Leadership in music has always been layered. It is never just about talent scouting or commercial deals; it is about reading the pulse of culture and anticipating where it might go next. Across Africa, where music is both a creative heartbeat and an economic force, the business of leadership has grown more complex. It requires a rare ability to hold artistry and commerce in the same breath, ensuring that the music not only travels but also leaves behind roots deep enough to sustain generations.
Over the last decade, the continent’s expanding music economy has challenged old definitions of what it means to lead. Leaders today are expected to be more than financiers or executives. They are builders of ecosystems, guardians of cultural narratives, and facilitators of new ideas. The expectation is not just to produce stars but to cultivate structures that allow those stars to thrive, innovate, and connect with audiences in ways that feel both fresh and lasting. In this climate, leadership has become as much about vision and purpose as it is about profit.
It is within this context that the work of Damilola Akinwunmi, known in the industry as Dapper, stands out. At the helm of Dapper Music & Entertainment, he has quietly crafted a model that merges executive foresight with cultural sensitivity. His leadership is not one-dimensional, it extends from boardroom strategy to creative collaboration, shaping not only the direction of his artists but also the soundscape they inhabit. The results are evident in how his roster continues to find resonance across borders, while maintaining a grounded connection to home.
One of the most telling markers of this layered approach is the Trench Symphony initiative, where Dapper brought orchestral arrangements into dialogue with street-rooted performances. It is not a spectacle for spectacle’s sake but a statement of intent: to expand what live music in Lagos can mean, and to give audiences an experience that is both familiar and elevated. Equally significant is his decision to bring Ghanaian artist Lasmid into the fold, a move that continues the tradition of West African cross-cultural collaboration while positioning his label as an innovator in building bridges that matter.
Under this leadership, artists are finding space to not only create but to experiment. The structure allows them to honor their roots while reaching for broader horizons. In a business often preoccupied with numbers, Dapper’s approach centers on impact: creating moments that are memorable, culturally resonant, and forward-facing. It is leadership that sees the bigger picture, recognizing that music is both a business and a shared cultural archive.
Looking forward, the implications of this layered vision are far-reaching. If African music is to define the next chapter of global sound, it will be through leaders who can balance vision with humility, innovation with authenticity. Damilola Akinwunmi’s work hints at what that future can look like, a future where African music doesn’t just chase trends but sets them, where the business of sound is inseparable from the responsibility of culture, and where leadership is measured not only in streams but in stories.
