Let’s look at three (3) salient characteristics of Peak Performers using Olamide (Nigeria’s Top Rated Music Artiste) as a case in point.
Peak Performers Have a “Follow-Come” (Natural Talent) for their Role.
Follow-come is a natural reoccurring pattern of thinking, feeling and behaviour that enables an individual to deliver consistent near-perfect performance in a particular activity.
OLAMIDE‘s follow-come is the creative use of his native Yoruba dialect with elements of the English language in an ‘enchantingly-rhythmic’, ‘street-appealing’ wordplay.
His follow-come has formed the basis of his content, style and vibe in his albums such as Rapsodi (2011), YBNL – Yahoo Boy No Laptop- (2012), Baddest Guy Ever Liveth (2013), Street OT (2013), Eyan Mayweather (2015) and UY Scuti (2021) etc.
Peak Performers’ “Follow-Come” Are Not Perfectly Rounded.
The notion of being perfectly rounded as a criteria for peak performance is a myth. An individual does not need to have all the underlying talents in every aspect of the craft to excel in that role. They identify and leverage others’ follow-come too.
OLAMIDE does not produce his beats, (kudos to Young John & Pheelz), neither does he dance nor shoot his videos (Shout out to Soliat, Unlimited LA & Clarence Peter etc.). Nonetheless, his ‘back-to-back’ hits albums, sold-out concerts, numerous awards and massive popular appeal are proof of his outstanding artistry and recognition of the same in others.
Peak Performers Maximize Their “Follow-Come”.
Some critics say OLAMIDE is more of a Singer than a Rapper, well that’s a ‘Story For The Gods’ because the benefits of trying to fix a weakness perceived by critics can never be compared to the gains of discovering, developing and deploying his follow-come.
While critics focus on his weaknesses; ‘Omo Abule Sowo’ signs endorsement deals with Cîroc, Guinness, Globacom, Itel etc. based on the result of his maximized follow-come.
Perhaps, If those critics find their own “FOLLOW COME”, they will be PEAK PERFORMERS too.