The Working Girl Diaries is a new series where we unlock the doors to the diverse and dynamic worlds of women navigating careers and finances. See this as your personal backstage pass to the lives of modern-day women from different walks of life.
Just like Single Girl Diaries, this series aims to provide unfiltered and authentic insights into the lives of working women everywhere. The aim is to dismantle gatekeeping, putting all women in a place where they are informed and prepared for the career journeys they desire to embark on. It is also to help break the stigma and taboo that surrounds money talk.
This month, Mannie Tseayo, an Independent artist, goes into detail on the costs involved in recording sessions and video shoots, as well as how difficult things can be when an artist isn’t signed to a record label. She delves into how she tries to advance her artistry without breaking the bank and compromising on the quality of her craft, what a typical day in her life looks like, and how she gracefully navigates making music in a society that looks down on artists who are not yet mainstream.
Occupation: Independent Artist
Industry: Music
Pronouns: She/Her
Age: 25
Location: Abuja, Nigeria
Salary: Not on a traditional salary structure
Debt: None
Current Savings Amount: N150,000 (I recently had an album listening party that drained my savings)
My Working Life
My name is Mannie Tseayo. I am a 25-year-old independent musician with four albums out: Grey: The Deluxe, Grey: The Midtone, Eucalyptus and Shades of M.
I studied graphics at Ahmadu Bello University, Zaria. Though I have been singing since I was 8, I started professionally at 16 years old. I was born to make music. When I tried to do other things that weren’t in the music creative space, like working a 9-5 in an art gallery and a PR company, it just didn’t work.
Another passion of mine is painting. I splurge on paint, canvas and drawing books. I’m also into fashion. I style myself most times—catch me in my favourite accessories: bandana, boots or my signature Angè.
My Money Life
I earn primarily in five ways: selling my merchandise, performing at shows, songwriting, composing for producers, and creative directing. I try to earn as much as I can from my crafts so I can prove to myself that yes, I can survive doing this, even though it’s not huge sums at the moment. My role as a creative director started serendipitously. People started meeting me to ask who directed my videos and who styles me. That’s how I started styling other artists and directing their videos. Outside my music, I work occasionally. I do contract jobs because I noticed that for me to be focused on my craft, I cannot thrive in the 9 to 5 space. I know this because it’s something I’ve tried before.
As an independent artist, my life revolves around video/photoshoot days, studio (recording) days, and performance (concert) days. Plans for these days start at the beginning of the year with a team meeting; we draft out everything we want to do for that year concerning my music. After the meeting, I go hunting on Pinterest to find inspiration for my theme and direction. I then share that inspiration with my manager, Sparky of Sparky Management first, then with a photographer/videographer.
On shoot days, I spend around N50,000 to N70,000 depending on the photographer and the space we’re using. Most outdoor spaces in Abuja are free but indoor studios cost N20,000 per hour—this is the least you can get for a studio space. Visuals—videography could cost from N300,000 if it’s a visualizer, to millions for official videos. It honestly depends on how wide you can make your budget. I usually cut down the cost of my budget because I creatively direct the videos, find props and locations, and style myself. Cutting these costs helps me save money on promotions, playlisting, and the creation of post-release content.
Shoot days can get very stressful as I don’t have a car at the moment and bolt drivers can be annoying and impatient especially when you have to load, but Sparky has a car and is willing to help and be available to help my locomotion.
On recording days, if I am not recording in my house, I will be recording at Elytron Studios. I like their space and my primary producer HYBRIDTRIPS enjoys the space as much as I do. They charge by the hour and each one costs N20,000. My team and I usually have targets for the month so we’re not doing too much or too little. Most of the time I do a marathon of recording sessions—for a week, three weeks or a month, I could be locked in recording. I try to do these marathons for at least 5 months of the year because I don’t have my own recording equipment at the moment. The songs I record are then listened to and scrutinized so we pick the best ones and when they’ll go out. To pick carefully, my team goes into intensive research on the best promotional and marketing strategies and this usually costs a lot of data. I have a router that I recharge with N20,000 per month.
Beats are so costly, but luckily, I don’t buy them. I used YouTube beats for a while, they helped me write and freestyle, but now certain producers believe in me and see that I am willing to put in the work, so they give me their beats for free. Honestly, building a relationship with the people in your field can go a very long way in helping you cut and navigate your costs.
As an artist, I invest in my professional development. Recently, I earned a diploma in a week-long “women in music boot camp” organized by Alte management in partnership with the Spanish embassy. Another seminar I attended quite recently with Sparky, was the open house at Mswitch Media which focused on building the creative industry in Abuja. I don’t need to break the bank to participate in these workshops that strengthen my craft. Sometimes getting into these programs is as easy as making good use of the network you already have or simply searching the internet. You will be surprised how many free resources are out there for your personal development.
On average, I budget N250,000 per month for personal expenses like food, transportation, clothes, shoes, and self-care. As an independent artist, my income can fluctuate. On not-so-great months, I budget around N150,000, while on better months, I try not to exceed N300,000. Fortunately, I don’t worry about rent since I stay in my family house.
Financial planning can take a toll on my peace of mind because as an independent artist, you’re the one shouldering all the financial burdens. That alone can make financial planning a bit tedious. But overall, keeping my finances in check for my artistry comes to me very naturally.
When it comes to financial planning, I always have meetings with Sparky, my manager. He is a very structured person and being around him has taught me so much about organization. During such meetings, we plan how we bring in income and how we disburse it. We set out what short-term and long-term projects we have to execute, so as soon as we’re able to get the money to do it, we go out and execute the project with no hassle. Music is something I’ve always wanted to do, so for the most part, I enjoy figuring out how I will get money and how I will use it to push my craft. I would put it this way: try and earn from the things you enjoy doing so spending for it comes naturally as well.
Financial planning can be easier whenever I get the opportunity to be on a stable salary structure. For instance, when I get to work as a creative director for another artist, I usually sign a three to six-month contract. So for three months working for that artist, I have a three-month monthly salary, or a six-month monthly salary, as the case may be. But at the end of the day, my salary structure is still not stable in the traditional sense of it, because once that contract expires, I’m back to the default setting.
The Life of an Independent Artist
I wake up at 6 am, say my prayers and then meditate with some Latin music and frequency vibration tunes. I go to the gym after, then have some breakfast. If it’s a shoot day, like today, I would already know my schedule from the previous day. So, after breakfast, I would pick out my outfit, shower, dress up and head to the set with Sparky, or alone.
For a performance day, as I am getting ready for the show, I would play some of my favourite songs and use the opportunity to rehearse the arrangements that I have discussed with Sparky. That moment before I step on the stage, I say a short prayer.
For recording sessions, I’m pretty much immersed in the space because sessions happen in my house or a fixed space. When I am not recording, I’ll probably be chatting with the producer with the goal of becoming one with the composition. That’s how I get in my zone.
One of my biggest challenges is people not taking me seriously, especially in the African setting. Some people think doing music is a waste of time until you make waves. I’ve learned not to expect any treatment from anyone until they know me and my brand. I go where I’m appreciated until my value is undeniable. Social media has helped how people view non-mainstream artists.
Thankfully, my popularity has grown, and more people appreciate my music, positively influencing my finances. Now, people attach a higher value to my presence and vocals.
My Favourite Thing About Being an Artist
What I love most about my work is I can get away with almost anything. In one of my recently released videos, Andromeda Vibes, we went to Greece despite still being in Nigeria. No one can come and tell me, oh, why were you dressed like that? And if they do, there’s only one correct answer: it’s because I am a creative. So, why would someone expect anything less than creativity from me? That’s one of my favourite parts of being an artist.
Being an artist means that I have unrestricted access to a variety of expressions. I get to play different characters and dress up as them—today I am a Ninja, tomorrow I am Pablo Picasso.
Another thing for me is the emotion that is attached to music. You hear some songs and you’re like, wow, this person is talking about exactly what is on my mind. It gives me chills to know that when some people hear my music, they get that same feeling— seen and understood. What’s more intimate than that?
My Least Favourite Thing About Being an Artist
My least favourite thing about being an artist is the underration, for lack of a better term. People always take the opportunity to underrate you, they are like oh, I don’t know this one oh.
It takes a lot of hard work, to do this by yourself. The least people can do even if you don’t like the artistry, you can appreciate it, and if you don’t appreciate it, that’s fine, but you don’t put people down anybody regardless.
Advice for Aspiring Women Artistes
Once you start, please don’t stop. Prepare yourself for the long run because many things will happen that might make you consider stopping, especially for women. So just tell yourself as I dey start now, I no dey stop.
Don’t look for a peak moment. Enjoy every single part of the process so that you are not lost in the translation of what your definition of success might be. You feel me?
Dream Collaborations
If I could collaborate with any artist living or dead, Michael Jackson and Prince are definitely there on that list. Other artists I would love to work with are Burna Boy, Vector, M.I., Tems, Tiwa Savage, Amaarae, and Teni—I’ve been told I look like her. Really, I could pass as her doppelganger—, Wizkid, Simi, Victoria Monet and Adekunle Gold.
My OG rap queens I would love to work with are Nicki Minaj and Miss Lauren Hill, and as for artists people won’t ordinarily expect I dream of working with, there’s Lana Del Rey, Florence and the Machine and Ceaser.
I love them all.
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