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BUCKWYLD ‘N’ BREATHLESS: A DECADE PUSHING THE ENVELOPE.

Published

3 years ago

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By EFE OMOROGBE.

” The genius thing we did was we did not give up” – Jay Z.

Audacity. That’s probably the word that best captures the fuel that powered the push. The push that grew Nigerian music from the doldrums in the 90s to the dizzying highs it’s hitting in 2020 and I am super proud to have played a role in the redefinition of the Nigerian music industry.

Without a master plan, without government support, Nigerian music grew from a time when the main source of local music was small imprints funded as passion projects or trophy investments, to the return and entry of global players like Universal, Sony, Warner, Kupenda etc.

As I join many other industry players to celebrate the success of the music industry in general, my crew and I are taking time out to celebrate the milestone – a decade since the debut of Buckwyld ‘n’ Breathless, the concert brand.

My first name is Efe, last name OMOROGBE – the emphasis deliberate. If I got a million naira each time my last name was misspelt over the years, I’d be hosting Dangote to brunch on the regular by now.

I’ve worked professionally in the entertainment industry for more than two decades wearing several caps – writer, journalist, producer (television, music, event, film), songwriter, copyright protection advocate/administrator, label exec, consultant, talent manager and more. I’m obviously better known for talent management, Now Muzik and 2face. Six out of ten times an acquaintance dials my number on his or her phone and the words “Efe 2face” pop. I can’t be mad. For a phenomenon who has spent much of the last quarter of a century dominating fellow foreground figures, brands and platforms, an understated guy in the background stands a chance of having his identity subsumed by the super brand that is 2Baba, albeit inadvertently.

While I’m also extremely proud of our modest accomplishments at Now Muzik and Hypertek Digital, it’s the trials and triumphs of creating, birthing and sustaining the Buckwyld ‘n’ Breathless brand that fills me with joy at the moment. Why? Because it is a decade of one of the most challenging projects I’ve taken on in my career so far. Period.

First of all, let me unapologetically reiterate the cliche, “There’s no such thing as a small show”. Every experienced event promoter, producer or planner will tell you this for free. There’s no such thing as an easy production. No production is without its unique challenges and no matter how many times you’ve delivered it, a routine production can still go horribly wrong. Like my mentor, Edi Lawani would caution back then, “Prepare with the assumption that everything that can go wrong will go wrong”.

If this is true for a regular concert in Nigeria where it is commonplace to hit the mark by lining up a few trending artistes, rigging good quality sound/screen/lighting and running through the acts backed by a deejay and punctuated by spurts of comedy, one can then only imagine how high the stakes can get when the production hinges on an edgy script, three headliners, half-a-dozen support acts, 16 -piece band, 30+ dancers/extras, month-long rehearsals, multiple costume changes, intricate multimedia /props /SFX sequences and perhaps the most daunting – an average of N70m budget per show! With Buckwyld ‘n’ Breathless, more than any other production, there are at least, 20 things angling towards going wrong at the same time. Like the tag BnB, it’s always crazy.

The way the industry has grown over the last 25 years has, like everything else, created the great, the good, the bad and the pretty ugly. For the most part, it has been organic, driven by passion and gusto, championed by independent players without the benefit of government support, formal structures and pre-organized processes. So, while it has earned its vibrancy and resilience from this freestyle mode, it has also created challenges with effective monetization and a culture of shortcuts among practitioners. This has, in turn, created an industry that sort of normalized less-than-professional conduct particularly in the area of live performances. The result was an approach to delivering live concerts that saw talents relying too heavily on a collection of hit records and therefore expending minimal effort on stagecraft, often leaving discerning fans feeling shortchanged.

The seed for a “proper production” was sown in 2006 when Buckwyld Media (then known as Now Muzik Events and Promotions) was engaged by 2face Idibia as production consultants to deliver 2face Live: Chapter 2, the “Grass 2 Grace” album launch concert at Planet 1, Maryland, Lagos. We had for two years prior, fantasised, planned and plotted that “proper production” as artiste and management, and the release of his now classic sophomore solo album presented an opportunity to walk the talk. And we did exactly that to the delight of a packed house many of whom gushed for months on end about how Chapter 2 was their favourite concert experience in Nigeria at the time.

We were happy and inspired but not satisfied. We knew what nobody else knew – how much better it could have been with a bigger venue with more stage, backstage and headroom space, bigger budget, bigger cast, more prep time, fewer disappointments and so on. Four years down the road, all the pieces of our “proper production” puzzle fell into place.

September 26, 2010, was D-day. 2face Idibia was a bonafide international superstar and the biggest draw in the land. His catalogue of hits had grown tremendously to include crowd-pleasers like “Free”, “Enter the Place”, “Flex”, “Implication”, “Only Me” and collabo cuts like “Yori Yori” with Bracket, “Stylee” with Cool DJ Jimmy Jatt, and the almighty “Street Credibility” with 9ice. Eko Hotel had completed the ambitious Eko Convention Centre and Cecil Hammond, who had incidentally witnessed Chapter 2, was in the mood to take his already successful Flytime promotion gig to the next level. Buckwyld Media was primed to deliver the concert experience that would change the game for good. 2face Live: Buckwyld ‘n’ Breathless happened and it’s been a tougher job trying to convince me that impossible is something since then.

Rave reviews, multiple editions – Lagos (Away & Beyond), London (Away & Beyond), Lagos (The Disruption), Nairobi (Disruption Africa), Lagos (The Lagos Dream), Lagos (Power of 1) – and magic moments by headliners MI, Sauti Sol, Tiwa Savage, Flavour, Phyno, Falz and of course, 2Baba later. Buckwyld ‘n’ Breathless occupies a unique space as the concert experience that offers discerning live music fans more value for their time and money.

None of this would be possible without the invaluable contribution of the dream team (past and present) and partners behind the BnB project – Innocent Idibia, Helen Abutu, Osarhiemen Omorogbe, Tony Anifite, Edi Lawani, Kingsley James, Andre Blaze, Ayeni Adekunle Samuel, Ayo Animashaun, Danny Kioupouroglou, Cecil Hammond, Ohimai Atafo, Mike Igbelabo, Bayo Omisore, Hoffmann Akubeze and all our wonderful vendors, consultants, and sponsors. Of course, special mention must be made of all the amazing star talents and the supporting cast of dancers, musicians and extras whose brilliant performances have created the magical moments Buckwyld ‘n’ Breathless is known and loved for. From the depth of my heart, I say thank you and God bless.

To fully appreciate how much we have grown the live music space within the annals of the mainstream pop scene in Nigeria over the last quarter of a century, a bit of context may be helpful.

Circa 1996, the live circuit opportunities within the pop space were, with the exception of the likes of Lagbaja, few and far between. While the party scene was popping – the high life/juju acts and performers often made more from praise-singing and spraying than their negotiated performance fees – the pop scene was a wilderness of sorts with trending stars justling for low-paying slots on the few brand-sponsored platforms available. Long before we had a global megastar like Breezy popping onstage with Davido on his international tour, trending pop acts considered it a big deal then to open for foreign acts like Yvonne Chaka Chaka, Awilo Logonba and Caron Wheeler (Soul 2 Soul) in Lagos, Nigeria.

Fast forward to the present day. Promoters block book the Eko Convention Centre and other top concert venues for mainstream pop stars to dirty our pre-covid 19 Decembers and rake in hundreds of millions in revenue. At home and abroad, some of the most iconic venues are witnessing the commercial prowess of homegrown Nigerian talents. And as the growth continues, we stand proud of our contribution thus far and remain poised to work towards raising the bar, higher and higher. As we say at Buckwyld Media, push the envelope!

– Efe Omorogbe.

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‘I had the idea for my movie while drunk’ – Tiwa Savage

Published

4 days ago

on

May 14, 2024

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Nigerian singer, Tiwa Savage has revealed that her debut movie ‘Water & Garri’ was conceived while she was intoxicated.

She disclosed this at the pre-launch press conference held at the Livespot Entertainment Centre in Lagos, on Thursday.

“I said this before, this is an idea I had in my head when I was drunk in my room, and when I brought the idea to my amazing team, they didn’t make me feel stupid. They actually just said this is a brilliant idea,” Savage recounted.

‘Water & Garri’ premiered on Prime Video on May 10.

The movie follows the story of Aisha (Tiwa Savage), a young woman who has been estranged from home, returns to find her native home, vastly transformed from the one she left behind.

It also stars Andrew Bunting (as Kay), Mike Afolarin (as Mide), and Jemima Osunde (as Stephany).

The movie was filmed in Cape Coast, Ghana, and directed by Meji Alabi.

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FULL LIST: The 10th AMVCA 2024 winners…..

Published

5 days ago

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May 13, 2024

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The 10th Africa Magic Viewers’ Choice Awards was held today at the Eko Hotel and Suites, Lagos State.

The AMVCA, an annual award presented by MultiChoice, recognises outstanding achievements in television and film.

Below is the list of winners:

Best Makeup

Francesca Otaigbe (Over the Bridge)

Campbell Precious (Mami Wata) – WINNER

Hadizat Gambo (Mojisola)

Hakeem Onilogbo (Jagun Jagun — The Warrior)

Feyisayo Oyebisi (A Tribe Called Judah)

 

Best Art Direction

Blood Vessel (Victor Akpan)

Over The Bridge (Abisola Omolade) – WINNER

Breath of Life (Okechukwu Frost Nwankwo, Kelechi Odu)

 

The Black Book (Pat Nebo and Chima Temple)

Jagun Jagun: The Warrior (Tunji Afolayan)

Mami Wata (C.J ‘Fiery’ Obasi)

Omen (Eve Martin)

 

Best Costume Design

Demola Adeyemi (Over The Bridge)

Bolanle Austin Peters, Ituen Basi, Folake Coker and Clement Effanga (Funmilayo Ransome-Kuti)

Lola Awe (Jagun Jagun: The Warrior) – WINNER

Bunmi Demilola Fashina (Mami Wata)

Daniel Obasi (Breath of Life)

 

Best Writing TV Series

Skinny Girl in Transit Season 7 (Bunmi Ajakaiye, Ifeanyi Barbara Chidi and Abdul Tijani- Ahmed)

Wura Season 2 (Jeffery David Musa, Olumide Kuti & Esther Oyiza Kokori)

Visa on Arrival (Bovi Ugboma)

MTV Shuga Naija (The MTV Staying Alive Foundation)

Volume (Mona Ombogo) – WINNER

Masquerades of Aniedo (Timendu Aghahowa & Motunde Akiode)

Slum King (Donald Tombia, Ifeanyi Barbara Chidi, Fatimah Binta Gimsay & Xavier Ighorodje)

Best Writing in a Movie

Breath of Life (BB Sasore)

Over The Bridge (Tosin Otudeko)

Funmilayo Ransome-Kuti (Tunde Babalola) – WINNER

Jagun Jagun: The Warrior (Adebayo Tijani)

Afamefuna (Anyanwu Sandra Adaora)

A Tribe Called Judah (Olufunke Ayotunde Akindele, Collins Okoh and Akinlabi Ishola)

Mami Wata (C.J. ‘Fiery’ Obasi)

 

Best Sound Design

Ava Momoh (Over the Bridge)

Daniel Pellerin and Amin Bhatia (Kipkemboi)

Grey Jones Ossai ( Blood Vessel) – WINNER

Grey Jones Ossai (Breath of Life)

Samy Bardet (Mami Wata)

 

Best Editing

Chuka Ejorh And Onyekachi Banjo (Over The Bridge)

Holmes Awa (Breath of Life)

Alex Kamau And Victor Obok (Volume)

Dayo Nathaniel (Ogeere — Earth)

Antonio Ribeiro (The Black Book) – WINNER

Nathan Delannoy (Mami Wata)

 

Best Indigenous Language Film (West Africa)

Mami Wata (C.J. ‘Fiery’ Obasi)

Jagun Jagun (Femi Adebayo) – WINNER

Ijogbon (Kunle Afolayan)

Orisa (Odunlade Adekola)

Nana Akoto (Kwabena Gyansah)

Best Indigenous Language (East Africa)

Where The River Divides

Ormoilaa Ogol (The Strong One) – WINNER

Wandongwa

Nakupenda

Itifaki

 

Best Cinematography

Mami Wata (Lílis Soares)

Blood Vessel (Gideon Chukwu)

Over The Bridge (KC Obiajulu) – WINNER

Breath of Life (Ola Cardoso)

Jagun Jagun — The Warrior (Adeoluwa Owu)

Ijogbon — Chaos (Adekunle Nodash Adejuyigbe)

Omen (Joachim Philippe)

Best Indigenous M-Net Original

The Passenger

Nana Akoto

Apo

Irora Iya (Adeniyi Joseph) -WINNER

Love Transfusion (Kiapo Cha Damu)

 

Best Digital Content

National Treasure — Adebola Adeyela (Lizzy Jay)

Medical Negligence and Copyright Infringement — Isaac Ayomide Olayiwola (Layi Wasabi) – WINNER

Hello Neighbour — Elozonam Ogbolu, Lina idoko and Jemima Osunde

The Boyfriend — Maryam Apaokagi-Greene

 

Best Short Film

T’egbon T’aburo

Broken Mask – WINNER

Eighteenth Year

Man and Masquerades

A Place Called Forward

 

Best Unscripted M-Net Original

What Will People Say

The Irabors’ Forever After

Nwuyee Bekee (Foreign Wives) – WINNER

Date My Family Zambia

Royal Qlique (Season 2)

 

Best Scripted M-Net Original

Slum King – WINNER

Half Open Window

Itura

The Passenger

Magic Room

 

Best Supporting Actress

Joke Silva (Over the Bridge)

Fathia Williams (Jagun Jagun — The Warrior)

Itura

The Passenger

Magic Room

 

Best Supporting Actress

Joke Silva (Over the Bridge)

Fathia Williams (Jagun Jagun — The Warrior)

Bimbo Akintola (The Black Book)

Genoveva Umeh (Breath of Life) – WINNER

Eliane Umuhire (Omen)

Tana Adelana (Ijogbon — Chaos)

Ejiro Onojaife (The Origin: Madam Koi Koi)

 

Best Supporting Actor

Alexx Ekubo (Afamefuna)

Demola Adedoyin (Breath of Life) – WINNER

Itele d Icon (Jagun Jagun: The Warrior)

Gregory Ojefua (This is Lagos)

Timini Egbuson (A Tribe Called Judah)

Levi Chikere (Blood Vessel)

Ropo Ewenla (Over the Bridge)

Trailblazer

Chimezie Imo

 

Industry Merit Award

Esther Idowu Philips AKA Iya Rainbow

Richard Mofe-Damijo

Best Lead Actress

Segilola Ogidan (Over the Bridge)

Lucie Debay (Omen)

Omowunmi Dada (Asiri Ade)

Ireti Doyle (The Origin: Madam Koi Koi)

Adaobi L. Dibor (Blood Vessel)

Evelyne Ily (Mami Wata)

Kehinde Bankole (Adire) – WINNER

Funke Akindele (A Tribe Called Judah)

 

Best Lead Actor

Wale Ojo (Breath of Life) – WINNER

Stan Nze (Afamefuna)

Marc Zinga (Omen)

Gideon Okeke (Egun)

David Ezekiel (Blood Vessel)

Richard Mofe Damijo (The Black Book)

Adedimeji Lateef (Jagun Jagun — The Warrior)

Gabriel Afolayan (This is Lagos)

Best Multichoice Talent Factory Movie

Grown

Her Dark Past – WINNER

Somewhere in Kole

Full Time Husband

The 11th Commandment

Mfumukazi

Best Unscripted Series

Lol Naija (Season 1)

Nightlife In Lasgidi

The Real Housewives Of Lagos (Season 2)

Gh Queens (Season 2) – WINNER

Mutale Mwanza Unscripted (Season 1)

Best Scripted Series

Volume

Wura (Season 2)

Slum King

Itura – WINNER

Chronicles

Best Director

Moses Inwang (Blood Vessel)

Adebayo Tijani And Tope Adebayo (Jagun Jagun — The Warrior)

BB Sasore (Breath of Life) – WINNER

Johnscott Enah (Half Heaven)

C.J. Fiery Obasi (Mami Wata)

Kayode Kasum (Afamefuna)

Tolu Ajayi (Over The Bridge)

 

Best Movie

Funmilayo Ransome-Kuti

Breath of Life – WINNER

Over The Bridge

Blood Vessel

A Tribe Called Judah

The Black Book

Mami Wata

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AFRIMA: Beat S’Africa to hosting rights, stakeholders tell Tinubu, Musawa

Published

6 days ago

on

May 12, 2024

By

 

…insists one edition must hold in Abuja, Jos, Kaduna

 

A culture and creative industry advocacy group, Arewa Creative Industry Heritage Vanguard, has called on President Bola Ahmed Tinubu and the Minister of Art, Culture, and Creative Economy, Hanatu Musawa, to lead efforts in securing the hosting rights for the next two editions of the All Africa Music Awards (AFRIMA)offered by the African Union Commission to Nigeria and South Africa as reported in the media recently. They want to ensure that at least one edition of the prestigious event takes place in the northern region of Nigeria of Kaduna, Jos or Abuja due to years of deliberate marginalization and deprivation of international events of this nature.

 

 

 

According to Dr Shehu Samadi, the President of the Vanguard, speaking from Kaduna, they have learned that the African Union (AU) invited the governments of Nigeria and South Africa to submit bids for the hosting rights for the next editions of the All Africa Music Awards (AFRIMA). As such, they are imploring and advising President Tinubu not to allow South Africa to beat Nigeria to the hosting rights as this will have implications on the national psyche of Nigerians and the development of the music industry. It called on the Honorable Minister of Art, Culture and Creative Economy, Hanatu Musawa to update Nigerians on the progress made thus far in securing the AFRIMA hosting rights, for Nigerians to know how and where to assist in achieving this common objective.

 

 

 

The group, which comprises cultural enthusiasts, music industry stakeholders, and advocates for Northern Nigeria’s music heritage, recognizes the significance of AFRIMA in promoting African music and fostering cultural exchange across the continent and with the rest of the world. Therefore, they believe it is essential for Nigeria, especially the Northern region, to play a central role in hosting the event and showcasing the country’s rich creativity and cultural diversity from its point of expertise and cultural expression.

 

 

 

Samadi emphasized three significant reasons why President Tinubu should champion the course of securing the hosting rights. The group recalls with nostalgia how President Tinubu in 2015, in person received a 23.9 karat gold plated AFRIMA trophy as the pillar of Art and Culture in Africa presented by the African Union commission.” This should motivate the President to intensify efforts to secure the hosting rightshaving experience the creative power and the global influence of AFRIMA personally.

 

 

 

The second reason is that as the Chairman of the Economic Community of West African States, ECOWAS, President Tinubu can utilize the opportunity of hosting a large-scale event like this to further his commitment towards promoting unity, economic development, and cultural diversity in the region and on the continent. Although an event of AFRIMA’s scale can cause significant ripples across the continent and around the world, Nigeria stands a chance of benefiting the most, and we in the North hope to tap into the inherent benefits as against the past practice of marginalization where such international events are preserved for the exclusive experience of the southern part of Nigeria..”

 

 

 

Thirdly, the Nigerian Music industry has witnessed astronomical global growth with little or no input from successive governments. Hosting an AFRIMA by this government provides an appropriate platform for the Tinubu Administration to establish itself as a creative industry supporting the government as well as engendering positive perception and image for Nigeria to attract tourism and foreign direct investment.

 

 

 

“Fourth, we believe that Northern Nigeria has the potential to become a tourism hub, and hosting events like this can help mitigate the effect of insecurity in our region. We are eager to host an event like this because we strongly believe that it could be used to address the issues that have plagued our region, including terrorism and banditry. By promoting peace and tranquillity, our youth can embrace hope and prosperity as well promote the budding music talents in the region who require inspiration and pragmatic motivation” he said.

 

 

 

The group is advocating for the cities of Abuja, Jos and Kaduna to be considered as host cities for at least one of the two editions of AFRIMA. The group believes that these cities are strategically located, culturally significant, and have vibrant music scenes, making them ideal venues for the event.

 

 

 

The group expresses concern over what they perceive as a pattern of neglect in the hosting of key musical events, and they call for greater inclusivity and representation for the Northern region. They note that in recent years, there has been a growing sentiment among stakeholders in the Northern music industry that the region is often overlooked when it comes to hosting major international events.

 

 

 

Samadi said: “Despite boasting a wealth of cultural heritage and a thriving music industry, Northern Nigeria has frequently found itself sidelined in favour of other regions when it comes to hosting events of national and international significance. This is unfortunate.

 

 

 

“We strongly believe that hosting AFRIMA in Abuja, Jos and Kaduna would not only stimulate economic growth and promote tourism in the region but address this feeling of discrimination against us.

 

 

 

“In addition to the big music superstars from this part of the country, Abuja, Jos and Kaduna have the infrastructure, capacity, and cultural significance to host AFRIMA successfully. It is time for Northern Nigeria to be given the recognition it deserves on the continental stage.”

 

 

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