Now in its fourth year, the Black Music Coalition’s Excellence Honourees initiative recognises emerging talent changing the industry. Here, we catch up with Nnamdi Okafor, Senior Manager, Global Commercial Partnerships, AWAL
PHOTO: CALVIN CEILE
How much do you think the industry has changed in terms of the conversation around racism since the BMC formed in 2020?
“The first step in solving any problem is acknowledging it and starting the conversation, and that’s what BMC has been brilliant at. They’ve shone a light on issues that needed to be addressed, empowering Black creators and professionals and giving them the confidence that nothing is out of reach. The progress made in under five years is not only significant, it’s commendable.”
How did you land your role at AWAL and can you let us in on what a typical work day looks like?
“After four successful years at Sony Music Africa, where I helped build one of the strongest Afrobeats rosters globally, I wanted a new challenge. Not just another job, but a business that felt future-facing. AWAL offered exactly that, the chance to collaborate with artists at any stage of their careers. Having the ability to impact more lives and work across a wider range of music is something I don’t take for granted. On a day-to-day basis, I focus on commercial partnerships with streaming and social media platforms. Essentially, we look at what these services offer and how their features or audiences align with the artists on our roster, then find creative ways to bring those worlds together. I also work closely on playlisting, optimisation, platform placements and enlightening artists and labels on new releases and catalogue projects strategies.”
Nothing compares to watching an artist go from releasing their very first single, with zero monthly listeners, to headlining arenas and stadiums
Nnamdi Okafor
Did you always want a career in music?
“I graduated at the top of my class in architecture with a scholarship, but even then, I knew music was where my heart truly was. For a while, I chased being an artist myself, but I realised it felt selfish to put myself at the centre when I could be part of so many other artists’ journeys. Architecture might have been the safer choice, but I’m glad I followed my instincts. Strategic risks, integrity, and loyalty are the foundation of where I am today.”
What’s the most rewarding thing about working in music?
“Nothing compares to watching an artist go from releasing their very first single, with zero monthly listeners, to headlining arenas and stadiums. That’s pure joy. Real joy. I am always front of house jumping around.”
And the thing that you find hardest?
“The toughest moments are when you’re working with an incredible artist who has amazing music, and you’ve done everything possible at the label, but the results just don’t reflect the effort. Picking yourself back up and repeating that process again and again takes patience, grit and passion. It’s not easy, but sometimes, with the very next push, you strike gold.”
Can you name the best campaign you’ve worked on so far and why?
“Little Simz will always stand out. Her campaigns aren’t just significant to fans, but to musicians and creators, too. A highlight from her last album cycle was the Meltdown Festival, which she curated and headlined. We partnered with a streaming platform to showcase that night in an incredible way. And on a personal note, knowing she has Nigerian heritage too makes her story even more inspiring for me.”
If you could go back and have a conversation with your younger self about career advice, what would you say?
“If I could advise my younger self, I’d say, ‘Take the risk, and never compromise your integrity.’ A good name will always carry you further than shortcuts ever could.”
