by Philemon Jacob
Nigeria, the self-acclaimed giant of Africa, faces momentous economic and societal issues. According to a report based on data gathered in 2023, Nigeria is the poverty capital of the world. The report provided by the World Poverty Clock established that 71 million Nigerians are extremely poor.
In another report, the National Bureau of Statistics classifies 133 million Nigerians as multidimensionally poor.
Over 40% of the Nigerian population lives below the poverty line, and a fair percentage are very close to the drop zone. Unemployment and inflation are at an all-time high, the currency is never stable, and quality infrastructure is nonexistent.
Yet, none of this is captured in the mainstream pop music that comes out of Nigeria. Afrobeats usually tell a completely different story.
The Greek philosopher Aristotle said, “Art imitates nature” – a phrase that has over time evolved to “Art imitates life”- which this writer interprets to mean real life should inform, influence, and inspire art. Creative works are supposed to mirror societal issues.
Remarkably, Nigeria’s troubling and intractable societal and economic issues are rarely reflected in today’s Afrobeats.
Music across the world inspired by societal issues.
Across the world, musicians have been able to create music influenced by societal ills in a bid to inspire and bring about change.
Janet Jackson’s 1989 album ‘Janet Jackson’s Rhythm Nation 1814’, is an album that addresses racism and discrimination in America, as well as substance addiction and poverty.
Bruce Springsteen talks about police brutality in his controversial record ‘American Skin (41 Shots), released in 2000. The record was inspired by the murder of Amadou Diallo by NYPD officers in 1999. Wyclef Jean also discusses this brutal murder on his hit record “Diallo” released on August 22, 2000.
Angelique Kidjo’s 2014 album ‘EVE’ was created to discuss the everyday struggles of women and also publicize their strengths.
Miriam Makeba created multiple songs that protested against apartheid, even dedicating an entire record to Hendrick Verwoerd, the South African prime minister who was influential in establishing the apartheid regime.
Nigerian musicians in the past have also used music to address societal issues.
Fela Anikulapo Kuti became a global sensation as a result of his strong criticism of Nigeria’s successive military governments. He released multiple records relentlessly critiquing and opposing the government. None more popular than Zombie. A record that can easily be described as a diss record for the Nigerian military government in 1976.
On his 1977 record, Shuffering and Shmiling, He talks about the ability of the average Nigerian to endure pain and hardship with a smile on his/her face with a strong belief that there is a special reward awaiting them in the afterlife. On 1971’s Yellow Fever, Fela lashed out at women who patronized skin lightening products. Something he recognized as one of the byproducts of colonialism. He vehemently criticized the hypocritical nature of religious figures on 1981’s Coffin for head of state.
Nigerian rapper Eedris Abdul Kareem released his 2002 single ‘Mr. Lecturer’ where he discusses the sexual abuse and harassment female students experience at the hands of university lecturers. In his 2004 album ‘Jaga Jaga’, he talks about the shattered state of the nation. On his most recent record “Emi Lokan”, the veteran rapper addresses the state of the nation noting the reality of hunger among some sections of the masses, discrimination of the Igbos, food inflation and widespread insecurity. He also takes a swipe at the president and a certain religious leader. While the recording itself is terrible, the message it conveys is important, proving that sometimes artistic value can transcend technical flaws.
Why Afrobeats fail to reflect the sorry state of Nigeria
Despite the number of pervasive economic and societal issues that plague Nigerian society, it is difficult to identify mainstream Nigerian music that discusses these issues.
When you thoroughly consume and digest Nigerian pop music, you may be forced to believe all is well.
Afrobeats does not reflect the harsh economic realities everyday Nigerians are forced to contend with daily.
This begs the million-dollar question: WHY?
The answer lies in the idea behind why what we know as Afrobeats was birthed.
Afrobeats, which emerged in the late 1990s, was created as a form of escapism. The need to avoid the harsh realities of our society led us to find solace in the hypnotic, groovy, pulsating, and energetic rhythms of Nigerian percussion.
It’s why even records that were created to document, address and discuss societal issues are laced with vibrant drums and addictive melodies, creating records that the populace eventually danced to.
For example, Timaya’s breakout record ‘Dem Mama’, which documents the events of the 1999 Odi Massacre in Bayelsa, can easily pass a club banger.
The same can be said for African China’s ‘Crisis’, which discusses riots, killings, the sad events of June 12th, and Nigerian’s lack of trust in the government.
And even his 2006 hit record ‘Mr. President, where he passionately demands good governance from Nigeria’s leaders.
The need for change
As Afrobeats has continued its evolution, records addressing societal issues have become much fewer.
To be fair, occasionally, Nigerian pop stars try to address and document societal issues and problems through their music, releasing records that tackle these important topics. For example, Burna Boy’s ‘20.10.10’ documents the events of the “Lekki Massacre” of October 20, 2020. He also discusses the unwillingness of Nigerians to challenge the system on ‘Collateral Damage’.
Falz’s fourth studio album ‘Moral instruction’ addresses a range of issues plaguing Nigerian society such as corrupt politicians, police brutality, prostitution, social injustice and internet fraud.
Ajebo Hustlers, on their breakout hit single ‘Barawo,’ discuss jungle justice inspired by the Aluu Four lynching of 2012. The record also discusses police brutality and a host of issues as the duo express their frustration with the general state of the country. Tiwa Savage criticizes theft and corruption on ‘Ole’ off her 2020 album Celia. The album also houses ‘Koroba’ and ‘49-99’, socio-politically charged records.
However, these records are not commonplace and that needs to change. Some may argue that Afrobeats is meant for entertainment purposes and not social commentary. After all, that is the number one reason it exists. While this perspective exists, it is important to recognize the impact Afrobeats can have in documenting the hard times we are in and inspiring change.
Afrobeats is popular and globally consumed. This means Afrobeats has the potential to initiate dialogue and challenge the system. Afrobeats can be used as a tool to shape cultural narratives and shape the political awareness of young people today and in future generations. It doesn’t have the luxury of being all about escapism.
Nigeria is in a dire situation, and Afrobeats can be one of the tools for change as the country is in a meltdown.
Some may also argue that the responsibility of discussing Nigeria’s issues can not be placed entirely on the shoulders of the mainstream. This writer agrees.
Certain Nigerian artists talk about Nigeria’s problems in their music.
Obongjayar for example, lashes out at corrupt politicians and corruption on ‘Message in a hammer’ off his cult classic ‘Some nights I dream of doors’. Paybac Iboro’s 2020 album houses politically charged records like ‘Nigeria suk my dik’ and ‘Fuk a politician’. He is inspired by the conviction of a popular fraudster in ‘The story of Hushpuppi’.
However, conventional Afrobeats artists far surpass these artists in popularity and influence, eclipsing them by a wide margin.
Nigerian pop stars are some of the most in-demand musicians across the world. Afrobeats has elevated them to incredible heights of superstardom. What they do with it is very important.
In this writer’s view, they are not doing enough to adequately address and reflect the current issues Nigeria is facing in music.
The Nigerian state is in a dire situation, and we need our superstars to consistently lend their voices.
