Phyno, Mr Eazi, Tekno The concept of repeating the same formula to get hit songs

You remember all those days you spent in primary school learning how to use a single mathematical equation to solve pointless problems created by a mean but well-intentioned teacher.

You get to apply BODMAS, Pythagoras Theorem, Almighty Formula and many others. These formulas served a system of education that almost never evolves in Nigeria, with the central theme being: “If it is not broken, then don’t fix it’.

Your father used BODMAS, you used BODMAS, your child will work with BODMAS, and so will the child after him.

You remember all those days you spent in primary school learning how to use a single mathematical equation to solve pointless problems created by a mean but well-intentioned teacher.

You get to apply BODMAS, Pythagoras Theorem, Almighty Formula and many others. These formulas served a system of education that almost never evolves in Nigeria, with the central theme being: “If it is not broken, then don’t fix it’.

Your father used BODMAS, you used BODMAS, your child will work with BODMAS, and so will the child after him.

We see this in Nigerian music. An artiste creates a new sound and style which blows up and becomes trendy, and everyone jumps on it, populates it with riffs and copies of the same material and floods the market. This leads to oversupply of the style and sound, and consequently, the demand for it by the public drops. When this happens, the sound goes out of style and it’s out.

Everyone loves the new wave, the system that works and can offer the promise of financial gain. That’s why n artiste who discovers a working system, never leaves it, even long after it stops working. Terry G is a great example of how a system works until it stops working, and what can happen ifg change is not embraced.

This era has Tekno who is working with a formula that has propelled him to become the prince of African music. There’s a certain method to the production of ‘Duro’, ‘Wash’, ‘Where’, ‘Pana’ and ‘Diana’ that remains consistent, even in the audio and video conceptualization; Dedicate it to a girl, use a catchword/catchphrase, and infuse humor over a mid-tempo beat. Dance for that pretty, light skinned vixen in the visual, and you will score great points.

Mr Eazi’s reliance on a certain system of delivery and production has also been the driving force of his nascent career. There’s a uniqueness to his madness that has seen him produce his such as ‘Skintight’, ‘Hollup’, ‘Anointing’, and ‘Dance for me’.

That same consistent methodology is visible in Phyno’s recent push for glory. ‘Connect’, ‘Fada Fada’, ‘E sure for me’, and ‘Pino pino’ are all drawn from the same cookbook. Phyno’s formulaic approach can be laid thus: Grab a traditional melody, with deep highlife cuts and Afrobeat leanings from a masterful producer. The subject involves the acquisition of wealth, displays of success, love and gratitude to God.

Phyno, Tekno and Mr Eazi are currently enjoying a fine run with their formulas. But what happens when the system becomes oversaturated and cliché? What happens when we have had one catchphrase too many, another overplayed Highlife thanksgiving single, or become tired of an exact tempo?

There’s a possibility that that day has never been considered and planned for. But it will definitely happen. Too much of everything is bad, and the laws that govern human behaviour will always prevail. We are bound to get wary of what we have in excess and lose our collective interest in a ubiquitous and accessible sound.

But what do we know? The sound is awesome for now, and it is bringing in the big bucks, which is all that matters to these artistes and the people that push from behind the scenes. It’s a cold world, this industry, where ruthlessness and dynamism are the currencies that are on offer.  Getting money is always the aim for these guys, and if a system begins to provide gold, then why change it?

If it isn’t broken, then don’t fix it. For the love of God, don’t touch the current golden goose.