Perhaps the first renowned musical piece concerning the entertainment potentials of Jos, Central Nigeria’s Plateau State capital is the early 21st century “J-Town” rap song by the Lawbreakers group.

However, the musical integrity of the uphill tin city dates back to the precolonial era, which started gaining popularity around the 60s and 70s with the likes of  legendary Dan Marayar Jos. Many singers like Aaron Damap, Adu Deme, Watu Yohanna, Alams and later the Black Masqueraders, Solo D, Modenine and among others, Tunde of USA’s LightHouse family sprang up. By the late 90s and early 2000s, Jos was already a lead exporter of musical talents in Nigeria and beyond. In fact, it is estimated that one out of every five popular artistes in Nigeria have either stayed in Jos or were born therein. Today, the likes of P-Square, Tuface, Ice Prince, MI, Jesse Jags, Asa and Jeremiah Gyang to mention a few cannot write their complete histories without the mention of Jos.

Musical talents are just a fraction of the city’s entertainment potentials and strides. However, the state remains one of the least patronized by entertainment firms. Most times, artistes have to travel to Lagos and other places to market their dreams. This has therefore resulted in the proliferation of thousands of musical products in the town which often remain known only on local radio. What remains the major hindrance to the development of such talents remains illusive.

Perhaps part of the blame can be put on the government for not creating the enabling environment for such businesses to thrive. The location of the state has been found to be a disadvantage in that it enjoys little patronage from international marketers as compared to the coastal states. However, given that cities like New York, Miami and other non-coastal areas still market enough musical talents, the much government could have done was to create avenues for local talents to showcase their potentials and even contribute in funding same.

The present administration under Lalong unlike previous governments seems to be doing well in that area. However, it is alleged he only invest in already made artistes.

Perhaps the way out is for the local artistes especially upcoming ones to form alliances and harness their resources towards forming a conglomerate that would not just unite but serve as a sales outlet for all musical products. Economically advantaged citizens should also be enlightened on the gains of such investments towards uplifting the economic status of the city to meet its international reputation in entertainment.

By Masara Kim