Brewers in Africa Part 2

Dear colleagues, friends and LinkedIn family, I know I had promised a sequel to my earlier post Brewers in Africa Part 1, published 14 December 2019, but events seemed to have overtaken me. Then again, as the saying goes, better late than never.

In my 2019 post the focus was on international brewers taking an interest on the growing African market and setting-up in order to take advantage from within. 

However, so much has happened since then, as the proposed common market - albeit currently at the looser form of a free trade area - Yes, I'm talking about the African Continental Free Trade Area (AfCFTA) - may have some implications for these multinationals as they seek to cross intra-African borders. Evidently, there are not only country-of-origin hoops, but more importantly, rules-of-origin considerations. 

My colleagues and I had not long discussed some of these challenges in the context of a sub-regional initiative, the Economic Community of West African States (ECOWAS) and opined that trade seemed more subservient to conflict resolution, which has its own challenges especially as far as enforcement of the rules of economic integration is concerned.

Back to the matter at hand, Brewers in Africa Part 2, focuses on indigenous African Brewers (Hero Beer, Nigeria) seeking to engage their target audience through "emotional" rather than "rational" appeals - borrowing a leaf from the consumer behaviour, and/ or marketing communications lexicon. It also resonates with the growing exploits of an indigenous group in the Southeast of Nigeria, the Igbos, who, as the world now appreciates, are widely dispersed across Nigeria, Africa and Globally.

So here are a few questions to ponder.

• First, should we think of Hero while we order a beer?
• Second, to what extent is the marketing campaign of Hero beer effective?
• Third, does this move (or campaign) exclude others and, thereby constrict market expansion opportunities?

While I do not have all the answers to these questions, I would, nonetheless, share some of my current thinking on the matter.

First, Hero Beer seems to be engaging music artists of Igbo extraction as brand ambassadors as I pointed out in my recent article, "The “Igbo” Music Project: A Discursive Narrative & Storytelling."

Recently, Igbo rappers Tobechukwu Ejiofor (aka IllBliss) and Owoh Chimaobi Chrismathner (aka Zoro) released an eponymous single extolling "Igbo" cultural traditions and exhorting listeners not to forget their cultural identity.

Second, the "Echefula" campaign, while clearly a social justice call in remembrance of the "fallen" in the failed secessionist move by the "East" from Nigeria between 1967-1970, may be limited in its appeal. Yes, we would not forget, but is this really all that matters for a brand that "understands" its market?

Investment in the local beer industry remains attractive thanks to Nigeria’s growing population — about 200 million inhabitants and rising — coupled with an expanding middle class, rapid urbanization, and a currently low beer consumption per capita of 11 liters a year.

Proving that it understands its market, and continues to stay regionally relevant — Hero’s brewery recently launched a campaign called “Echefula” — which roughly translates to “Never Forget Your Identity” — to promote cultural heritage and values, and to push for more appreciation of cultural traditions, a consideration that’s top of mind for many Nigerians.

Third, what is the connection of Hero beer with the Igbo Apprenticeship system? Should only the Igbo consume "Hero"? I don't think so and the earlier the brand understands that the pitch should be primarily indigenous as opposed to anything else, the better.

Ultimately, my suggestion is that the campaign could do with some "desacralisation," in order to widen the appeal of the brand. It is evident from numerous media reports, that the management of Hero beer consists of a multi-ethnic workforce, and Hero, for its own good, cannot afford to exclude the audience of this group.