Lawrence Akhidenor Jr, popularly known as Larry D, is one of the few personalities that blend music and media industries as a production manager and on-air guru. In this interview by SEYI SOKOYA, he speaks about his experience and how he has projected Nigeria to the world with his talent. Excerpts:
How has it been occupying this platform as a prolific production manager in the United Kingdom?
As a young man arriving in the UK from Nigeria, I was fortunate to receive recommendations from some senior contacts in the music industry back home. Upon arrival in the UK, I found myself in a thriving musical environment and began pursuing my education in Software Engineering. While a Diploma in Computer Science wasn’t yet a popular choice at the time, I eventually obtained this degree in addition to my sound engineering training.
After working with various talented individuals and learning from the best live sound engineers of the time, I found myself working on big live events. Soon enough, I started organising my exclusive events and quickly became a sought-after production manager for major events. My first major event was managing Keith Murray at the Grand in Clapham, South London in 1994, and this was followed by many others such as Total, Redman, H-Town, Foxy Brown, and many more.
My computer diploma proved to be a great asset in my role as a production manager, especially in the area of computer-aided design. I was able to bring innovation and transformation to the industry I was in, thanks to my unique skillset and experiences. Overall, it has been a fulfilling journey occupying this platform and I am grateful for all the opportunities that have come my way.
You have worked with both foreign and indigenous artistes, how is the experience like?
Working with both foreign and indigenous artistes has been a fulfilling experience for me as a production manager. In my line of work, the requirements for both local and foreign artistes are essentially the same. After an artiste has been confirmed for an event, I receive a call from the promoters to manage the production. On some occasions, there may be two headliners, which means that both have to be catered to in the production of the event.
Once all the performing artistes send their riders, I work closely with the promoter and artiste management company to design a solution that encompasses the stage, stage sets, lighting, sound, and special effects. I then provide a production manager, stage manager, and production team to bring the concept to life on the event day.
In the early days when Africans were trying to make a name for themselves in the entertainment industry, it was challenging to get a foothold. Before the emergence of trailblazers like 2Baba, most Nigerians in diaspora working in the entertainment industry, especially in the UK, hid their Nigerian identity. There wasn’t much community support to help realise your dreams at the time, but with focus and perseverance, I was able to break through and manage huge productions at venues like the Wembley Arena and NCE Birmingham. I’ve worked on events like the Super Jam 1996 featuring BlackStreet, SWV, and Snoop Dogg.
When Industry Nite started at the Oriental Hotel in 2010 or 2011, I was the engineer, MC, and hypeman. Drawing on my experience as a broadcaster, production manager, and hypeman, I was able to help host many big names. The only artiste I remember not hosting was PSquare. Ultimately, whether working with local or foreign artistes, the experience is the same. Artistes are a delicate bunch and must be managed professionally as they are the goose that lays the golden egg.
Aside from your wealth of experience in the music industry, you are also a broadcaster and rose to the peak of your career in the media industry. How were you able to achieve this?
Achieving success in the media industry is no small feat, and my journey to the top of radio management was certainly a unique one. I started in Pirate Radio in England, which eventually led to my entrance into mainstream radio. I was working with Da Ministry, one of the biggest street sounds in the UK when we were interviewed by Tim Westwood. This interview inspired me to make the move to radio, and my background in technology and computer science helped me introduce new ideas and innovations to broadcasting. As a result, I was noticed and soon found myself managing transformation projects for radio stations.
When I was brought to Nigeria by Steam Broadcasting as the head of Cool & Wazobia stations, I was focused on making a positive impact and introducing new concepts that are now common practice in the industry today. I also brought other innovations outside the radio space to parties. For example, I was one of the pioneers of hyping in Nigeria, and I introduced this new MC’ing style during the industry night events.
Today, hyping is a staple at events across the country, and I’m proud to have played a role in its growth. I also made a conscious decision to stop the practice of collecting money from upcoming artists to play their music on most radio stations I worked with in Nigeria. Instead, I wanted to maintain the integrity and provide a platform for talented artists to showcase their work without having to pay for it.
My success has always been driven by my desire to help others and make a positive impact. Today, I’m focused on my own company, which provides technology solutions to event organisers, IT transformation to agile ways of working, automation, and radio broadcasting. I’m proud to have reached the peak of my broadcasting journey in Nigeria and to have had the opportunity to interact with many talented artists during my time at Industry Night too.
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