Last week, one of my friends in Australia got introduced to Tekno.
The young man, a Caucasian who traditionally did not consume African music, has read a couple of my earlier works on the Nigerian singer, and curiosity led him to listen to a few songs, and watch videos.
He was instantly hooked. After going through all of Tekno’s singles over and over again, he wanted more than those songs. According to him, he has understood Tekno’s pop single strategy and sound, and the allure is wearing off.
He wanted to experience this artist on a broader level. He needed other sides and facets of Tekno, that could make him relate better and become a bigger, rounded fan in his magic.
“Joey, can you please point me to an album?” he asked.
“Which album?” I asked in typical Nigerian fashion. Replying his question with another question.
“Tekno’s album. Give me the link to his last album. I can’t find it on Apple Music and Spotify.”
I laughed hard, and gave him the shocker. “Tekno has no album. He is a big artist with no album. He doesn’t even have an EP to his name. Nothing. Just new singles every three months. Sorry.”
My pal couldn’t believe it. He was shocked.
“Are all Nigerian musicians like Tekno? How have they been able to gather enough fans to make them profitable?”
“They don’t have to. They believe the singles is all that matters in their career.”
And so my friend logged off. He still listens to Tekno because of the bounce, but his inability to properly experience Tekno’s full spectrum of artistry on an album has not enabled him contribute his full quota as a fan. It has diminished his fan experience.
It is amazing to believe that Tekno, with all he has achieved in pop music, has no body of work to his name. He is a singles merchant; selling a new record every three months or less, with videos created and released to aid with promotion.