That’s it. I said it. I beat my chest to it. In your face! Now let’s explore.

The Nigerian music industry is plagued with a lot of ills. From our collective lack of publishing to the lack of laws to guide and determine the rules of engagement. There is also the lack of a creative credit system to properly reward all the minds that are involved in the making of our music. Touring is also a concern, as it is non-existent, due to the lack of a system to help promoters recoup their investment. Our problems are beyond us, and it has manifested in many ways. Documenting them properly is a thesis-worthy work.

But the fans are not helping. We all want good music. That’s the mantra every Nigerian fan chants. It is aptly followed by ‘Nigerian music is trash’ and sometimes ‘Our artistes are rubbish’. We crave this music publicly, and make our needs known via every platform. Search for the term ‘Nigerian music’ on Twitter, and we would get a long list of requests for ‘Good music’.

But do we actively support this good music? Not so much.

‘Good music’ to every Nigerian who requests it publicly involve an engaging and entertaining melody, clean lyrics, uplifting content, often requiring a message or a thematic consistency that is delivered with a strong vocal performance. That’s why we fawn over Asa. But trust me, there are millions of these people. We have a long list of them making this music now. But they fail to get the support needed to sustain it.

Support, in this case, does not mean the tweets. It means parting with your money to listen to these musicians, buying their works in the process, attending their shows and also, watching their Youtube videos.

But this rarely happens. If these acts can receive a dollar every time someone complains of ‘trashy Nigerian music’, and requests for ‘good music’. But this feeling is rarely matched with the money. How many of you reading this will attend concerts headlined by Tay Iwar, Ric Hassani, TJan, Suté, Clay, Tomi Thomas, OzzyB/Santi, Aramide, Falana, Ruby Gyang, Lindsey Abudei and many others? How many of you will chase concert tickets and pay enthusiastically when it comes to these acts with ‘good music’?

But a pop music concert will draw you in, and you will scream ‘Shut up and take my money’.

Let’s do the numbers for sales. Two of the best albums released this year are Lindsey Abudei’s “And The Bass Is Queen”, and Brymo’s “Klítorís”. But how popular are these albums? Are they ranked on the digital stores due to sales and numbers? But a Wizkid’s maligned “Ayo (Joy)” album and all its composite tracks and singles can remain at the top spot of iTunes for two years running.

Let’s bring it back to the non-paying platforms. Youtube. That’s where almost every Nigerian music video is hosted. Are the numbers great? Orezi and Aramide are generally regarded to be in similar levels of ‘celebrity’ status. But Orezi kills it with his numbers. That’s because you, yes you, are more likely to have streamed an Orezi video, than Aramide’s.

That’s why his views go up, and he gets more encouragement to make a certain type of music that you hate, but supports.

You fans of good music need to put your money where your heart publicly appears to be. Complaints and tweets won’t do jack for your favorite good music artistes. But streams on Youtube, Apple Music, TIDAL, and others will sure be appreciative. Let it count where it matters. Let it count, literally, because until that happens, your favorite artiste will go pop, have a better chance of breaking even, and join the circle of what you refer to as ‘bad music’.

PS: And don’t comment or give me examples with Asa (who is not Nigerian), Timi Dakolo (who is a lone success story), an Adekunle Gold (who is serving traditional Highlife sounds in the mainstream market). Thanks.