By: Edward Dictionary Caulker
In the bustling corridors of Sierra Leone’s entertainment landscape, a new term has emerged with biting resonance—“Bembemshkay.” What may sound like a playful jab or street lingo is, in reality, a sharp cultural critique. It captures a growing sentiment among music lovers and critics alike that Salone music, while louder and more visible than ever before, might be lacking something fundamental: depth, direction, and identity.
Is Salone Music Progressing or Just Performing?
There’s no doubt that Sierra Leone’s music scene has come a long way. From the early foundations laid by Jimmy B, Dry Eye Crew, Emmerson, and LAJ to the present-day waves made by Drizilik, Incredible JJ, Afdaga, and Bakitenno, the industry has undergone a significant transformation. Improved production quality, sophisticated music videos, increased digital presence, and cross-genre experiments all point to evolution.
Yet, despite this surface-level growth, many within the industry are asking tough questions. Are we witnessing meaningful progress or simply watching a well-decorated parade with no destination? This is where “Bembemshkay” becomes more than a term—it becomes a mirror.
What Does ‘Bembemshkay’ Really Mean?
Used colloquially, Bembemshkay often refers to anything that’s all show and no substance. In the context of Salone music, it denotes tracks that are catchy but hollow, visually appealing but artistically thin, loud online but quiet in impact. It’s the type of music that blows up on TikTok but fizzles within weeks. The term speaks to a deeper dissatisfaction—a concern that Sierra Leonean music may be losing its soul in a chase for virality.
Where Is the ‘Saloneness’?
One of the most stinging aspects of the Bembemshkay critique is the charge of cultural mimicry. A large segment of Salone music today echoes the sounds of Nigerian Afrobeats, Ghanaian highlife-fusion, or American trap. While global influences are inevitable—and even necessary for growth—the question remains: Where is the unique Salone sound?
Sierra Leone’s rich cultural tapestry—its languages, folklore, traditional rhythms, and street narratives—offers fertile ground for originality. Yet, much of this remains untapped, drowned out by generic beats and borrowed flows. The result is music that seems “global in style, but local in confusion.”
Music Videos, Image, and the Illusion of Success
With improved access to cameras, drones, and editing software, Salone music videos have become flashier. Artists parade designer outfits, foreign cars, and exotic locations—but critics say the content often feels disconnected from reality. Promo clips flood social media promising “the next big thing,” only for the final release to feel rushed or uninspired. This creates an image of success that isn’t always backed by quality.
Studio sessions are now livestreamed like reality shows. Social media previews generate buzz. But buzz, without solid songwriting and purposeful production, can be hollow. This cycle of hype without staying power is the very essence of Bembemshkay.
Defending the Industry: It’s Still Growing
To be fair, not all criticism is justified. Sierra Leone’s music industry is still developing. Unlike Nigeria, Ghana, or South Africa, it lacks robust infrastructure—there are few professional managers, almost no record label support, limited event platforms, and inconsistent international links. Many artists double as their own PR teams, producers, and distributors. In such a context, expecting perfection may be unrealistic.
Moreover, feel-good party music, romantic bangers, and dance anthems have their place. Not every song must be deep or political. Sometimes, what the market demands is simple joy.
Signs of Promise and Progress
Despite the Bembemshkay undertone, bright spots exist. Artists like Drizilik blend storytelling with modern beats. Kao Denero continues to champion lyrical substance and national pride. Natasha Beckley brings a fresh blend of Afro-fusion and poetic expression. The rise of platforms like Audiomack, Boomplay, and YouTube has made it easier for Salone music to reach a broader audience, including the diaspora.
Collaborations with foreign artists are increasing, bringing new styles, exposure, and professionalism into the fold. There is also growing interest from media houses and diaspora investors—if properly harnessed, this could be a game-changer.
What Needs to Change?
To move beyond Bembemshkay and toward sustainable success, the following are essential:
Artist Development: More training in songwriting, live performance, branding, and stage presence.
Cultural Identity: Artists must find ways to weave “Saloneness” into their sound—whether through Krio lyrics, traditional instruments, or storytelling rooted in the local experience.
Industry Structure: From talent managers and legal consultants to publicists and booking agents, the industry needs a professional framework.
Investment & Collaboration: More partnerships with regional and international players can bring funding, mentorship, and exposure.
Conclusion: From Noise to Narrative
“Bembemshkay” is more than a trendy insult. It’s a cultural checkpoint. It forces artists, fans, and industry leaders to ask hard questions: Are we building a legacy, or just riding trends? Is Salone music just making noise, or telling stories worth remembering?
The future of Sierra Leonean music will depend on whether it can balance the hype with heritage, popularity with purpose, and style with substance. If this balance is achieved, the next wave of Salone music won’t just trend—it will transform.
