The rise of several Southeast Asian music artists offers an interesting lesson for musicians in Nagaland: success in music depends on more than talent alone.
Many Southeast Asian artists have developed audiences beyond their home countries by combining contemporary music with strong personal and cultural identities. Many perform in English or incorporate English into their music, while continuing to connect with audiences in their own languages and cultural contexts.
For aspiring Naga artists, this could offer one possible approach. Rather than focusing immediately on national or international recognition, building a strong audience at home can provide a foundation for wider growth. A genuine local following can help an artist develop a regular audience, understand what listeners respond to and establish a recognisable identity before expanding further. That organic following can become the foundation for a larger career.
Being a successful artist, however, is not simply about how well one sings or plays an instrument. An artist is, ultimately, an entertainer. The performance does not begin and end with the song.
How do you speak to your audience? Do you make them feel included? Do you acknowledge them? Can you make them laugh, respond to them and create a connection between songs? Can audiences remember the person as much as they remember the performance? These are not secondary skills. They are part of the craft.
This is where language can also matter. A Naga artist performing an English song does not necessarily need to communicate with the audience in English throughout the performance. Speaking in one’s native language could create a more natural connection with the home audience while allowing the music itself to remain in English. English can be the language of the song without having to become the language of the relationship.
This may be particularly relevant because English is not our first language. An artist who is confident singing an English song may not necessarily be equally comfortable speaking English spontaneously on stage. There is little reason for the language of the music and the language of communication with the audience to be the same.
The experience of Southeast Asian artists also suggests that international accessibility does not necessarily require distancing oneself from one’s local identity. In many cases, that identity can become part of an artist’s appeal.
There is no fixed formula for success in the music industry. Talent, songwriting, musicianship, performance, consistency, audience engagement and digital presence can all matter. So does the ability to communicate and build a connection with the people listening.
For Naga artists looking beyond the state, building a strong and genuine home audience first could simply be one practical place to begin. The road outward may be easier when there is already an audience at home willing to walk with you.