Ibukun Aibee Abidoye is the executive vice president of Chocolate City and has worked with the label for over a decade. Abidoye sees this current bias in the industry influenced as much by culture as it is by financial factors. “When you think about the way record labels were set up, most of them were funded by personal earnings,” Abidoye tells.
“It seems as though, right off the bat, [female artists] are expected to be not just good, but exceptional to be worthy,” says Ify Obi, the music and culture editor at. “The exceptionality in question goes beyond music and also includes aesthetics. They have to be conventionally beautiful and present themselves in certain ways as well. She has to beAnother quick indicator of the bias that continues to prevail in the industry can be found in listener data.
For Candy Bleakz, a street pop rapper signed to Chocolate City, the conversation around bias is one that should be had alongside the level of support Afrobeats female artists extend to each other. “In the Nigerian music industry, we don’t have a lot of female artists, and still there’s not enough collaboration amongst each other unlike the way we have it amongst the male artists,” Candy Bleakz says.
There are other signs of progress. More women are taking leadership positions behind the scenes: Mavins Records’ director of A&R Rima Tahini, entertainment executive and lawyer Oyinkansola “Foza” Fawehinmi, and Tami Makinde, managing editor at The Native Networks, Nigeria’s biggest music and culture publications, as a few examples. But it wasn’t always like this., “Back then you could walk into a meeting with a male colleague and everyone there only wants to talk to the guy.
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