Young Cameroonian Musicians and the Pandemic Moment
The writer examines whether young Cameroonian musicians are seizing the creative and commercial opportunities that emerged during COVID-19 lockdowns, when global artists were innovating online to reach isolated audiences. Noting examples from the US, Nigeria, and elsewhere, the piece finds Cameroon's music scene largely absent from this moment of digital creativity and direct fan engagement.
“Taking advantage” seems a little bit raw, seeing the issue at hand here, which is that we are dealing with a serious global health issue that has basically brought the world to almost a standstill, as economies have halted and business all over the world is in serious decline.
Added to that, countries like Italy and Spain are grappling with the large influx of patients into hospitals and the health system of many countries is being put through a serious stress test.
It is almost cynical and sinister that one may think of taking advantage of such a circumstance, mais ainsi va la vie.
We are not there yet in this country, but many countries in the world are on lockdown or at the very least, social distancing measures have been enforced and people are increasingly being asked to work from home.
Many people under quarantine, including musicians themselves, are bored out of their minds are increasingly finding ways to entertain themselves or stay productive.
DJ D-Nice, an American DJ used his Instagram account to host what he called “Club Quarantine.” Club Quarantine is essentially him DJ-ing to a live audience on Instagram. His first live set was NINE HOURS long and he played all kinds of music. In just two weeks, his account grew from a few thousand followers to 2 million followers today. On Saturday he put up a link to his merchandise (teeshirt) at the start of his live show, and people who tuned in to watch saw the link and bought the tee-shirts.
No doubt when this quarantine is over, he will be landing huge gigs that will bring him some good coins especially when you consider that many celebrities like Michelle Obama, Janet Jackson, Naomi Campbell, Oprah Winfrey and Ava Du Vernay tuned in to watch his live show.
Tory Lanez hosted his own show on Instagram called “Quarantine Radio” and it broke the record for live stream views on Instagram with just over 320,000 people viewing.
A Nigerian guy called Father and a British girl called Eva have been doing a hilarious live video chat on Instagram that has over 20,000 people tune in to watch them chat. They have both seen their Instagram accounts grow by thousands of new followers. It is particularly good for Eva, who is a model. No doubt this newfound fame and publicity will be beneficial for her brand if her PR people know how to take advantage of that.
Even Richard Bona, recently, has been going live on Facebook more than he has ever done; first to pay homage to the late Manu Dibango, and then to recount hilarious stories from his childhood days and sprinkle a truthful dosage of his political views.
In Nigeria, we have seen battles of the producers notably with Sarz Vs Shizzi or with Pheelz vs Masterkraft.
But on this side of the fence, barely a peep. None, actually. If I am wrong, please correct me.
I think Magasco hosted an #AskMagasco session on Saturday on Twitter. That is commendable but it is also formulaic. Young urban musicians should not forget that they have fans out of Cameroon in countries where the Lockdown is in full swing and this is an opportunity to get creative and connect with fans and quite possibly grow their fanbase and give people an opportunity to discover them and their music. It can only be beneficial.
At the very least, it is an opportunity to showcase your artistry in a raw, unedited and emotional manner.
Do you think our urban musicians are doing enough in taking advantage of the COVID pandemic?
- Wandji Wilfred
. *Disclaimer. The picture used to accompany this article is for illustrative purposes only. Any other interpretation represents the views of the person who thus interprets it.
In April 2020, as lockdowns and social distancing became global practice, digital platforms—particularly Instagram and Facebook—became vital spaces for entertainment and connection. Artists worldwide were experimenting with live-streamed performances and interactive content, building audiences and exploring new revenue streams in a suspended economy.
The piece captures a specific inflection point: when the pandemic briefly democratized access to global audiences and reduced the gatekeeping role of traditional venues and record labels. It remains relevant as a record of how some creative industries adapted in real time, and as a quiet critique of Cameroon's urban music scene for not fully recognizing or acting on a fleeting structural advantage. The writer's tone—analytical rather than congratulatory—reflects the broader Poise sensibility of asking hard questions about local creative culture.