> ## Content Index > Fetch the complete content index at: https://www.hypebot.com/llms.txt > Use this file to discover other available public pages before exploring further. # Osagie Osarenkhoe on How to Build Support Structures in African Music - URL: https://www.hypebot.com/osagie-osarenkhoe-on-how-to-build-support-structures-in-african-music/ - Published: 2026-10-02T13:59:42.000Z - Updated: 2026-10-02T13:59:42.000Z - Description: We chat with the Director of A&R/Operations for Africa at ONErpm about the continent's diversity of cultures and the growth potential of Bandsintown. - Author: Jeremy Young - Tags: Women in Music, Africa, Interviews, ONErpm, Nigeria, #coverstory, women, Women in Business [**Osagie Osarenkhoe**](https://www.linkedin.com/in/osagieosarenkhoe/?isSelfProfile=false&ref=hypebot.com) is the Director of A&R and African Operations at [**ONErpm**](https://onerpm.com/?ref=hypebot.com), where she built the company's African operation from a single Lagos office to a five-country, 38-person team. Before that, she discovered [Wizkid](https://www.bandsintown.com/a/1245424-wizkid?utm%5Fsource=hypebot&came%5Ffrom=900) and served as his first manager. Her insights with the Afrohouse moment come from Nigeria's rave scene, where Gen Z can't get into clubs, so they’re making their own moments in unique ways. Those raves are now incubating a hybrid genre that fuses **amapiano, Afrobeats,** and **house** in a way that's distinctly Nigerian. It's clear there's so much momentum in the African music scene, but what structural challenges are standing in its way? We talk about it all. Here's our conversation. Enjoy! --- **Hypebot: Hey Osagie, thanks so much for taking the time to answer some questions. You’re the Director of A&R & Operations for Africa at** [**ONErpm**](https://onerpm.com/?ref=hypebot.com)**, what does that role entail exactly? And for those who aren’t familiar, what is ONErpm?** Osagie: "ONErpm is a global music company and record label. We work with artists and labels across distribution, marketing, publishing, business intelligence and other areas of the music business. For me, the important thing is that we’re able to bring that global infrastructure into local markets while still understanding what makes each market different." For me, the role sits between A&R, artist development, strategy and operations. So beyond music and talent, I’m always thinking about the bigger picture. How do we help artists build real careers, understand their numbers, find the right audiences and markets, and have the support they need to keep growing?" A big part of my role is also making sure my team has what they need to be really good at what they do, so together we can give our clients and the business what they need to keep growing year on year across the different markets, while also staying culturally relevant." **H: With so many different cultures, markets, languages, and trends across the African continent, how does ONErpm connect all the dots and continue to provide value to the artists operating in these different markets?** O: "I think the first thing is to understand that the realities across the African markets are very different, from Lagos to Nairobi, Johannesburg, Accra or Abidjan. The opportunity is in understanding what makes each market unique and then finding the connections between them." For us, having people on the ground makes a huge difference. You can’t understand a market purely from a spreadsheet or presentation. You need people who understand the culture, the language, the people driving conversations locally and what audiences are actually responding to." The data then helps you see things that you might not see immediately. If an artist starts getting traction in a market they’ve never really focused on, that tells you something. The next question is, why is it happening and what can we do with it? That combination of our local understanding, our global infrastructure and technology is how we create value." > *"What excites me is that these markets are starting to interact with each other much more. Music is travelling across borders in ways we didn’t necessarily see at the same scale before."* **H: What separates Nigeria from the other markets in Africa in your opinion? And what other communities are on the rise across the continent?** O: "Nigeria has always had a very strong music culture, but what really sets it apart for me is the level of the creativity and the entrepreneurial energy around it. There’s always something happening. While we stand out, we shouldn’t always be the benchmark for every other African market. Every market has its own unique character." South Africa has obviously had a huge global impact with Amapiano. Ghana continues to produce incredible music and talent. East Africa is particularly interesting to me right now, and there’s a lot happening in Kenya, Uganda and Rwanda. Francophone, lusophone and Northern Africa are also very special and unique spaces." What excites me is that these markets are starting to interact with each other much more. Music is travelling across borders in ways we didn’t necessarily see at the same scale before." **H: What’s an example of a trend that ONErpm has been able to identify before anyone else based on the unique positioning of your data collection? Or a success story that happened on the platform?** O: "One of the advantages of having access to data across different markets is that sometimes you see movement before everyone starts talking about it." A good recent example is **Skales’ “Shake Body.**” It’s a 2014 record, we put out when I managed him, but more than a decade later we started seeing it pick up again in completely different markets and with a much younger audience. The TikTok resurgence, including Lamine Yamal and many popular influencers and celebrities using the song, helped introduce the record to a new generation, and suddenly you had an old Nigerian record finding a new life globally." More recently, **“Beauty Station” by 76 Drums featuring JC Kalinks** is another interesting example for me. It’s a Zambian record that started showing really strong signals in the market, and you could see that movement across different data points. It’s currently showing up prominently across Zambian platform rankings, and it’s a good example of why I’m always interested in what’s happening outside the obvious markets." Those are the kinds of things that make the data really interesting. The numbers tell you that something is happening, but then you have to dig into the why. Where is the audience coming from? What are they responding to? Is there a cultural moment driving it? And can we help the artist build on that momentum?" For me, the bigger lesson is that African music doesn’t have to follow a single path to become global. Sometimes the most interesting opportunities come from the unexpected connections between markets." **H: How has Lagos (and its culture industry) changed over the years you’ve been living and working there?** O: "I was born and raised in Lagos, Nigeria and it is my favourite city in the world. It moves fast, it’s chaotic, it’s creative, it’s expensive but we always find a way to make things happen and overcome any challenges." When I started working in music professionally in 2008, there was already a huge amount of talent, but there wasn’t necessarily the same level of infrastructure, knowledge or international attention around the industry that we have today." Now there’s more investment, more international interest, more companies coming into the market and, importantly, artists and the music industry as a whole are thinking much more seriously about the business side of their careers. But the hustle hasn’t changed. If anything, that’s probably still the thing that defines Lagos most for me." **H: You’re a champion of women artists globally. In 2026, with progress having been made for women but there still being inequities, what are the main challenges women face in the arts/music?** O: "There’s definitely been progress, but I still think there’s a lot of work to do. For me, one of the biggest issues is access - access to opportunities, funding, the right networks, information and, most importantly, access to decision-making rooms." I’m proud that at ONErpm we have a very diverse team, and women play a big role in leadership across the company, both globally and in Africa. Women make up around 40% of our global workforce, and on the African team I lead, it’s about 36%. A lot of the women across the business are also in key leadership and decision-making roles, which I think is really important." But across the wider industry, we still need more women in every part of the ecosystem- artists, managers, producers, executives, engineers, promoters, lawyers, investors and entrepreneurs." I have seen women have to work twice as hard to be taken seriously in some rooms, and I think that’s slowly changing. We should get to a point where seeing a woman leading in music is just normal and doesn’t need to be a talking point." > *"I use Bandsintown to track the reach of an incredible Nigerian artist I work with, *Kemuel*, and what’s interesting is that a lot of the people connecting with his music aren’t actually in Africa. That kind of data can really change how you think about an artist’s touring potential."* **H: Who are your Top 5 African women-identifying artists right now in Afrobeats, Mbalax or Amapiano?** O: "My top African female artists right now are Tems, Ayra Starr, Rukmani, Wendy Shay, Fave, Hanna, Amaarae, Nikita Kering, okay that’s more than 5\. This is not a ranking in any way; there are just ladies whose music I am excited about right now. From these artists, I guess you can tell what my favourite genres are." **H: I imagine with cities so far apart and travel not always accessible over long distances in Africa, touring for bands that aren’t at the top of the industry is difficult between countries. Is there any momentum in the live music space to link more touring networks?** O: "Absolutely. I think live music is one of the biggest opportunities for the continent, but the infrastructure now has to catch up with the music. It is one of the amazing things about music, how an artist can have an audience in several countries without ever having performed in those countries." You can see the streams, you can see the social engagement, but then the artist and their teams have to figure out how to get there and how to connect with the audiences in those markets. And that’s where it gets complicated, finding the right promoters, visas, flights, accommodation, etc. For an independent artist, these things can quickly become a lot." I’d love to see more regional touring networks develop around the continent. The audience exists already, the infrastructure just needs to catch up." **H: Are artists in Africa using** [**Bandsintown**](https://www.bandsintown.com/?ref=hypebot.com) **to list and promote their concerts?** O: "There are only a handful of artists and teams across Africa who really know about Bandsintown. It’s usually something artists’ teams discover when artists start touring more developed markets and need their shows to be visible across platforms like Spotify and YouTube." So there’s definitely an opportunity here. I think artists need to see Bandsintown as more than somewhere to announce a show, it can help them understand where their audience actually is and turn that digital audience into a live one." I use Bandsintown to track the reach of an incredible Nigerian artist I work with, [**Kemuel**](https://www.bandsintown.com/a/15568071-kemuel?utm%5Fsource=hypebot&came%5Ffrom=900), and what’s interesting is that a lot of the people connecting with his music aren’t actually in Africa. That kind of data can really change how you think about an artist’s touring potential." **H: What was one unforgettable concert you attended recently?** O: "I recently saw Zlatan headline Trace Live in Lagos, Nigeria and that was such an amazing experience, I haven’t danced that much in a long time. His energy on stage and connection with the audience really reminded me why I love music." **H: What’s the scariest animal to see on the street as you’re making your way home at night after a concert?** O: "Maybe a stray dog. But if we’re talking Lagos after a late night, I’m probably less worried about any animals on the streets." --- [*Learn more about *ONErpm* here.*](https://onerpm.com/how-it-works/?ref=hypebot.com) ## Hypebot Essential news & insights for artists and live music pros. Sign up for free weekly content delivered to your inbox Subscribe Email sent! Check your inbox to complete your signup.