Having a hit song still remains the surefire way, but the consistency to stay fresh and renewed keeps you in the limelight. That’s why the history of Nigerian music, and life itself is laden with many who flattered to deceive, flashed once in the pan, never repeated their trick, and quickly returned to dire obscurity.

Kiss Daniel had his big flash in 2015, ushering in a Christmas-beaten Nigeria into the dreaded year of the General Elections with the melody and drums of ‘Woju’. That trick has since found a way to be consistent, and it has led him to this point where he is recognized as a Nigerian star. Just over a year since that big break, he has kept his hits rolling off a conveyor belt, looking pretty, and begging to be appreciated. Those hits have spawned an ambitious album, where the only feature on it was from the family – G-Worldwide Entertainment – with labelmate Sugarboy having the three nods on the project, together with production and writing credits.

This album launch concert bankrolled by label CEO, Emperor Geezy, with a mild drink sponsorship by an aspirational Apple cider brand, is a celebration of when all things fall together for a record label, and their flagship act becomes a success story. It is to show appreciation, give fans a taste of the music, and serve as promotion for Kiss Daniel.

All of that happened but not without the holes which plagued the concert from start to bottom.

The show was announced for 7pm on a Sunday, but didn’t kick off until a few minutes shy of 10pm. Olisa Adibua, veteran MC, and host extraordinaire, was given a brief of speed, and proceeded to hurry through the acts.

The concept of opening acts ideally seeks to serve the crowd. The opening act's performance serves to "warm up" the audience, making it appropriately excited and enthusiastic for the headliner. The real work in choosing opening acts lie in their quality, and the duration of their sets. Quality of sets for the show ranged from the upcoming artistes to the great stars. It’s was a show where Kach had a performance on the same stage before the burning Ycee , and Reekado Banks. DMW boys worked their magic, with Dremo and Mayorkun rousing the crowd. There was also comedy supplied at the night from Kenny Blaq, Pencil, Seyi Law, Akpororo, and Ushbebe.

The duration was long and tiring, with a record total of 34 acts draining the audience of their patience and hunger for the headlining set. Kudos can be given for many of the artistes bringing on their top game, but with each performer who strutted on to the stage, Kiss Daniel lost some extra minutes to properly showcase his album. And also, it is very telling that none of these acts were featured on the album. The disconnect was glaring, and it showed little confidence. For an album which has one of its strong selling points as the brave decision to have no features, bringing on a plethora of acts on the concert day created a paradox. The confidence on the record direction and omission of stars, failed to translate into the concert.

2face Idibia, would have been named the ‘Father Of The Night’, were it possible. The legendary singer was conspicuous with his presence, adding extra class and credibility to the night. He was at the butt of many jokes, and even had a performance where he ushered in Kiss Daniel.

“This boy here is one of the talented ones, he is one of the real ones, and that’s why you guys are here,” he said.

Kiss Daniel made his entrance in style, with a mini drama, steeped in local flavor. He was backed by a band complete with backup singers and a huge percussive influence. 9ice joined in on the act, and together with 2face and Kiss Daniel, performed the classic hit songs ‘Street credibility’, and ‘Gongo Aso’. It was a great showing, which had symbolism written all over it. 2face Idibia and 9ice, are members of the old guard, endorsing the next generation of artistes, and in essence, opening a “New Era”. The era where people can boast of the top awards in music with no album, where instant gratification and internet assisted shortcuts to fame have neutralized the gatekeepers of the Nigeria music industry. This is the age where technology rules, and old fashioned sweat is frowned upon.

Kiss Daniel seeks to marry both worlds, releasing a solid body of work, barely a year after fortune smiled on him and his hardwork payed. Perhaps that is why he feels like the real deal, combining substance with the pop-adored ‘fineboyism’ to make music which is immersive, content-filled, and worthy of a “New Era”.

All of these were on show at the album launch concert. For all its many shortcomings, New Era album launch had positivity and symbolism on its side. On that score, it was a win for Kiss Daniel.