AFRICAN MUSIC is steadily coming top in the charts and getting recognition in countries far from Africa, something the Rwandan music industry has just started to experience. Seeing the first African song ‘Essence’ on the top 10 billboard charts, and big afro concerts taking place in Europe, Asia and America, one wouldn’t underestimate the fact that African music is on the rise on a global scale. However, Rwandan music is still struggling to make it beyond the East African region, and breakthrough like some genres such as Amapiano of South Africa and Afro Beat of West Africa changed the music game worldwide. When asked what Rwandan musicians can do to make a huge impact on a global market, Adekunle Gold said during a presser in Kigali that if local media comes together and pushes local projects, Rwandan music can experience a boost that it has never seen before. Calling on journalists to help the creative industry, Adekunle noted that media is the backbone of almost everything in the creative sector, because it transports what’s produced from studios and introduces them to the public. “When media works hand in hand with artistes, there are high chances of exposure. Foreigners can’t access local concerts or radios, but they can read on the internet what’s trending, which is why local journalists should be the first to make this issue their assignment,” Adekunle said. His show was followed by Kigali Fiesta, a show that saw thousands of music lovers turn up for Omah Lay’s performance, a new Nigerian artiste on the block. This show proved how Rwandan music still has a long way to go, by just observing how a rising artiste had a sold out concert in a country far from his home. Bruce Melodie, one of the top artistes in Rwanda who has managed to tour many countries, believes that Rwandan musicians still have a long way to go to get international recognition because of various factors, including the country’s history. The ‘Katerina’ hit maker said that one of the things that halts international recognition of Rwandan artistes is the population and the diaspora community. “Nigeria has a wide diaspora community in almost all the countries in the world, which is why their songs are played in many countries,” he said. Having a big number of the diaspora community, he said, if Rwandans abroad play Rwandan music and make others love them, it will be easy for local artistes to be recognised on a wide base. Bruce Melodie advised Rwandans to love and support their artistes so that foreigners can also start there and recognise the work done by talents in Rwanda. Alex Muyoboke, Managing director of Ishusho Ltd and a music expert, told The New Times that international recognition requires a lot more than just making or releasing music. He said that music distribution has a long channel, from writing to recording, mixing, and marketing. “Both parties in this process should collaborate to be able to uplift music to a certain level. It shouldn’t be the artistes job only, but also the media,” he added. He disclosed that if the media makes it a priority and writes or talks more often about the Rwandan music industry, it will be easy for local artistes to be exposed. According to Raoul Rugamba, founder of Hobe Agency and Africa in Colors, for Rwandan music to grow, “we have to make sure we understand the business, each one on the value chain and play his or her role well.” “If you are a client call the agent of the artiste not the artiste, if you are a manager of the artiste, make sure you fulfil your role, if you are a song writer, focus on creating not copying what you saw someone else do, and try to go in that line.” He added that producers should also think outside the box, and find a unique sound without going for afro-beats or other foreign sounds because they made it global. “We need to rethink the internal structure, maximise the talent and work with global distributors and music gurus to grow our music on international markets. We need to find money to invest in the music, for facilities to market artistes and their music,” he added. By investing and marketing music in Rwanda, he said, we need to start involving other parties such as the media and government, to share roles and contribute from our line of work. “Building a music ecosystem is not for one party or another, it’s a collective game and a shared effort. We can grow it only if all the parties come together and think of new strategies,” he told The New Times. Tabz real name Tabitha Uwizerwa, a fast-rising female artiste based in Nairobi believes that Rwandan music has started blowing up internationally, and people from outside seem to enjoy it. “However, I think we should have more events of Rwandan artistes in other countries and more collaboration with different artistes, so that we can get to the next level,” she said, when explaining what could be done to increase the popularity of Rwandan music.
