Short-Lived Fame or Lasting Legacy?

The Impact of Music Idol Shows on Ethiopian Talent

The Ethiopian music industry has been experiencing a vibrant transformation recently, with the rise of talent shows on various TV channels, which, in turn, is reshaping how new artists are discovered. Once primarily defined by the Ethiopian Idol Show and Balageru Idol, the landscape has expanded, providing more opportunities for aspiring musicians. However, with the rise of television stations, this growth raises concerns: the initial focus on nurturing enduring talent seems to have shifted toward quick fame. As numerous shows populate the airwaves, it begs whether these platforms continue cultivating genuine stars or merely creating ephemeral moments in Ethiopia’s rich musical tapestry. EBR’s Mintesinot Nigussie investigates these trends and their implications for the future of Ethiopian music idols.

Ethiopia’s TV scene has been buzzing with a new wave of music idol shows in recent years, all on the hunt for the country’s next big star. Fana Lamrot has stepped up as a game-changer, bringing the genre a fresh burst of excitement. Meanwhile, shows like NBC Talent Show and Demo Addis on Walta TV ramp up the competition, each adding flair to Ethiopia’s ever-evolving music landscape. This vibrant new era of Ethiopian music is built on the legacy of Ethiopian Idol, the country’s first major music competition. Balageru Idol, now known as Balageru Mirt, continues to captivate audiences and has set a high standard for today’s musical talent shows.

Yeshi Demalash, a judge on the Demo Addis Idol show and a former judge at Ethiopian Idol, sees the rise of idol shows as a refreshing escape from the constant stream of negative news. She believes these shows provide diverse entertainment for audiences and help TV owners expand their content and boost profits through better sponsorships and advertisements. More importantly, she sees the real winners as the singers themselves. These platforms allow them to discover their potential, identify areas for improvement, and gain exposure to music theory and bands, leading to meaningful partnerships that can propel their careers forward.

She believes that the real winners are the singers themselves. “We all find ourselves through trial and error, and this platform allows them to discover their potential and identify areas for improvement,” she shares. Yeshi emphasizes how feedback from judges empowers artists, boosting their confidence and guiding them throughout their careers. Instead of engaging in unproductive activities, their practice time becomes a valuable opportunity for growth. As competitors, they gain exposure to music theory and bands, leading to meaningful partnerships that can propel their careers forward—also, the connections forged during the competition open exciting new opportunities in the music industry, helping them thrive as artists.

“Idol shows have allowed me to connect with numerous individuals and showcase my identity to a wider audience,” remarked Bamlak Biyadglign, the winner of the Fana Lamrot this year: The Winner of the Winners competition, Fana’s highly anticipated final session. He reflected on his early musical journey, noting that while he initially collaborated with friends, those experiences fell short of his expectations. Bamlak acknowledged that financial constraints and the temptation to give up early in the career ladder are significant hurdles for many aspiring singers.

The rise of music idol shows like Fana Lamrot, NBC Talent Show, and Demo Addis has raised concerns about prioritizing fleeting fame over meaningful artistic growth. Contestants often experience brief moments in the spotlight before fading away, as rapid and early eliminations from the show and theatrical performances overshadow genuine talent development. The short duration of these competitions limits the opportunities for contestants to refine their skills, leading to a music scene filled with transient faces and raising questions about their impact on Ethiopian music.

“It can really be tough for someone without stage experience and connections with bands,” Bamlak said. He noted that the short duration of competitions doesn’t provide inexperienced but talented singers enough time to shine, while those familiar with local songs have a clear advantage. Although this presents a challenge, it also offers valuable experience and exposure that can help them grow and learn.

Yeshi noted that while each talent show has its own goals, those with shorter competition periods often feature experienced singers from stages and clubs, making it challenging for less experienced contestants. Instead of empowering amateurs without band or stage experience, these shows aim to create opportunities for talented artists striving in local clubs, helping them become iconic figures and reach a wider audience.

Over a decade ago, Ethiopian Idol enchanted audiences nationwide, launching the careers of artists like Temesgen Tafesse, Mastewal Eyayu, Hanna Girma, and Dawit Alemayehu. Meanwhile, Balageru Idol introduced beloved talents such as Dawit Tsige and Esayas Tamrat. Unlike today’s brief competitions, these shows spanned close to four years, touring the country and creating an electrifying atmosphere that drew fans to live performances. The thrill of witnessing these contests in person added intensity as contestants received extensive training and insightful exposure to music, with Balageru Idol focusing on songwriting to deepen their artistic connection. While current shows generate quick excitement and entertainment, these earlier programmes offered a captivating journey filled with passion and artistry, leaving a lasting impact on Ethiopia’s musical landscape.

“Time and singers’ weaknesses hinder long-lasting career development,” Yeshi told EBR. “With ample income and exposure from performances at clubs and concerts, many become distracted and neglect to produce albums or maintain visibility.” She noted that fame from competitions often leads to complacency, causing artists to settle for their achievements rather than striving for more. Emphasizing that success in the music industry requires perseverance, she acknowledges many challenges in producing singles and albums. Yeshi suggests that support from show owners, similar to what Balageru Idol provided for Dawit Tsige’s album, could significantly benefit these artists.

“I worry about producing even a single song with my award,” Bamlak reflected to EBR. “With the cost of a single song and video around ETB 300,000, music production is nearly unattainable for aspiring artists.” He believes this financial burden causes many talents to fade after their moment in the spotlight, emphasizing that success in music requires discipline and commitment. To avoid this, he advises up-and-coming contestants to prepare clear plans before competitions: “We may have potential, but we need to choose songs that suit our sounds and be ready for all stages.” Without proper preparation, he warned, it could affect their mental well-being.

“In our musical landscape, it’s ultimately the singer’s responsibility to achieve success and promote themselves after the competition. My journey exemplifies this; driven by my passion for music, I sacrificed and worked hard without [much] external support, eventually becoming a judge and producing a range of songs. Every singer has followed a similar path. Most idol shows are designed primarily for entertainment and to introduce new talent to audiences, rather than to assist in song production, which requires additional investment and planning,” said Yeshi.

Navigating the music industry is tough for many artists today. It requires dedication to refine their craft while staying true to themselves amid audience pressure. Social media provides exposure but demands constant engagement, which can be overwhelming. Additionally, the lure of quick fame can distract most singers from long-term goals.

Yeshi believes aspiring artists deserve support as they navigate their careers. Historically, singers collaborated with producers who covered production costs, but now artists bear the entire financial burden. Companies should support these artists to foster a vibrant artistic community, and governments should subsidize instrument imports. Art is essential to society; it is not a luxury; thus, show owners need to collaborate with producers to create a supportive environment for emerging talent. She emphasizes that artists should approach their careers seriously, driven by passion while developing essential skills to remain relevant in an evolving industry.

“Giant producers need to step up and compete with one another,” Bamlak states. If they do, no talent will remain hidden. Unlike today’s fast-paced competitions, Ethiopian Idol and Balageru Mirt continue to nurture artists over extended periods. In an era shaped by social media and rising production costs, the music industry seeks visionary investors to support this untapped sector, empowering artists while generating enough resources to sustain the efforts. Idol show owners have a unique opportunity to evolve beyond entertainment, creating vibrant ecosystems that uplift seasoned performers and emerging voices, ensuring a rich and diverse future for Ethiopian music. EBR

13th Year • October 2024 • No. 134