixing', where the music is performed in a mixture of English and one or more indigenous languages'. Consequently, Ademolu (2018) submits that the Nigerian music industry has witnessed several remarkable changes since its inception and at every phase of its developments. One of such genres which has witnessed tremendous reform in its practices is the Afro-pop genre, which encapsulates specifically musical cultures, lifestyles, dances and performance practice in its delivery. The genre is one of the secular musical genres, which attracts mostly youths in its performances.

In addition, it is an adaptation of Hip-pop of the Western musical culture. Although Young (2010) explains that Western Hip-Hop music is mainly characterised by rap, rhymes and heavy metallic programmed beats performed on four to eight bars of progression in a repeated pattern. Afro-pop artistes have continued to showcase and demonstrate this conceptualism and creativity through their artistic-wit in the rendition of the genre.

In spite of the adaptation of performance procedures stated earlier as employed by Afro-pop artistes, the use of traditional African percussive instruments in the genre further characterised the complexity of the genre, which makes it unique, distinct and peculiar. Adam, (2015) corroborates the above statement that artistic creation is an arena in which people make choices. This further explains why Afro-pop music has become one of the major factors in the promotion of African music identity and socio-musical heritage to the global world over the years.

Nevertheless, in order for Afro-pop artists to promote their cultural identity through music, they mirrored the Western style of Hip-hop performance modules. In that way, they navigate the musical elements embedded therein, while fusing it with their indigenous musical prowess in arriving to what is currently termed 'African sound'. Today, the term 'African sound' which both Hip-pop and Afro-pop music lovers clamor for, evolved as a result of technological advancement in sampling and digitizing African traditional musical instruments into a software model usually referred to as plugins. These plugins could be easily arranged or played along with other instruments during the beat making, especially on Logic Pro X recording software.

The above statement was supported by Liu (2009), when he states that the continued growth of the Internet and rapid progression in the digital technology have made content exchange easier between users. Users, as related to this study, are the African music producers and music artistes whose production employs and fuses this innovation in creating musical beats for their various audiences. For instance, within the ambit of traditional Swange music and dance performance enclave, Awuawuer (2016) in his account, attributed efforts of the Benue State Council for Arts and Culture as the brain behind the reposition of the Swange music and dance of the Tiv people in Nigeria. He noted that Swange music and dance performance has a soft power approach in resolving conflicts, settle disputes, build sustainable relationships between countries and strengthen economic ties.

Accordingly, cultural diplomacy through the use of music is a good way to foster cultural understanding as a basis for dialogue and trust. In the light of the foregoing, Davido, one of the top-sorted African Afro-pop artists, displays his creative ingenuity through his musical performances, with a view to showcasing and promoting African sound to the global music space. This dexterity could be traced to his first hit single titled: Dami Duro (Do not stop me), being part of the 16 tracks first album; Omo Baba Olowo released in 2012. This track eventually brought him to the limelight. In this track, he blends Nigerian local rhythms with what is obtainable in the global music scene. (See the Example 1 below).

Example 1. Dami Duro

Since the release of this particular song, he has maintained the standard in his musical performances, which paved the way for his penetration into the global music sphere.

A Brief Biography of David Adedeji Adeleke (Davido)

Picture 1. David Adedeji Adeleke. Source: instagram Accessed: 07/04/2022. 2:34pm

David Adedeji Adeleke, also known as Davido was born on 21st November, 1992. He is an American-born Nigeria Afro-pop artiste, songwriter and record producer. Though, Davido was born in Atlanta Georgia, United States, he was raised in Lagos, Nigeria where he made his music debut mentioned above. David is most times referred to as Baddest or Omo Baba Olowo (OBO). He began his musical career at Oakwood University, Huntsville, Alabama and rose to stardom after the release of his single track titled: Dami Duro – meaning do not stop me.

Davido began his education at the British International School located in Victoria Island, Lagos, Nigeria. He later proceeded to study Business Administration at the Oakwood University, Huntsville, Alabama. His passion for music was noticed during his time at the University as he bought some recording gadgets and musical instruments to further create music. He, however, lost concentration while in school which made him to later opted out. Though, he lost his mother at the early years of his life, his father and other extended family members stood by him. He appeases to his parent and his family, and convinced them to allow him to study music, hi, passion right from time. Davido's father agreed and enrolled him at Babcock University, ilisan-remo, Ogun State where he finally graduated in 2015 with a first class in Music. Today, he is one of the most sorted African Afro-pop artist across the globe, promoting African identity and its musical heritage through his performative arts.

Davido Music Worldwide (DMW)'s 30 Billion Gang

David Adedeji Adeleke officially founded Davido Music Worldwide (DMW) in July 2016. Davido is signed to Sony, Radio Corporation of America (RCA). The record label has continued to grow not only as one of the top-notch Nigerian record labels, but as one of Africa’s prominent record labels. His record label signed and housed several music artists such as Mayokun, Peruzzi, Liya, May D, Dehinde, Ayanfe, Idowest, just to mention a few. In addition, music producers such as Obi Prosper (Speroach) and Daniel Stein (Fresh) are among the vibrant producers of the label. Also, one of the record labels Disc-Jockey (DJ) is Ebianga Inang Ikpeme, popularly known as Ecool. Over the years, the record label has been able to innovate and expand its tentacles and remain at the forefront of record labels in Africa. This was achieved as a result of his dedicated staff and the entire workforce of his organization. Although he lost his son in 2022, at the time of gathering data for this study, he welcomed a set of twins with his wife, Chioma, on October 13th 2023. He also has two children from his baby mamas, namely Aurora Imade and Hailey Veronica.

Davido Music Worldwide (DMW) 30 Billion Gang (30BG) is not a clique or group of gangsters; rather, a record label which housed a number of talented artistes and music producers. Unlike some musical groups, DMW 30 Billion Gang is known for its contributions towards humanitarian developments. He has continued to contribute to the society, and the projection of Afro-pop music, specifically engraving Nigerian musical identity to the global music space. Contributions of Davido Music Worldwide (DMW) 30 Billion Gang

There is no denying to the fact that Afro-pop music is a genre practiced among young minds across Africa. Through this medium, many artists in which Davido is one, have continued to create jobs for unemployed youths; thereby pulling them out of the labour market. Resulting from the series of organised shows, endorsements and collaborations with international artistes, DMW record label continued to provide jobs for many unemployed Nigerian youths. This record label has continued to experience unprecedented developments that are positively revamping the image of Nigeria as a whole and promoting the musical traditions of the people therein.

It is pertinent to note that DMW's 30 Billion Gang musical group, within the ambience of its music productions, has been able to fuse some elements of traditional sounds, which not only influenced different artistes across the world, but installed African identity in the global music space. Thus, it has resulted in what is today termed 'African sound' in the global music scene. To this end, the upsurge in collaborations between African and foreign artistes on singles, electronic play (EP), or album has become a norm among foreign artistes.

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Conclusion

It has become clearer that Nigerian Afro-pop artists, in which DMW's 30 Billion Gang is one, have taken the center stage in the global music sphere. Among the outstanding artistes who performed during the coronation concert of King Charles the III at Windsor castle, was Tiwa Salvage, an Afro-pop singer. The peculiarity of African sound has penetrated the global music industry to an extent that many international artists are now longing to collaborate with Afro-pop artistes on single, electronic play or albums.

Moreover, tickets of their organised shows across various venues in the United Kingdom, London, Washington DC, Atlanta Georgia are sold out. Davido's music performances, as well as other artistes such as Burna Boy, Wizkid, Tiwa Salvage, Asake, 2Baba, just to mention a few, has contributed rapidly to the development of Afro-pop music in Nigeria, to be specific, and Africa in general. The study, however, concludes that while some gangs create menace and disrupt the socio-economic wellbeing of the society, others such as Davido Music Worldwide (DMW)'s 30 Billion Gang, were noticed that through their artistic ideology, they have been impacting positively on the promotion of African music across the globe.

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