LAGOS – In the high-stakes, rapidly evolving ecosystem of the global music business, the role of an artist manager has undergone a seismic shift. No longer merely a facilitator of bookings or a buffer between talent and record labels, the modern manager acts as a chief executive officer, architecting a sustainable long-term enterprise around the artist’s identity. Few have embodied this transformational framing as effectively as Muyiwa Awoniyi, the manager responsible for guiding the meteoric rise of the Nigerian global sensation, Tems. In a recent, expansive discussion on The Manager’s Playbook, Awoniyi offered a blueprint for this new era of leadership, centering his philosophy on a core tenet: the music industry is not a transactional business, but a "life business" built on profound personal stewardship.
The cornerstone of Awoniyi’s management style is a "people-first" approach that prioritizes the artist’s holistic health over the immediate demands of the marketplace. He posits that the artist is the "vessel" through which the art is channeled, and therefore, their mental, spiritual, and physical well-being is the primary asset that must be protected. This is not merely sentiment; it is a strategic necessity. By fostering a foundation built on authentic friendship and trust, Awoniyi creates a psychological safety net that allows the artist to take creative risks without the fear of systemic burnout. It is an approach that challenges the industry’s long-standing history of treating talent as a consumable resource, suggesting instead that sustained excellence is only possible when the human being behind the spotlight is fully supported.
This commitment to the artist’s integrity extends deeply into the economic architecture of their partnership. A defining feature of their strategy has been the rejection of the traditional industry model, which historically prioritized quick label advances over long-term autonomy. Awoniyi has been uncompromising in his focus on ownership. By retaining the rights to their early projects and opting for administrative deals rather than the conventional, often restrictive, publishing agreements, they have ensured that the value created by Tems’ artistry remains firmly in their control. This is a critical lesson in intelligent curation; by choosing the harder, more disciplined path of equity-building, they have secured a degree of leverage that is virtually unprecedented for an independent artist from the continent.
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Awoniyi’s approach to branding is similarly intentional, rooted in a cultural understanding that authenticity is the only currency that generates long-term fan loyalty. They treat Tems’ narrative not as a marketing gimmick to be optimized, but as an identity to be guarded and curated. Every public move, collaboration, and visual aesthetic is measured against a "North Star" vision—a guiding set of values that remains consistent regardless of the global trends or financial incentives that might suggest otherwise. This discipline to say "no"—even to potentially lucrative opportunities that feel misaligned—has become the hallmark of their operation. It is an acknowledgment that in a digital age saturated with noise, the ability to remain unmistakably yourself is the ultimate strategic advantage.
Beyond the music, Awoniyi is building a diversified ecosystem that treats entertainment as a gateway to broader socioeconomic impact. He views the music business as a component of a larger "life business" that integrates sports partnerships, corporate social responsibility (CSR) initiatives, and strategic film and synchronization opportunities. This vision is deeply informed by his desire to build infrastructure on the African continent. He has been a vocal critic of the tendency for global labels to extract value from African talent without reinvesting in the local environment. For Awoniyi, true leadership involves the development of recording studios, local teams, and professional ecosystems that respect the local culture, ensuring that the next generation of African creators has the foundation they need to thrive at home.
These strategies have been forged in the crucible of real-world experience, encompassing both the triumphant and the harrowing. The Coachella performance and the high-profile collaboration with Justin Bieber were not accidents; they were the result of meticulous preparation and an understanding that the modern artist must be capable of creating lasting cultural moments that transcend geographical borders. Conversely, the more sobering moments—such as the surreal and dangerous experience of being arrested in Uganda alongside Omah Lay—have served to deepen the professional and personal bonds that define their team. These experiences, he notes, forge a level of resilience that no business school or industry manual could possibly replicate.
As Awoniyi concludes, the modern manager must be a CEO of a company, capable of rigorous delegation, high-level strategy, and long-term partnership. The era of the "transactional manager" is coming to a close. In its place is a new model of leadership that understands that the music industry is, at its heart, a platform for human expression and societal influence. By anchoring their strategy in ownership, well-being, and a refusal to compromise on their core identity, Awoniyi and Tems have not just navigated the global music landscape—they have successfully rewritten the rules of the game. It is a powerful reminder that while the industry may demand speed, the most enduring and impactful success is built on the deliberate, sometimes difficult, act of building for the long term.
