LYEE BILITY: BUILDING WITHIN THE LIBERIAN ENTERTAINMENT ECO-SYSTEM
Lyee has over 8 years of experience in the Liberian entertainment scene. He is currently the director-general for Renaissance Communications and the CEO/manager of Bilikon Entertainment
If you are an insider to the Liberian music industry, you definitely know who Lyee Bility is. If you are not an insider, you might recognize him from his time heading the Orange Music Talent hunt, or you might probably recognize his surname if you’re Liberian. Or perhaps you sang his name while singing along to the last lines of C-Jay’s nationwide hit, “Boss chick”.
Lyee is a man that is known for his work in Liberia’s media and entertainment industry. Prior to his entry into the industry, a 14yr old Lyee left Liberia for the United States as an 11th grader to finish high school. After high school, he earned his college degree at Johnson and Wales University. Upon his return, he entered into the entertainment scene, producing shows centered on youth. Currently, he has built a brand around his experience of over 8 years in the Liberian entertainment and media scene. He is currently the director-general for Renaissance Communications; the parent company of Truth FM and RTV. He also doubles as the CEO and manager of Bilikon Entertainment, a label founded by him.
During our interview, Lyee was asked the bolded questions, and his responses are in each paragraph that follows.
To those who don’t know you, what do you do in the entertainment industry?
I am currently the director-general of Renaissance Communications, which hosts a radio station and TV station. I am also the chief executive officer (CEO) of Bilikon Entertainment, and I manage the acts under Bilikon Entertainment.
What is Bilikon Entertainment? And who is signed to it?
Firstly, most people know Bilikon as a label, but Bilikon is more than just the label. Bilikon was made to help and promote youth through entertainment. The label is just one arm of Bilikon. As regards the artistes signed, I currently have Oweezy, Killerbeatz, Youngzee, and CJay. Also, Paul Flomo is the only comedian under the label right now. I also work and consult with different Liberian artistes.
Why the music business?
When I started listening to Liberian music. I saw that Liberian music and the Liberian music system needed a lot more. I didn’t want to be someone that stayed on the sidelines and complained about Liberian music and the structure, so I went into the music industry to be the difference I wanted to see.
How important is money in blowing an artiste in Liberia?
Money is very important in blowing an artiste; from the quality of production to releasing music, money is needed. Music is cost-intensive, especially in our industry that is without structure, everyone wants money. Money is needed to maintain momentum; let me use CJay as an example. After his first hit song “boss chick”, some DJs would demand money to play his songs because they believed that he was making enough money from the song. We also had to rebrand CJay after his first hit song which took money as well.
What do you think is the major problem of the Liberian music industry?
The major issue is poverty. People think it’s about population, but it isn’t. There are smaller countries than ours whose artistes are making money. Our major problem is that the poverty and unemployment rate is so high. If people were making money, they would be able to pay for music, shows, etc. We need to create more jobs in Liberia. If everyone had money, the music business would make money.
Right now, it is rare to see a Liberian artiste making over a thousand USD for a show. That only happens when the artiste is an Alist act with a strong discography like CIC. And earning that much for a show majorly depends on the contracting company, they have to be a really big company, and it has to be a really big show. Most Alist artistes earn less than that for a show, B-list artistes earn lower than that.
Being a label head and artiste manager, how do you deal with contractual issues?
For now, at the beginning of my relationship with my artistes, I don’t have written contracts until they have an endorsement or start making good money. This is because, before they start making money or start having endorsements, I am the one spending money to maintain them and their craft. Before they start making good money, they wouldn’t be making enough for me to take a split. So we have an agreement but not a written contract at the beginning, when they reach a level, we can start taking splits.
Isn’t the lack of a written contract at the beginning dangerous for business?
It is dangerous because there are a lot of artistes that can be ungrateful when they blow up. But in our reality, if an artiste wants to breach his contract and leave your label, and you stop him legally, the Liberian public looks at you in a negative light. Also, I came into the music business to help out. The music business is not as profitable for its many risks. If an artiste wants to leave a contract or an agreement, I wish them the best and leave them to karma and their conscience.
How do you handle distribution in Liberia?
Internationally I use CDBABY. I upload my music on CDBABY and they put it on streaming platforms. Locally, I have a system of DJs that I work with. I also have a system of bike boys who play music on their bikes. If your music is good and people hear your music while riding a bike, they are going to look or ask for your music.
Has your family name affected your work in the entertainment industry?
Definitely, it has. There is an advantage and disadvantage. The advantage is, there are places where the name helps you enter. But most times, I don’t introduce myself with my name because the disadvantage is, people think you have money lying around. When I pitch for sponsorship with brands, it’s harder because I get confronted with “you’re, the son of Musa Bility, you don’t need sponsorship, and you have money”. Sometimes these brands forget that sponsorship is a collaboration that would give them more visibility.
People don’t realize I work a 9-5 job and support Bilikon off my money earned. They think
it’s my father’s money. When I go shopping with my artistes, or to buy anything, the seller increases the price when they know who I am. But I am used to it. For me, it’s a way of giving back. If paying extra for goods can help someone, I would do so.
Cjay released “Can’t get enough” with Singah, and there are talks of more international features. How did that happen? and how can we take Liberian music to the world?
Prior to the feature, I begged people to connect me to certain artistes, but I got no feedback. So I and CJay went to Nigeria in search of certain features. It was actually my first time in Nigeria. I literally sat in a cab from the airport, and when the driver asked where I was going, I asked him where most artistes live. He said Lekki, so I asked him to take us to Lekki, and I booked hotel accommodations.
I have always been a fan of Singah. CJay’s song with Singah came about when I reached out to him via Instagram. He told me he was in Lekki as well, and we linked up and worked together. Singah helped to connect me with other acts as well. People in Liberia made features with international acts seem so hard. So right now, I am open to helping connect a lot of Liberian artistes.
As to how we can take Liberian music to the world. If we are taking Liberian music to the world, we need to collaborate and help each other. Only then can we truly collectively take Liberian music out there.
Thank you for talking with us.
You’re welcome
NOTES
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