Why is it difficult for veteran musicians to make a comeback?

Making a comeback as an artist who bowed out of the scene after a period in the limelight is exceedingly difficult.

Mass attention is the currency of stars, and once it's lost after a prolonged period of inactivity, regaining that attention is a daunting task.

In Nigerian music, we have seen several veteran stars attempt to reestablish themselves in the mainstream among an audience whose attention is now being courted by a new crop of stars.

Most times, these veterans try to show that they still have it by recording new music that fits into the soundscape. However, they seem to find it difficult to deliver an emphatic record, nor do they (it also appears) have the capacity to expend the resources required to regain their fame.

Recently, veteran street hop star Terry G trended on X after sharing his desire to collaborate with Davido. While the fans of the 5-time Grammy-nominated Afrobeats star tackled Terry G for seeking favour in his sights after pitching his tent with Wizkid, the entire episode summed up the challenges of staking a comeback as a veteran artist.

Other veteran stars like Runtown, Sean Tizzle, 9ice, and Omawumi have all released new materials in the past two years that have had little mainstream impact. Even the legendary D'banj and P-Square, who are now chasing solo careers as Mr P and Rudeboy, have been in the news more times for their family feuds than for their music.

Both creative and economic factors combine to explain why several veteran stars have tried and failed to reestablish themselves in the mainstream.

Music evolves, and artists have to evolve with the sound that shapes every era. Doing this requires the willingness to embrace change while retaining defining elements of one's artistry.

Veteran artists who are attempting to make a comeback often struggle to deliver quality material that can compete with the offerings of new stars.

Oftentimes, their attempts at a mainstream comeback struggle to scale the first hurdle of making music that doesn't sound dated and out of place in the soundscape.

The mainstream is a highly competitive space that requires heavy investment to achieve the visibility and virality required to build a fan base.

While veteran fans used to have a big following, reconnecting with a market that has rapidly changed since the advent of social media and streaming platforms requires considerable marketing that doesn't come cheap.

Many veteran stars struggle to get the investment for large-scale marketing that can bring them to mainstream attention.

Even when they manage to invest some money in marketing and publicity, they have to compete with stars with far deeper pockets.

Even with good music and the resources to market it, veteran artists still have to navigate consumer bias.

Many consumers have a prejudice against veteran stars they consider old timers who should be willing to accept that their time in the limelight is long over and walk away.

The phrase "old taker" is one popular in Nigerian online lingo, which primarily describes a once well-to-do person who is now down on their luck. The phrase has now been expanded to include anyone who was once popular in a given field and is attempting a comeback.

Staging a comeback in an era where agiesm is at an all-time high is very difficult.

Although staging a comeback as a veteran artist is a daunting task, it's not impossible.
The primary goal musicians should strive towards is to never leave the scene for too long, such that they are removed from consumers' consciousness.

With consistency and a willingness to evolve, there's always a chance of another mainstream run. KCEE's 'Ojapiano' and Skales's current commercial resurgence with 'Shake Body' are examples.

The Nigerian music industry is not currently buoyant enough to economically support veteran stars whose time in the limelight came before the streaming era.

While their contemporaries in bigger global markets can sell off their catalogue at a decent fee or make a healthy amount of streams from their works, Nigerian veteran stars don't have such a privilege.

Touring, which should be another revenue stream, is in a limbic state.

Most veteran stars in Nigeria have little chance of making a living off their work beyond the rare chance they are booked for events.

The rising rate of music sampling and reimagination also offers a means for some veterans to profit from their classics.

Hopefully, the Nigerian music industry can come alive to its potential and build an ecosystem where today's stars can make a living off their music in the future.