How Dapper CEO forges creative business synergies for Nigerian music stars

In the cutthroat world of Nigeria’s booming music industry, where raw talent alone rarely guarantees stardom, Damilola ‘Dapper’ Akinwunmi, CEO of Dvpper Music and Entertainment, emphasises that signing artists hinges on far more than musical prowess—it’s about forging unbreakable partnerships built on creative synergy and shrewd business acumen.

“We have to believe in the artist,” Akinwunmi told BusinessDay, underscoring how mismatches in vision or strategy have derailed past deals, while aligned collaborations propel careers to new heights.

As his label scouts diverse talents beyond street vibes, from soulful high-life crooners like Ghanaian star Lasmid to Afrobeats innovators, Akinwunmi’s team approval process ensures every investment isn’t just a bet on sound, but on sustainable success in a landscape rife with fleeting fame.

Dapper Group is a full-service artist management, music distribution and entertainment company founded by Akinwunmi, in 2018.

The discussion with BusinessDay covers crucial criteria for signing artists, strategic resource allocation, financial transparency, and future growth plans, including an upcoming concert designed to redefine live performance experiences.

On the criteria for choosing talent and whether Dapper Music focuses only on street genre music, Akinwunmi explained that that success depends on more than talent; factors like creative alignment and business approach play key roles.

Past experiences showed that mismatches can lead to separations, while compatible partnerships thrive. Akinwunmi stressed that signing decisions combine various variables, but team approval is essential.

On genre preferences, Akinwunmi clarified that Dapper Music is not limited to street music. He cited Ghanaian artist Lasmid as an example, describing his music as soulful and high-life influenced. “We sign what we like, and we listen to all kinds of music,” Akinwunmi said. “It’s not restricted to just one sub-genre or style.” This diversity reflects the label’s openness to different sounds, countering assumptions of a narrow focus.

Speaking about sustaining artists’ careers and allocating resources, Akinwunmi observed that the Nigerian entertainment industry has matured, with clearer business understanding among stakeholders. “We’re able to agree on budgets, which I believe is the same thing that goes on everywhere,” he said, comparing it to football team planning. Decisions cover projects, timelines, and seasons, ensuring alignment on financial commitments before proceeding.

Delving deeper into the signing process on practical aspects, including upfront costs for signing and promoting new artists, Akinwunmi admitted he could not provide specific figures, as they vary by artist and change over time.

He acknowledged the standard marketing and promotional costs in the industry but noted that hypothetical amounts exist to break an artist, though specifics for Dapper Music remain confidential.

The conversation shifted to financial and rights management, referencing past controversies with former artists that Dapper Music has addressed. When asked about transparent practices in intellectual property management to build long-term partnerships, Akinwunmi highlighted the challenges in a third-world context like Nigeria, where financial literacy is low.

“People don’t have accountants. People don’t understand splits, understand contracts,” he said. He pointed out similar issues in Western markets, where even major artists complain about payments.

To promote transparency, Akinwunmi detailed Dapper Music’s contract features. Contracts allow audits by independent auditors to verify financials from shows and other income sources. Artists can have their own legal representation to review terms before and during the deal. Exit clauses outline dispute resolution procedures.

The label also focuses on regular reporting and checks to ensure accuracy. “We’re able to cover the important reporting of your earnings and also do checks and balances,” Akinwunmi said. These measures aim to educate artists and prevent misunderstandings.

On exploring the business hurdles in the Nigerian Afrobeats scene, including competition from global labels, streaming algorithms, and economic factors, Akinwunmi acknowledged Nigeria’s lag behind the West in access to financing, copyright laws, and functional agencies. “We don’t have access to financing. We do not have proper copyright laws that protect the copyrights, the artists, the labels,” he said. He viewed these as collective industry issues, not unique to Dapper Music.

On global competition, Akinwunmi noted it predates his company, with African artists often preferring international deals. Strategies include better partnerships with global labels. However, he stressed that complaints won’t solve problems; action is needed. “It’s just actually being a part of the solution as opposed to nagging about the problem,” he said.

When asked if label heads collaborate to address these issues, Akinwunmi said some agencies exist but questioned their effectiveness. “I’m not sure of anyone that’s currently effective and making those changes that need to be made,” he said. He called for collective improvement, including his own involvement.

On Dapper Music’s future growth, focusing on scaling operations, new genres, and international markets, Akinwunmi teased expansions but kept details vague. “I think you just have to watch and see,” he said. “Most definitely, we have everything on the cards, and through God we’ll achieve everything.”

Pressed on diversification beyond street vibes, Akinwunmi reiterated openness to various genres, again mentioning Lasmid. He encouraged checking the artist’s music and attending the concert. The label’s strategy involves investing in young talent, providing live opportunities, and building confidence to propel careers.

Dapper’s ‘Trench Symphony’, which took place in September, featured a variety of Dapper music artist performing their street vibe music in orchestral sound, highlighting the versatility of the Afrobeats sound and how far it travels and blends with various international genres.

Akinwunmi explained its origins in challenging norms around live music in Nigeria. “Live music is almost treated like a luxury,” he said, noting artists often perform without bands or pre-recorded elements to cut costs.

“It’s really about the fans at the end of the day,” Akinwunmi said. Also adding that the key goals included inspiring audiences, boosting artist confidence, and showcasing versatility.

Speaking on the unusual September timing, which is outside the typical December concert season, Akinwunmi confirmed it was deliberate. “If you look at what’s going on in the world, people are doing shows anytime, anywhere,” he said, citing Afrobeats artists’ global tours. This move challenges seasonal norms and promotes year-round musical experiences.

Akinwunmi’s responses paint a picture of a label navigating Nigeria’s evolving music landscape with pragmatism and optimism. By prioritising partnerships, transparency, and innovation, Dapper Music aims to support artists amid industry-wide challenges. The September “Trench Symphony” concert represents a step toward redefining live music in Nigeria, while plans signal ambitions for broader impact.

Looking ahead, Dapper Music’s focus on diverse genres and potential international expansion positions it for growth in 2025 and beyond. The label’s commitment to young artists, even those not yet at the top, highlights its role in nurturing the next generation of Nigerian and African talent.