Khaligraph Jones vs Wizkid: Is rap dead?

Wizkid seems to have incurred the Wrath of many an African rapper one of those being khaligraph Jones who took offence to the fact that Wiz says african hip hop is all but dead.

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And you can feel how you do about that however it cannot be disputed that Wizkid is a great spokesperson for African music there for his opinions should not be taken lightly. Khaligraph Jones however is one of Kenya’s most prolific rappers so naturally he felt the need to speak out and defend hip hop.

But when we look at things objectively we do have to tackle the question of whether African hip-hop has a and had argued that it does. We just have to change our perspective on what makes up the audience. And for me to better explain this I use the example of uk-based Kenyan rapper Phineas or where or who goes by the stage name A1.

Khaligraph Jones dragged to court by baby mama for neglecting son

He is a hip hop artist who has managed to amass an audience of listeners on Spotify who gave him 270 million streams in 2022. Now that’s massive and it is a movement that people like khaligraph Jones and Wakadinali need to study and learn from.

Khaligraph Jones parades his red British beast

Perhaps khaligraph Jones should steal a page from Wizkidayo’s PlayBook and begin to focus on Kenyans in the diaspora as well as the international market the reason for this is firstly that the international audience has the money to support an artist’s career by it by streaming or buying concert tickets. And secondly there’s the fact that they actually have the luxury of time to truly form a fanbase.

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Kenyans are not known to support their own however that is a localised problem. Kenyans in the diaspora have a huge appetite for Kenyan content but they aren’t enough to truly boost an artist into the stratosphere so perhaps khaligraph Jones should look into collaborating with other African artists as a way of introducing himself to new Markets and audiences.

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If as he says African hip hop then the onus falls upon him to become more aggressive in his marketing and attempt to penetrate new markets as well as make more radio hits and club bangers as opposed to making music for his die-hard audience.

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Ali Kiba vs Sony Music: Do Africans really need big record deals?

Ali Kiba, Wizkid, Xtatic are afew examples of artists who got major record deals with international companies such as Sony Music Group and they later had to either look for creative ways to release music (which is why Wizkid started releasing music under the moniker S.TA.R.BO.Y), or they let it ruin their career like what happened with Xtatic or they have had to vumilia and find a way to survive until the contract runs its course (Ali Kiba).

Ali Kiba new song Mediocre proof he will never catch up to Diamond Platnumz

Ali Kiba is reportedly preparing to call it a day on his engagement with Sony Music and this follows a very familiar pattern for African artists. You see, most African artists operate within a model that can be seen as independent to a lot of foreigners looking in from the outside.

Ali Kiba
King Kiba is looking to end his record deal with Sony Music Group

They usually start by teaming up with the hottest producers of the day and keep shooting out music and then handling said music’s distribution. That is how Diamond Platnumz started. That is how Ali Kiba started. that is how most African artists such as Burna Boy did it.

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Ofcourse there are the few, largely West African artists, who get signed to local record labels and they then set about meeting the terms of those labels. This was Wizkid’s story with E.M.E (Empire Mates Entertainment) who was signed on by fellow artist, Banky W. This was the case with MMMG (Trimple M G) and Iyanya. Usually, the great thing about these local record labels, they are just as hungry as their artists and push their music as aggressively as their stars.

Ali Kiba
Ali Kiba storms out of interview in Tanzania following question about his marriage

When these large international record labels come to Africa and sign talents such as Ali Kiba, they usually come with a format that they employed in America and was successful there. They come and demand that the same playbook is used by African artists who have a level of independence even when they are signed to local record labels. Guys like Wizkid and Ali Kiba are accustomed to releasing music whenever they have some new material and at their discretion.

Wasafi’s Rayvanny ready to make peace with Ali Kiba? (Video)

When these guys,, Ali Kiba et al, sign their record deals, they end up feeling frustrated that they cannot simply jump on a track when invited to do so by their peers and friends. This is one of the most prevalent quarrels we hear about from the likes of Xtatic and Wizkid. They cannot perform wherever or whenever an opportunity presents itself as these performances have to be approved by the big time record labels. As a result, we seemingly see our favourites take a “forced” hiatus.

Ali Kiba
Ali Kiba’s career didn’t really grow after he inked a deal with Sony Music Group

Add to this the fact that these record companies usually import their own executives and rarely give the mantle to locally grown, tried and tested clients and you can see why the contracts they sign rarely (if ever) push these acts to the next level. As we have seen with Wizkid, Davido and Burna Boy, with Nyashinski and Diamond Platnumz, they have to get to the next step by doing their own negotiating after getting recognition from the diaspora. Once that happens, they then begin to work with international artists such as Alicia Keys and Diddy who try to push them to the world stage.

Wasafi’s Rayvanny ready to make peace with Ali Kiba? (Video)

So this raises a question I have never been able to answer, “Why did the likes of Ali Kiba agree to signing international record deal?”

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