YBNL (Yahoo Boy No Laptop) Boss, Olamide’s success story is not in doubt. The rapper, who grew up from the slums of Bariga area of Lagos, shot into prominence less than 10 years ago, six years precisely after honing his craft in the modest studios of his former boss, ID Cabasa (Coded Tunes).
The one, who most people didn’t give a chance to break through since the late D’agrin, gave us a new brand of rap music.
Fast forward to 2018, the Badoo master, award winning, hit making Olamide Adedeji, has built a record label to be proud of and housed the likes of Lil Kesh, Chinko Ekun, Adekunle Gold, Temmie Otwasa, DJ Enimoney and still counting.
The Shakiti Bobo crooner just signed a new street rapper called Picazo to the label. Claiming bragging rights, Olamide threw shades at other record label owners who seemed to have made their companies a slavery label for upcoming artistes.
The street rapper had a right to claim bragging rights for he has made it a policy that each artiste under his label signs a contract of two years alone after which they go and build their own label or thing. Olamide must have learned from experience and in a podcast interview years ago, he made it known that his record label was a movement and trains his artistes how to endure and thrive in the jungle of the Nigerian music space. No artistes have complained about Olamide’s high handedness or not keeping to the terms of contract, rather, they heap praises on him on account of his empowerment drive.
Other labels like Chocolate City Records, Don Jazzy’s Marvin Record, defunct EME, Capital Hill Records, Baseline Records, Kennis Record label and others operate on different models and have invested in many talent but only a few recouped their investment.
The lesson here is to work with what one has and have the interest of the artistes at heart. But most upcoming artistes in this clime hardly honour contracts – 70-30 per cent normally and rarely 60-40 per cent of the funds the artiste on contract makes for the label.
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