Empire Mates Entertainment (EME), the record label founded by R&B singer Banky W in 2002, is diversifying to become a media and public relations agency. Earlier in the week, Banky W made the announcement in a two-page Instagram post, notifying the public about the record label’s restructuring and the slight chance in focus.
“We are now a full-fledged media agency that focuses on creative marketing, advertising, PR, brand events/activation and a talent management firm. This switch in focus has been amazing and fulfilling…behind the scenes, we have been able to impact the launching and marketing of a number of brands and companies the way we did artists… but even in the talent management side, we are no longer restricted with music artistes. We still work with musicians, but we also work with OAPs, actors and are evaluating sports management as well.” Banky said via Instagram.
The rest of the post goes further to advertise the now-rebranded outfit, which Banky W encapsulates as a “one stop shop for the marriage between corporate Africa and entertainment.” The brand’s current slew of clients includes Banky W himself, actress and wife Adesua Etomi, DJ Xclusive, and media personalities Toolz and Ebuka Obi-Uchendu. Ebuka is, perhaps, the most valuable asset in this bunch, having conquered 2017 as fashion statement-maker and social media maven. He belongs to a small, glamorous, impenetrable band of friends, a phenomenon that YNaija’s Editor Edwin Okolo had referred to in a 2017 end-of-year piece as the “Naija rat pack,” a hyper-specific nomenclature inspired by the rat pack of Hollywood’s 1950s and the brat pack of the 1980s. “Two distinct groups of entertainment-inclined friends who went on to define the zeitgeist of their generations.” writes Okolo.
Ebuka and his ilk, consisting of the Demuren brothers, Olamide Adedeji, Bankole Wellington, and Noble Igwe are the Nigerian rat pack equivalent of the modern era, grandstanding on synergistic, explicit social media branding whether as an individual or group. “The “Naija rat pack” has our undivided attention now, and it will be interesting to see what gold they can spin from it.” Okolo writes conclusively in what looks like a foreshadowing of the EME record label rebranding, a strategy to consolidate on the monolithic, zeitgeisty presence of the rat pack but had turned out to be a retooling of an old workhorse.
All this, of course, is just theorising on the bits of information at my disposal. Furthermore, there’s a sense that the refurbished EME might not be rooted in functional altruism, or maybe this is just my cynicism talking. The acquisition of Adesua and Toolz as clients, wives of Banky W and Tunde Demuren respectively, isn’t all that surprising. Their statuses as spouses affords them inclusion into the small hermetic world of organised trips and exclusive partying and brand visibility. The fame rubs off on them, but never leaves the pack.
Before now, EME was home to artistes like Skales, and the departure of Afrobeats titan Wizkid back in 2013 seemed like the biblical prodigal son story. Except that Wizkid never went back. But who needs the Star Boy when EME has co-opted a movement to truly turn it into an empire?
When Bernard Dayo isn’t writing about pop culture, he’s watching horror movies and reading comics and trying to pretend his addiction to Netflix isn’t a serious condition.
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