The Business & Evolution of Nigerian Comedy – Tunde Aluko

Because Tunde Aluko has worked around comedy across the majority of his career, it is easy to assume that he himself is a comedian.

Far from it: he’s an entrepreneur whose work has been primarily in the multimedia production of comedy content – via events and through television. In this chat, he discusses his pathway to being the go-to production company for comedy specials and television programming, and emphasizes why Alibaba is the godfather of Nigerian comedy and comedians.

What is your background and how did you delve into entertainment and media, particularly the comedy industry?

My background was IT, I was a full-time web developer and did multimedia in my free time. I had met and became friends with Owen Gee the comedian for about five years, who coincidentally couldn’t drive at the time, so when he bought his first car and had events, he would ask me to come along, I soon looked forward to the outings because I was earning almost half of my monthly pay whenever I drove him to any event. It was on one of those outings he introduced me to Bunmi Davies who had a challenge for a multimedia idea and it was a light bulb moment. I solved the problem and went further to offer it as a solution.

Who were the comedians you were familiar with while growing up?

There were very few comedians in the proper sense when I was growing up, we didn’t even reference the practitioners then as comedians, so I basically enjoyed all of the comedians of that era, there was Gbenga Adeboye was really did not do stand-up comedy, then came Alibaba, Mohammed Danjuma, Yibo Koko, Okey Bakassi, Tee A and Julius Agwu as comedy became mainstream.

Who were your early contacts in the comedy industry?

Owen Gee was my first contact who introduced me to Bunmi Davies, I met Koffi tha Guru soon after and months later I was offering multimedia services at the very first Holy Laughter by Holy Mallam in 2005.

What was the first gig you worked on, and were you expecting to get paid at all?

My first professional gig was Holy Laughter, it was the biggest gospel comedy show at the time. I was employed with a role so I knew I was going to get paid. I just didn’t expect to be paid that much, it was N30,000 (about $210 equivalent at the time) for a few hours gig. (Laughs)

A lot of Nigerian fans reference Alibaba as the “godfather of Nigerian comedy”. How true is this sentiment?

It is a statement of fact and not a sentiment. Nobody can reference anyone or anything tangible done by anyone before Alibaba in the Nigerian comedy industry. Before he made a proper business of comedy, we had a few funny masters of ceremonies and comperes, some of them he even understudied or worked with but none of them took comedy as a serious business. Alibaba took premium billboards in Lagos and the copy was simple “Comedy is serious business”, this was the pager era where there was no mobile telephone. It was the foundation of that effort that has made comedy what it is today.

In the last six years, in his January 1st concert, Alibaba has gifted a new car to winners of his spontaneity competition, in one particular year the contest was so close that he gave out two cars. According to Alibaba, “If these young boys are relieved of the burden of buying a new car when they start out they will see the value in themselves and also see this business in its full potential.” That’s how you know the thinking of someone who is keen to see the industry grow beyond his own individual success.

When did comedy shows become a thing in Nigeria?

Tee A was the first Nigerian comedian to hold a comedy show in 1995. It is what has become the concert culture we have today cutting across every sphere of entertainment. Prior to TEE A’s show, all we had was the national art theatre and the famous Lord’s Club where K1 the ultimate had shows. It became bigger with partners and sponsors buying into the vision.

What changed from the 1990s to the 2000s when comedians became legitimate entertainers in the eyes of fans?

There was a vacuum and comedy filled it. Remember even the biggest musicians in the 90’s were not doing their own shows, except when they were hosted by platforms holding beach raves or when television stations like NTA 7, LWT (that became LTV), there were practically no events outside of family parties.

Who were the comedians that led the charge that made them respected?

I would say everyone and anyone who dared to set out. Alibaba, Mohammed Dajuma, Okey Bakassi , TEE A, Julius Agwu, Basketmouth, Bovi, AY, Gbenga Adeyinka, Holy Mallam had a gated gospel comedy show when it was unheard of and it sold out. So many comedians that are not even mainstream are contributing to the growth in their own space.

What are the different types of comedies that are viable now?

I’m glad that the audience is becoming more receptive to more genres of comedies now, I think the comedy industry in Nigeria is still taking “baby steps” because of the sensitivity of the audience now.

Everyone is sensitive depending on the side of the bed they woke in but overall we are progressing beyond slapstick content, Alibaba has gone a step further by rewarding a spontaneous genre where a comedian picks a written text on stage and can do a joke about it on the spot.

What goes into a typical comedy show production?

Money. A lot of money. MONEY!!! Comedy in Nigeria is mostly still self-funded. The comedian is the executive producer of his own show, He or She is also the chief marketer of the show, the comedian has to seek sponsors, call up high-net-worth contacts to market the show to them, and worry about transforming venues because we don’t have enough purpose-built facilities for comedy; worry about sound, lights, screen, ticketing and after all of these still make room to write jokes.

It seems the days of Warri and Ajebutter vs Ajepako jokes are over. Do comedians now script their jokes as many American comedians do?

Glad this phase died a natural death. With streaming platforms and global audiences, it has become a must to script jokes now except the comedian is not interested in the slice of the global audience. You either step up or get left behind.

Is there a right way or language to deliver jokes and comedic performances?

Your target audience matters and it is what determines your language of delivery. In the early years of comedy in Nigeria where the target was the Nigerian market, it didn’t matter how the joke was told, now with a global audience to consider it has become important to tell jokes that are at best related and cut across various audience, with subtitles now a joke can travel far.

How can comedians use technology to advance their own careers?

The comedian has to catch up or get left behind. We saw Josh 2 Funny get global recognition during the pandemic with the “don’t leave me” challenge. The moment you know what works for you, harness and maximize it, the world is waiting.

Should there be a limit to things comedians can joke with or comedians should have a right to joke with anything?

I personally believe there is a thin line between being funny and being insensitive, I also believe comedians are and can be social crusaders, so societal ills should only be told as jokes if it helps awareness and enlightens the cheering crowd. Some comedians have argued that any line could be crossed because what joke you don’t find funny might be someone else’s reality or experience, again my opinion is “If you will apologise after doing a joke, don’t do it.”