Rising Igbo music sensation Ifeanyi Obiligbo has made a powerful call for the elimination of tribal barriers in Nigeria’s music industry, highlighting how cultural divisions continue to impact artists’ reach and recognition. Speaking in an exclusive interview, the co-founder of Umuobiligbo emphasized that tribal preferences still influence media coverage and music promotion across the country.
Obiligbo, whose journey began alongside his brother in 2011, shared insights into their evolution from regional Igbo musicians to creators of what they term “Afric sound.” Their transformation required careful navigation of cultural and linguistic barriers, leading them to collaborate with experienced producers to develop a more universally appealing sound while maintaining their distinctive musical identity.
The duo’s breakthrough came with their debut album “Uwa Jo Ka” in 2012, which initially faced skepticism from their father. A professional music consultant’s validation proved pivotal, recognizing depth in their lyrics that seemed beyond their years. This endorsement secured their father’s support for their musical aspirations, marking the beginning of their professional journey.
Their rise to prominence culminated in the release of “Culture,” featuring collaborations with Nigerian stars Flavour and Phyno. The track gained international recognition, catching the attention of global artist Akon, whose endorsement marked a turning point in their career. This crossover success exemplifies their ability to transcend cultural boundaries while remaining true to their roots.
Reflecting on the industry’s challenges, Obiligbo emphasized their unique position in Nigeria’s music landscape. While acknowledging Flavour’s dominance in wedding entertainment, Umuobiligbo has carved out their own niche, focusing on meaningful storytelling that resonates with audiences across generations. Their lyrics, inspired by everyday experiences and street life, address both spiritual and practical concerns of their listeners.
The artist’s critique of tribal bias extends to media institutions, noting how some radio and television stations treat songs differently based on their language of origin. This observation underscores broader issues of representation and fairness in Nigeria’s entertainment industry, suggesting the need for more inclusive programming policies.
Umuobiligbo’s musical journey, from their early days performing primarily for Igbo audiences to achieving broader appeal, demonstrates the potential for artists to overcome cultural barriers while maintaining their authentic voice. Their success story offers valuable lessons about the importance of innovation and adaptation in pursuing musical excellence.
As Nigerian music continues to gain global recognition, Obiligbo’s call for unity and inclusion in the industry resonates with ongoing discussions about cultural representation in entertainment. His vision for an all-inclusive industry challenges stakeholders to reconsider how tribal preferences might limit artistic expression and audience reach.
The group’s evolution from regional favorites to collaborators with international appeal showcases the potential benefits of breaking down tribal barriers in music. Their experience suggests that embracing diversity while honoring cultural roots can lead to richer, more impactful artistic expressions that resonate across cultural boundaries.
