Entertainment

Davido’s Song ‘Fall’ Takes Over Radio Stations In The US

Published

6 years ago

January 21, 2019

Eniola Olayemi

Nigerian music star Davido has not just made great waves in the Nigerian music industry but has also hit the US music market as his song Fall is reportedly taking over radio stations in the United States of America and the song is described as one of the biggest to ever come out of Africa. This is according to a report by Rolling Stone. Davido’s song Fall even ought to have reached greater heights in the country, according to the report.

The Nigerian style of music known as Afrobeats has quietly entranced a large swathe of the world’s population. “Pretty much every song on pop radio [in the U.K. now] is sort of a Mr. Eazi-style, chill, afrobeats [track],” the producer Riton told Rolling Stone last year. But Nigerian singers have not yet established a foothold stateside, despite well-received, afrobeats-dusted singles from established stars like Drake and Janet Jackson.

So it’s unusual that “Fall,” a springy, 19-month-old track from the Nigerian singer Davido, is currently gaining traction on the airwaves. The growth has been gradual: 482 plays to date, spread across 36 stations, according to Nielsen BDS, which tracks radio activity. BDS reports that four new stations added “Fall” into rotation last week.

Those are admittedly not huge numbers — for comparison’s sake, Post Malone’s new single “Wow” grew by 1,700 plays last week alone. But listeners who hear “Fall” are scrambling to find their phones: It was one of the Top 100 most Shazam’d singles in America this week. In New York City, “Fall” was a Top 10 record on Shazam. And in Atlanta, another crucial market, only two tracks were getting more Shazam activity than Davido’s.

Eliciting that level of interest in America is no small feat for an African singer. Columbia signed “Pana,” a 2016 single from Tekno, but wasn’t able to transform it into a U.S. hit. RCA signed Wizkid, the guest on Drake’s “One Dance,” but hasn’t been able to get a hit either. (RCA is also working with Davido now.) Burna Boy, another Nigerian singer with impressive talent, is now affiliated with Atlantic, but his “Rock Your Body” didn’t reach a wide audience in America. That has nothing to do with the music. “Pana” and “Rock Your Body” are both indelible polyrhythmic pop songs, wonderfully weightless next to the lead-footed trap that currently dominates both rap and pop radio in America.

But the machinery that creates hits in the U.S. remains conservative, even in the supposedly “new” era brought on by streaming. Nowhere is this more true than at radio, which throws its still-considerable weight behind only a tiny number of tracks — “A Top 40 radio station is playing five songs 120 times a week every week,” according to one radio insider — and rarely takes risks on music that doesn’t align with seemingly-ancient-if-not-totally-incomprehensible norms.

Mainstream “urban” radio usually won’t play Latin trap next to American trap, even if the same producers worked on both tracks, or pivot from hard hip-hop into soft R&B. Meanwhile, pop radio tries hard to ignore viral rap records, which programmers characterize as “pretty extreme,” in favor of bizarre but ostensibly more palatable concoctions by Panic! at the Disco or Marshmello.

Even some Top 40 programmers are confused by this tendency: “I don’t know when everybody’s gonna get it through their heads that we can’t just keep forcing these pop songs that nobody likes down everybody’s throat,” Nathan Graham told Rolling Stone last year.

Radio also depends on a favor system of sorts: Artists play station concerts, stop by for interviews and record drops to help get their music onto the air.

This is costly for artists without American passports. “To work the U.S. is big money — even getting music onto radio in New York alone might cost you upwards of $100 or $200 grand,” the Nigerian star Mr. Eazi explained to Rolling Stone last year. That’s another reason why, “at the end of the day, nobody has properly broken an African act in the U.S.”

It’s too early to tell if Davido can establish a new path from Nigeria to the American airwaves — his team only recently started “attacking US radio properly,” according to an email from the singer’s manager, Asa Asika. But there’s no denying that when listeners hear Davido’s music, they are immediately compelled to figure out who sings it.

And that’s not just the case with “Fall.” This week New Yorkers were also trying to determine who steals the show on local rapper Casanova’s new single “2am” (Shazaming Top 25). Surprise — it’s Davido. He is also the artist behind the 2017 track “If,” which is Shazaming Top 50 in New York.

DaVido’s success appears to be a boon for other Nigerian artists as well. Afro B’s “Drogba (Joanna)” was even higher than “Fall” on New York Shazam this week. If more radio programmers are willing to give these artists a chance, they may be pleasantly surprised by the results.

The ‘Dami Duro’ crooner might not be everyone’s favorite but he is sure making us proud, don’t you think?

Entertainment

AFRIMA partners stakeholders to actualise AU’s vision on creative economy at PACC6 in Moroni, Comoros

Published

4 weeks ago

October 12, 2024

august24admin

AFRIMA partners stakeholders to actualise AU’s vision on creative economy at PACC6 in Moroni, Comoros

AJAGBE ADEYEMI TESLIM

SPONSORED BY: H&H

As one of the institutions championing positive change in the global entertainment industry, All Africa Music Awards (AFRIMA) has reaffirmed its commitment to the growth of Africa’s creative economy by partnering with critical stakeholders to align with the African Union’s vision for cultural and creative development, as outlined during the recently concluded 6th Pan-African Cultural Congress (AU/PACC6) in Moroni, Union of Comoros.

Cross section of participants including AFRIMA’s Director of Stakeholders Engagement, Media, and Communications (Global), Sola Dada during the recently concluded 6th Pan-African Cultural Congress (AU/PACC6) with the theme “Arts, Culture, Heritage, and Education: Levers for Buildings Africa We Want” held in Moroni, Union of Comoros

It was a gathering of key stakeholders, including Pan-African cultural institutions, artists, cultural workers, and policymakers in the East African country, at an epoch-making event held between September 25 and 27, 2024. At this event, a framework for action aligning national and continental policies was developed, emphasizing the development of arts and heritage as crucial to achieving the AU’s Agenda 2063 vision.

In a presentation at the event, Sola Dada, AFRIMA’s Director of Stakeholders Engagement, Media, and Communications (Global), took the audience through the organisation’s activities since its inception in 2014, tailored towards promoting music, arts, and culture on the continent and the sustained effort to collaborate with other industry institutions to deepen the entertainment ecosystem in Africa.

“AFRIMA has successfully collaborated with policymakers, governments, African artistes, producers, record labels, promoters, publishing companies, media and the African Union Commission (AUC) to celebrate and promote African music globally,” Dada told the conference. “Through our seven core pillars, namely Music Awards, Music Festivals, Music Business Hub, Talent Discovery and Promotion, AFRIMA Creative Academy, Advisory and Policy Debates, Corporate Social Responsibility and Advocacy, we have positioned African music as a tool for integration, inclusivity, economic prosperity, and world peace.”

He said as the longest-running African music award platform with a global reach, AFRIMA plays a critical role in enhancing the visibility of African music.

AFRIMA’s Director of Stakeholders Engagement, Media, and Communications (Global), Sola Dada(with cap), giving a speech at the recently concluded 6th Pan-African Cultural Congress (AU/PACC6) with the theme “Arts, Culture, Heritage, and Education: Levers for Buildings Africa We Want” held in Moroni, Union of Comoros

Dada added that. ” AFRIMA’s events bring together thousands of music artistes, actors, celebrities, governments, and professionals from around the world to continent’s cultural significance on the global stage.

“Through our partnership with the AU and other stakeholders, AFRIMA is well-positioned to support the implementation of policies that will drive the growth of Africa’s creative economy. With a focus on integration, innovation, and cultural preservation, AFRIMA and the AU are set to make significant strides toward the Africa We Want as envisioned in Agenda 2063.”

The AU/PACC6, held under the theme “Arts, Culture, Heritage, and Education: Levers for Buildings Africa We Want,” served as a platform for Pan-African cultural institutions, cultural workers, and experts to engage in discussions on how to leverage these sectors to build a stronger African identity.

The congress concluded with a framework for action designed to guide cultural and educational development across the continent.

The congress resulted in several key resolutions aimed at strengthening Africa’s cultural sectors, including support for national cultural policies, engagement of youth and women, heritage preservation, promotion of African languages, and cultural exchange programmes that allow African youth to collaborate, showcase their work, and learn from one another.

In her opening remarks, Mrs. Angela Martins, Acting Director for Social Development, Culture, and Sport at the African Union Commission (AUC), highlighted the rapid growth of Africa’s cultural and creative industries, referring to them as the continent’s “new crude oil” due to their increasing global economic influence. Martins called for greater investment in the sector, citing AU Assembly Decision 772, which advocates for allocating at least 1% of national budgets to arts, culture, and heritage.

As part of the AU’s efforts, she announced the development of an arts education policy aimed at integrating arts education into school curriculums across Member States.

“This policy aligns with the AU’s theme of the year for 2024 and aims to nurture young talent from an early age,” she said.

Martins praised the efforts of key institutions in the entertainment, art and cultural space including AFRIMA which she described as “Africa’s global music awards and longest-running music award platform, with a huge global appeal, diaspora audience, and youthful fans.”

The main events of AFRIMA are usually broadcast live to over 84 countries around the world after a continental and global roadshow, with thousands of music artists, actors, celebrities, members of the diplomatic corps, professionals in the creative space, tourists, media and fans from all over the world converging on the host country.