Building the Future of Oyo’s Music: One Artist, One Stage, One Dream

In the rich entertainment ecosystem of Oyo State, artists too often find themselves at the back of the queue. They are the ones always called to perform for free, or to support lounge-owners and event promoters with little or no compensation. Even worse, many of those artists are told they should be grateful for the exposure — as if favour is being done to them. But ask yourself: when was the last time a DJ, a hypeman or a dancer was asked to perform for nothing? These performers seem to command more respect — and get better remuneration — than the actual musicians themselves.

Real musicians playing with a band are in a slightly different category: they often have the leverage, the contracts and the established reputation — so they cannot simply be called up and asked to play for free. But for the solo artists, the indie singers, the up-and-coming talent in Oyo State, the story is grim. Unless they’ve already made it in Lagos or another mainstream market, they’ll struggle to make the pay-grade, to get the stage they deserve, or to be given real compensation for their craft.

If our industry is serious about growth, equity and sustainability, then our major platforms need to tilt the balance in favour of the artists. The proposed centre — let’s call it the “Davido Centre” in shorthand — should be an artist-first stage: Pick the artists who truly deserve to be on the stage to do us proud in Oyo State.

Three performances per section: Dance, DJing, Hype, Artiste

For any major entertainment event or festival in Oyo State, here’s a suggested structure:

Dance: Feature three distinct dance acts — perhaps a modern Afro-dance crew, a traditional Yoruba dance troupe, and a street-style hip-hop dancer team.

DJing: Showcase three DJs — maybe one veteran club DJ, one radio-DJ with wide reach, and one up-and-coming bedroom DJ.

Hype: Three hypemen/hypewomen, each with contrasting styles (event-MC, street hype, corporate event hype).

Artiste: Three performing acts (solo or group) representing the best of Oyo State’s musical talent.

However — the question remains: is three artists total enough for the entire Oyo State segment? I argue: no.

Why It Should Be At Least Five Artists From Oyo State

The idea of only three artists representing the state is simply too limiting. Oyo State is culturally rich, densely populated and full of creative potential. As evidence:

Estimates place 111 musicians in Oyo State as of May 2025. 

There is a documented musical heritage with names like 9ice (from Ogbomoso) and Barry Jhay (from Ibadan) among others. 

Given this wealth of talent, to restrict the event to just three artists is to under-utilise the state’s creative reservoir.

By including five artists, you:

Increase the diversity of sound, genre and audience-reach (Afrobeat, Fuji, Gospel, Alternative, YouthSound)

Create a stronger local narrative and sense of state-pride

Make the platform more inclusive, giving more talent the chance to shine

Ultimately, provide better value to your audience, stakeholders and sponsors.

The Core Problem: Artists Keep Losing Out

In Oyo State’s entertainment ecosystem:

Artists are often called last minute, offered poor compensation (sometimes none), and told they should be grateful just to perform.

When you examine the booking dynamic, you’ll rarely hear of DJs, hypemen or dancers being asked to perform for free in the same way.

The imbalance is clear: the performing rights, the ownership of the spotlight, the returns – all favour other actors more than the musicians themselves unless they’ve already broken out nationally or regionally.

Only artists who have established band-based credentials or already made big leaps (often via Lagos) escape this trap. But the emerging artist is stuck. This is not just unfair – it is unsustainable. If we want music in Oyo State to thrive, it must be valued.

What the Centre (Davido Centre) Must Do Differently

If the proposed centre is to meaningfully contribute to the growth of the industry in Oyo State, here’s how it must operate:

1. Artist-First Booking Policy: Host a selection panel that specifically targets local talent. Priority given to deserving emerging artists from Oyo State, not just headline acts from Lagos.

2. Fair Pay: Create a transparent pay-scale or stipend system for local artists. Make free performances the exception, not the rule.

3. Minimum Quota: At each event, allocate at least five local artists to perform (not just three).

4. Capacity Building: Offer workshops in production, marketing, performance, brand-building to these artists (especially since many are under-resourced).

5. Visibility & Story-telling: Use the platform to tell their stories — local roots, Oyo State heritage, originality — build them as ‘state ambassadors’.

6. Equitable Opportunities: Ensure DJs, hypemen, dancers are also compensated, but not at the expense of musicians losing out. The musicians must not be the “free labour” in the ecosystem.

7. Local Audience Engagement: Tailor events so that Oyo State audiences see themselves in the lineup — local names, local flavor, local pride.

To summarise:

The entertainment industry in Oyo State must stop leaning on local artists as gratis acts while expecting them to prostrate themselves for the platform.

The platform you’re building (the festival, the event, the centre) has to privilege artists properly — they are the heart of the ecosystem.

Three artists is simply not enough representation. Five or more is both feasible and fair.

Giving artists this opportunity with respect, payment, and proper spotlight is not just the right thing — it’s also the smart thing. Because when they succeed, the entire ecosystem benefits: the audience, the event, the state’s reputation.

The message to each stakeholder is clear: “Artists need the platform more than the platform needs the artists for free.” Value them. Invest in them. Lift them up — and they will carry the flag for Oyo State.