This piece will dwell purely on the professional angle of the business of PSquare as a group, and not on their family disagreements.
I will be speaking as someone who, at one point, had the privilege of managing the affairs of over fifteen A-grade Nigerian artistes simultaneously as the Artistes and Promotions Manager of Sony Music.
The title “Artiste Manager” has been bastardised over the years. So many of the people parading themselves today as artiste managers are nothing but mere artistes’ messengers — glorified errand boys for artistes. It was not the same story with some of us when we were on that saddle over three decades ago. The job was respectable — but you had to work hard to earn that respect. To gain that respect, the artiste must also see what you are bringing to the table. You must also be able to manage the egos of the artiste, as well as those who work around him.
This now brings me to the issue of one of Nigeria’s most successful duo artistes: PSquare.
From a humble beginning, the duo grew from being backstreet musicians to, at one point, the biggest artistes in the whole of Africa. Their songs were mega hits, with multiple awards. I cannot recollect any duo group with such success in the last fifty years in Nigeria. The money was rolling in; the artistes were living their dreams to the fullest. Which of their songs was not a hit? “Busy Body,” “Onyinye” — the hits were endless.
The only thing that could stop the PSquare success story was PSquare themselves.
Then the rumour started making the rounds that there was a crack in the band. This came barely one year after they lost their mother — the very woman who kept them together. Initially, a lot of us did not believe the rumours; some said it was a prank that would lead to the release of another mega album. But as it turned out, it was not a skit — it was reality.
From one issue to another, it became obvious that things were falling apart and the centre could no longer hold (with apologies to Professor Chinua Achebe).
While the dragging was spiralling out of control, I knew the twin brothers had a manager — who happens to be their elder brother, Jude. I expected Jude to have played not only the role of a big brother, but that of an artiste manager. I thought he had the capacity to manage the egos of the two brothers. Jude had so much at stake, because he was making so much money through the successes of his brothers. He is not a singer or producer; he practically lives on their sweat, so he stood to lose the most.
But instead of reconciliation, he pitched his tent with one of the brothers. I do not care who was right or wrong. Pitching his tent with one of the twins escalated the whole problem. Rather than becoming a problem-solver, Jude became the problem.
In my opinion, Jude is a total disappointment. He did not act professionally; his maturity instinct is very low.
As I mentioned earlier, this piece is not about who is right or wrong between Peter and Paul. I am a twin myself; I have a twin brother who is still alive. We do have our disagreements, but what we have learnt in our 58-plus years on earth is how to manage our disagreements so they do not escalate to a level we cannot control.
The problem between the brothers is practically greed and love for money, and nothing else. There was also the issue of betrayal of trust.
The problem would not have escalated to this level if Jude Okoye, as the manager of these wonderful artistes, had done his job well. His inability to do the needful has led to this colossal damage to what was once a super brand.
He can still turn things around.
For now, Jude Okoye is a total failure. He is not a good example of what a true artiste manager should be.
I would like to say more, but let me stop here for now.
Ogwucha gom na onu (I have spoken my mind).
Chris Kehinde Nwandu is a journalist and was the former Artistes and Promotions Manager, Sony Music Nigeria.
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