31/01/2025
From a music business perspective, there are plenty of reasons why a record label or an artist management company might not want their artist to associate with certain brands, especially when that artist is at their peak.
More often than not, it’s about self-preservation rather than anything else.
When an artist collaborates with another, fans see it as just another good song.
But from a business standpoint, it runs deeper, it’s a statement.
It’s about perception, brand affiliation, brand equity, market share, and the artist’s longevity.
One artist who has mastered the art of self-preservation is Wizkid.
Have you ever wondered how he’s remained relevant for so long?
He and the team around him understand power dynamics.
They also understand that scarcity creates demand, and he plays that game masterfully.
Why would people pay a premium for something they can get everywhere? Why would a brand invest heavily in an artist who smokes blunt and rolls with every Tom, Dick, and Harry, everywhere at any time.
How many collaborations does Wizkid do in a business year?
Even when he does, they rarely see the light of day unless he gives the green light.
Take his collaboration with Reekado Banks, for example.
At his peak, Reekado had a similar fanbase demographic to Wizkid.
If that song had dropped at the wrong time, it could have divided Wizkid’s audience and disrupted his streaming and search engine algorithms.
So, Wizkid played the long game, and delayed the release, frustrated Reekado to the point where he lashed out on Twitter, and ultimately, the song never took off.
Have you ever wondered why Don Jazzy’s artists rarely collaborate outside the Mavin camp?
Does it mean there aren’t good artists outside the label?
It’s about self-preservation and brand equity.
Most artists don’t realise that every collaboration allows the other artist to tap into their fanbase, potentially splitting that audience and taking a chunk of it for themselves.
And more often than not, they’re giving away more than just a verse, they’re selling fan loyalty too, which can slowly deplete their own influence.
Collaboration is a form of cross-pollination that leads to fertilization.
That’s why savvy business minds only allow it between two powerhouses.
If a bigger artist collaborates with a lesser-known one, it comes at a cost, and strict conditions to ensure the major artist’s brand remains protected.
Ever wondered why someone like Nathaniel Bassey isn’t everywhere, despite the fact that there are plenty of anointed gospel artists who would love to work with him?
An average gospel artist might say, “He’s waiting on God’s leading.”
But from a business perspective, it’s simple, self-preservation and brand equity.
Of course, they’ll tell you it’s about spiritual direction, and that might be true. But at the end of the day, it’s more of a strategic self preservation move, than a spiritual direction and other spiritual cliches they lace it with.
Unfortunately, many artists don’t understand why their label or management shields them from certain decisions.
They think the label is being controlling, not realising there’s a chase game being played behind the scenes.
That’s why so many artists lose relevance, get caught up in scandals, or struggle to maintain their careers once they leave a structured system.
Remember when Kennis Music said they never allowed women around 2Baba (then 2Face) during his prime? The moment he left to start Hypertek, he almost self-destructed.
And to this day, he’s still dealing with the consequences of that unfiltered freedom.
At the end of the day, music is a business. Whether gospel or secular, the same principles apply.
- Donsethbeat
